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Scherzo   Listen
noun
Scherzo  n.  (Mus.) A playful, humorous movement, commonly in 3-4 measure, which often takes the place of the old minuet and trio in a sonata or a symphony.






Collaborative International Dictionary of English 0.48








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"Scherzo" Quotes from Famous Books



... appeared his first works,—three sonatas, a trio, scherzo for piano, and three books of songs. After a visit to Liszt at Weimar, he settled down as chorus-conductor and music-teacher at the court of Lippe-Detmold, where he remained a few years. During this ...
— The Standard Oratorios - Their Stories, Their Music, And Their Composers • George P. Upton

... sonatas and symphonies are of this wonderfully varied form of writing. How full it can be of expressiveness you know from the Songs without Words by Mendelssohn, and the Nocturnes of Chopin; how full of flickering humor you hear in the Scherzo of a Beethoven symphony; how full of deep solemnity and grief one feels ...
— Music Talks with Children • Thomas Tapper

... opportunity here to take up the "Scherzos," so unlike the coquettish, bantering pieces of the same name by other composers, Chopin seemingly representing tragedy mocking itself, as any one playing the B flat minor "Scherzo," Op. 31, may hear for himself; the "Ballades," so eloquently narrative of love and adventure, the A flat major and the G minor being especially popular in the pianolist's repertory; and the "Fantaisie," in F minor, one ...
— The Pianolist - A Guide for Pianola Players • Gustav Kobb

... accomplished with the modern grand piano? In the artist's room of the Maison Pleyel there stands the piano at which Chopin composed the Preludes, the G minor nocturne, the Funeral March, the three supplementary fitudes, the A minor Mazurka, the Tarantelle, the F minor Fantasie and the B minor Scherzo. A brass tablet on the inside lid notes this. The piano is still in good condition ...
— Chopin: The Man and His Music • James Huneker

... the bark of a dog into the scherzo in his 38th quartette. Indeed, the tones of the "voice" of the dog are so marked, that more than any other of the voices of Nature they have been utilized in music. The merest tyro in the study of dog language can readily ...
— The Strand Magazine: Volume VII, Issue 37. January, 1894. - An Illustrated Monthly • Edited by George Newnes

... the peasants are dancing and singing a lively chorus ("List to the gay Castanet"). Elvira and Carmen, her attendant, enter upon the scene, and are asked to join in the dance, but instead, Elvira delights them with a song, a vocal scherzo ("Yes, I'll obey you"). The innkeeper is rude to them, but they are protected from his coarseness by Manuel, the muleteer, who suddenly appears and sings a rollicking song ("I am a simple Muleteer") to the accompaniment of a tambourine and ...
— The Standard Operas (12th edition) • George P. Upton

... thalers (six shillings). Nevertheless, I managed to get a very good place, by simply not seeing a number of ladies who were pushing behind me. When Liszt appeared there was a terrible hissing—he looked as if petrified, glanced like a demon at the public, but nevertheless began to play the Scherzo and Finale of the Pastoral Symphony. Then there burst out a perfect thunder of applause, and all seemed pacified, while Madame Schmidt sang a song accompanied by a certain Mr. Kermann. As soon ...
— My Autobiography - A Fragment • F. Max Mueller

... of the sonata form is false. Men and women do not feel happy for ten minutes as in the opening allegro of a sonata, then melancholy for another ten minutes, as in the following adagio, then frisky, as in the scherzo, and finally, fiery and impetuous for ten minutes as in the finale. The movements of our minds are seldom so systematic as this. Sad and happy thoughts and moods chase one another incessantly and irregularly, as they do in the compositions ...
— Chopin and Other Musical Essays • Henry T. Finck

... characterization of the two middle movements of a symphony was almost entirely overlooked: the Allegretto scherzando was taken to represent the usual Andante, the Tempo di Menuetto, the familiar "Scherzo" and, as the two movements thus interpreted seemed rather paltry, and none of the usual effects could be got with them, our musicians came to regard the entire symphony as a sort of accidental hors d'oeuvre of Beethoven's muse—who, after the exertions with the A ...
— On Conducting (Ueber das Dirigiren): - A Treatise on Style in the Execution of Classical Music • Richard Wagner (translated by Edward Dannreuther)



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