Intrada


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Intrada

 

a short instrumental piece that serves as the opening movement to a formal ceremony, an entertainment, or a musical performance; flourished between the 16th and 18th centuries. The term “intrada” also referred to marches accompanied by fanfares (played during the ceremonial procession of dignitaries), pavanne-like pieces played for various occasions, and pieces performed in the ballet as quick, entertaining dances. During the 17th century the intrada, called the entrée, formed part of an instrumental suite; 19th- and 20th-century composers occasionally used “intrada” as a title for their works.

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Varese touts old relationships with studios and a deep catalog of scores they own licenses to in perpetuity; Intrada has an exclusive partnership with Disney that will yield a bounty for many years; and La-La Land is expanding its focus to contemporary soundtracks as well as television and videogames.
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We begin with De Macque's Intrada d'organo, a piece which strongly prefigures Frescobaldi's organ toccatas, especially those from the second book `sopra i pedali, e senza', even in minute details of its melodic figuration.
Trotter also figured prominently in Janacek's splendid Glagolitic Mass, contributing an infectiously exuberant postlude before the final blazing orchestral Intrada - a contrast, this last, to the disappointingly flaccid opening Hickox secured from his fo rces.
Yet festive music was already associated with New Year during Charles's reign, not only by way of the participation of trumpets in the intrada and Mass in celebration of the Feast of the Circumcision but also by way of a performance known to have taken place a few days after New Year in 1731, which may also (because it was referred to as 'customary') have taken place during January of other years as well.
Programmed in the first half along with an Intrada (Op54) by William Mathias, and Wagner's Siegfried Idyll, it will set the audience up for the feel of what is to come.
They are also quite varied in style and structure: the Overture in D Minor includes the traditional dance movements one might expect, as well as folk-music sections identified with specific birdsongs; the Suite in C Major is a processional piece complete with martial drums and trumpets; the piece titled Intrada falls somewhere in structure between an orchestral suite and a concerto grosso.
Stedron's timbre Meditation (1963) for solo bass clarinet is paradoxically more modern than Intrada e Sarabande triste (1999) which reflects the composer's long term interest in inspiration from Renaissance and Baroque music.
The strings were often weak and the brass, in the final Intrada, disappointing.