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57-503: The Second Suite in F for Military Band ( Op. 28, No. 2) is Gustav Holst 's second of his two suites for concert band . Although performed less frequently than the First Suite in E ♭ , it is still a staple of the band repertoire. The Second Suite , written in 1911 and first published in 1922, dedicated to James Causley Windram, is longer and considered more difficult to play than its sister suite. During Holst's earlier years as

114-657: A companion piece to "Opus 27, No. 1" ( Piano Sonata No. 13 in E-flat major , 1800–01), paired in same opus number, with both being subtitled Sonata quasi una Fantasia , the only two of the kind in all of Beethoven's 32 piano sonatas. Furthermore, the Piano Sonata, Op. 27 No. 2, in C-sharp minor is also catalogued as "Sonata No. 14", because it is the fourteenth sonata composed by Ludwig van Beethoven. Given composers' inconsistent or non-existent assignment of opus numbers, especially during

171-582: A compliment to Pythagoras . In pre-modern or modern times anvils occasionally appear in operatic works by Berlioz, Bizet, Gounod, Verdi, and Wagner for example. Commonly pairs of anvils tuned a third apart are used. In practice modern orchestras commonly substitute a brake drum or other suitable steel structure that is easier to tune than an actual anvil, although a visibly convincing anvil-shaped prop may be shown as desired. In Das Rheingold Wagner scored for nine little, six mid-sized, and three large anvils, but orchestras seldom can afford instrumentation on such

228-420: A composer's juvenilia are often numbered after other works, even though they may be some of the composer's first completed works. To indicate the specific place of a given work within a music catalogue , the opus number is paired with a cardinal number ; for example, Beethoven 's Piano Sonata No. 14 in C-sharp minor (1801, nicknamed Moonlight Sonata ) is "Opus 27, No. 2", whose work-number identifies it as

285-571: A composer's works, as in the sets of string quartets by Joseph Haydn (1732–1809) and Ludwig van Beethoven (1770–1827); Haydn's Op. 76, the Erdödy quartets (1796–97), comprises six discrete quartets consecutively numbered Op. 76 No. 1 – Op. 76 No. 6; whilst Beethoven's Op. 59, the Rasumovsky quartets (1805–06), comprises String Quartet No. 7, String Quartet No. 8, and String Quartet No. 9. From about 1800, composers usually assigned an opus number to

342-507: A composer, he took interest (as did many composers at the time) in folk music, and wrote many pieces based on folk tunes. He provided piano accompaniments in 1909 to 16 songs collected by George Gardiner for publication in 'Folk Songs from Hampshire ', a volume in Cecil Sharp 's County Songs series. He was taken with them and incorporated several into this suite (he later made choral arrangements of several, including ones he had already used in

399-453: A composition, Prokofiev occasionally assigned a new opus number to the revision; thus Symphony No. 4 is two thematically related but discrete works: Symphony No. 4, Op. 47, written in 1929; and Symphony No. 4, Op. 112, a large-scale revision written in 1947. Likewise, depending upon the edition, the original version of Piano Sonata No. 5 in C major, is cataloged both as Op. 38 and as Op. 135. Despite being used in more or less normal fashion by

456-458: A duller sound; this is actually valued in industry, as pure steel anvils are troublesomely noisy, though energetically more efficient. The hammer and anvil have enjoyed varying popularity in orchestral roles. Robert Donington pointed out that Sebastian Virdung notes them in his book of 1510, and Martin Agricola includes it in his list of instruments (Musica instrumentalis deudsch, 1529) largely as

513-693: A large I-beam . In addition, bases have been made from dimensional lumber bolted together to form a large block or steel drums full of oil-saturated sand to provide a damping effect. In recent times, tripod bases of fabricated steel have become popular. There are many designs for anvils, which are often tailored for a specific purpose or to meet the needs of a particular smith. For example, there were anvils specifically made for farriers, general smiths, cutlers, chain makers, armorers, saw tuners, coach makers, coopers, and many other types of metal workers. Most of these anvil types look similar, but some are radically different. Saw maker anvils, for instance, are generally

570-407: A large rectangular block of steel that have a harder surface than most other anvils due to hammering on a harder steel for saws. Bladesmith anvils tend to be rectangular with a hardy and pritchel, but no horn. Such designs have originated in diverse geographic locations. Several styles of anvils include, Bavarian, French Pig anvil, Austrian, and Chinese turtle anvil. The Bavarian style is known for

627-553: A number of important early-twentieth-century composers, including Arnold Schoenberg (1874–1951) and Anton Webern (1883–1945), opus numbers became less common in the later part of the twentieth century. To manage inconsistent opus-number usages – especially by composers of the Baroque (1600–1750) and of the Classical (1720–1830) music eras – musicologists have developed comprehensive and unambiguous catalogue number-systems for

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684-776: A result, the plural opera of opus tends to be avoided in English. In other languages such as German, however, it remains common. In the arts, an opus number usually denotes a work of musical composition , a practice and usage established in the seventeenth century when composers identified their works with an opus number. In the eighteenth century, publishers usually assigned opus numbers when publishing groups of like compositions, usually in sets of three, six or twelve compositions. Consequently, opus numbers are not usually in chronological order, unpublished compositions usually had no opus number, and numeration gaps and sequential duplications occurred when publishers issued contemporaneous editions of

741-428: A small anvil integrated into its design. Anvils were first made of stone , then bronze , and later wrought iron . As steel became more readily available, anvils were faced with it. This was done to give the anvil a hard face and to stop the anvil from deforming from impact. Many regional styles of anvils evolved through time from the simple block that was first used by smiths . The majority of anvils found today in

798-479: A softer pad for chisel work. An anvil for a power hammer is usually supported on a massive anvil block, sometimes weighing over 800 tons for a 12-ton hammer; this again rests on a strong foundation of timber and masonry or concrete. An anvil may have a marking indicating its weight, manufacturer, or place of origin. American-made anvils were often marked in pounds. European anvils are sometimes marked in kilograms. English anvils were often marked in hundredweight,

855-636: A work or set of works upon publication. After approximately 1900, they tended to assign an opus number to a composition whether published or not. However, practices were not always perfectly consistent or logical. For example, early in his career, Beethoven selectively numbered his compositions (some published without opus numbers), yet in later years, he published early works with high opus numbers. Likewise, some posthumously published works were given high opus numbers by publishers, even though some of them were written early in Beethoven's career. Since his death in 1827,

912-437: Is heard in a low woodwind soli, as is standard march orchestration. Then the first two tunes are repeated da capo . Holst places the fourth folk song, "I'll Love My Love" in stark contrast to the first movement. The movement begins with a chord from French horns and moves into a solo of clarinet with oboe over a flowing accompaniment in F Dorian . The solo is then repeated by trumpet, forming an arc of intensity. The climax of

969-451: Is heat treated is 1600 pounds. This anvil was made in 2023 by Oak Lawn Blacksmith. There are larger anvils that are made out of multiple pieces such as “The mile long anvil” made by Napier which weighs 6500 pounds. This anvil is not heat treated or made from tool steel. The primary work surface of the anvil is known as the face. It is generally made of hardened steel and should be flat and smooth with rounded edges for most work. Any marks on

1026-456: Is more likely derived from an Old English word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as "Sedony" (or Sedany) or "Welsh Sedony". Holst later rewrote and rescored this movement for string orchestra, as the final movement of his St Paul's Suite (1912), which he wrote for his music students at St Paul's Girls' School . Sources Opus number In music ,

1083-423: Is notable in using the anvil as pitched percussion . The vast majority of extant works use the anvil as unpitched . However tuned anvils are available as musical instruments, albeit unusual. These are not to be confused with the "sawyers' anvils" used to "tune" big circular saw blades. Steel anvils are used for tuning for use as musical instruments, because those based partly on cast iron and similar materials give

1140-421: Is similar. The pritchel hole is a small round hole that is present on most modern anvils. Some anvils have more than one. It is used mostly for punching. At times, smiths will fit a second tool to this hole to allow the smith more flexibility when using more than one anvil tool. The anvil is placed as near to the forge as is convenient, generally no more than one step from the forge to prevent heat loss in

1197-412: Is the area of the anvil between the "horn" and the "face". It is soft and is used for cutting; its purpose is to prevent damaging the steel face of the anvil by conducting such operations there and so as not to damage the cutting edge of the chisel, though many smiths shun this practice as it will damage the anvil over time. There have also been other additions to the anvil such as an upsetting block; this

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1254-449: Is typically called the heel. Occasionally, the other end is also provided with a bick, partly rectangular in section. Most anvils made since the late 18th century also have a hardy hole and a pritchel hole where various tools, such as the anvil-cutter or hot chisel, can be inserted and held by the anvil. Some anvils have several hardy and pritchel holes, to accommodate a wider variety of hardy tools and pritchels . An anvil may also have

1311-476: Is unexpected: the entire movement is in F major when the music suddenly moves to the major of the relative minor. This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with an alto saxophone solo based on the folk tune "Dargason", a 16th-century English dance tune included in the first edition of The Dancing Master . The fantasia continues through several variations encompassing

1368-492: Is used to upset steel, generally in long strips/bars as it is placed between the feet of the anvil. Upsetting is a technique often used by blacksmiths for making the steel workpiece short and thick, having probably been originally long and thin. The hardy hole is a square hole into which specialized forming and cutting tools, called hardy tools , are placed. It is also used in punching and bending operations. These are not to be confused with swage blocks , although their purpose

1425-586: The Baroque (1600–1750) and the Classical (1750–1827) eras, musicologists have developed other catalogue-number systems; among them the Bach-Werke-Verzeichnis (BWV-number) and the Köchel-Verzeichnis (K- and KV-numbers), which enumerate the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart , respectively. In the classical period , the Latin word opus ("work", "labour"), plural opera ,

1482-621: The Calico Early Man Site in North America . Anvils have since lost their former commonness, along with the smiths who used them. Mechanized production has made cheap and abundant manufactured goods readily available. The one-off handmade products of the blacksmith are less economically viable in the modern world, while in the past they were an absolute necessity. However, anvils are still used by blacksmiths and metal workers of all kinds in producing custom work. They are also essential to

1539-465: The Second Suite begins with a simple five note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the morris-dance tune "Glorishears". After a brief climax, the second strain begins with a solo euphonium playing the second folk tune in the suite, "Swansea Town". The theme is repeated by the full band before

1596-492: The opus number is the "work number" that is assigned to a musical composition , or to a set of compositions, to indicate the chronological order of the composer 's publication of that work. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work. Opus numbers do not necessarily indicate chronological order of composition. For example, posthumous publications of

1653-673: The First Suite, Holst was much more specific with the scoring of the Second Suite. His original manuscript specified the following instruments: The 1948 full score published by Boosey & Hawkes added the following instruments: In his revised 1984 score, Colin Matthews includes the bass clarinet, and baritone and bass saxophones, to match the instrumentation of his revised Suite in E ♭ . The Second Suite consists of four movements, all based on specific English folk songs. The "March" of

1710-964: The Mendelssohn heirs published (and cataloged) them as the Italian Symphony No. 4 in A major, Op. 90 , and as the Reformation Symphony No. 5 in D major and D minor, Op. 107 . While many of the works of Antonín Dvořák (1841–1904) were given opus numbers, these did not always bear a logical relationship to the order in which the works were written or published. To achieve better sales, some publishers, such as N. Simrock , preferred to present less experienced composers as being well established, by giving some relatively early works much higher opus numbers than their chronological order would merit. In other cases, Dvořák gave lower opus numbers to new works to be able to sell them to other publishers outside his contract obligations. This way it could happen that

1767-506: The US are based on the London pattern anvil of the mid-19th century. The wrought iron steel faced anvil was produced up until the early 20th century. Through the 19th and very early 20th centuries, this method of construction evolved to produce extremely high quality anvils. The basic process involved forge-welding billets of wrought iron together to produce the desired shape. The sequence and location of

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1824-408: The advantage of adding additional weight to the anvil, making it more stable. These bases are highly sought after by collectors today. When concrete became widely available, there was a trend to make steel reinforced anvil bases by some smiths, though this practice has largely been abandoned. In more modern times, anvils have been placed upon bases fabricated from steel, often a short thick section of

1881-555: The anvil face with full force, as they may damage it; this can result in chipping or deforming of the anvil face. The horn of the anvil is a conical projection used to form various round shapes and is generally unhardened steel or iron. The horn is used mostly in bending operations. It also is used by some smiths as an aid in "drawing down" stock (making it longer and thinner). Some anvils, mainly European, are made with two horns, one square and one round. Also, some anvils are made with side horns or clips for specialized work. The step

1938-544: The best work of an artist with the term magnum opus . In Latin, the words opus (singular) and opera (plural) are related to the words opera (singular) and operae (plural), which gave rise to the Italian words opera (singular) and opere (plural), likewise meaning "work". In contemporary English, the word opera has specifically come to denote the dramatic musical genres of opera or ballet, which were developed in Italy. As

1995-536: The case of Felix Mendelssohn (1809–47); after his death, the heirs published many compositions with opus numbers that Mendelssohn did not assign. In life, he published two symphonies ( Symphony No. 1 in C minor, Op. 11 ; and Symphony No. 3 in A minor, Op. 56 ), furthermore he published his symphony-cantata Lobgesang , Op. 52, which was posthumously counted as his Symphony No. 2; yet, he chronologically wrote symphonies between symphonies Nos. 1 and 2, which he withdrew for personal and compositional reasons; nevertheless,

2052-466: The cases of César Franck (1822–1890), Béla Bartók (1881–1945), and Alban Berg (1885–1935), who initially numbered, but then stopped numbering their compositions. Carl Nielsen (1865–1931) and Paul Hindemith (1895–1963) were also inconsistent in their approaches. Sergei Prokofiev (1891–1953) was consistent and assigned an opus number to a composition before composing it; at his death, he left fragmentary and planned, but numbered, works. In revising

2109-481: The competition of low and high registers. The name dargason may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time), the dargason tormented the Irish countryside. During the Irish uprising of the late 18th century, the dargason is supposed to have attacked a British camp killing many soldiers. This tale aside, dargason

2166-437: The face will be transferred to the work. Also, sharp edges tend to cut into the metal being worked and may cause cracks to form in the workpiece. The face is hardened and tempered to resist the blows of the smith's hammer, so the anvil face does not deform under repeated use. A hard anvil face also reduces the amount of force lost in each hammer blow. Hammers, tools, and work pieces of hardened steel should never directly strike

2223-415: The first four symphonies to be composed were published after the last five; and (c) the last five symphonies were not published in order of composition. The New World Symphony originally was published as No. 5, later was known as No. 8, and definitively was renumbered as No. 9 in the critical editions published in the 1950s. Other examples of composers' historically inconsistent opus-number usages include

2280-565: The forge-welds varied between different anvil makers and the kind of anvil being made. At the same time cast iron anvils with steel faces were being made in the United States. At the dawn of the 20th century solid cast steel anvils began to be produced, as well as two piece forged anvils made from closed die forgings . Modern anvils are generally made entirely from steel. There are many references to anvils in ancient Greek and Egyptian writings, including Homer 's works. They have been found at

2337-411: The full capabilities of the band. The final folk tune, " Greensleeves ", is cleverly woven into the fantasia by the use of hemiolas , with "Dargason" being in 8 and "Greensleeves" being in 4 . At the climax of the movement, the two competing themes are placed in competing sections. As the movement dies down, a tuba and piccolo duet forms a call back to the beginning of the suite with

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2394-490: The impact and will crack and dent. Also, cast iron anvils without a hard steel face do not have the rebound that a harder anvil would and will tire out the smith. Historically, some anvils have been made with a smooth top working face of hardened steel welded to a cast iron or wrought iron body, though this manufacturing method is no longer in use. At one end, the common smith's anvil has a projecting conical bick ( beak , horn ) used for hammering curved work pieces. The other end

2451-586: The invitation of the American Band Masters Association for their convention in Milwaukee. There have been several editions of the work, most recently by Boosey & Hawkes (1984), edited by Colin Mathews, and by Ludwig/Masters (2006), edited by Frederick Fennell . In the 1940s, Gordon Jacob arranged it for full orchestra under the title "A Hampshire Suite". In contrast to the elastic scoring of

2508-662: The main characters tries to have a conversation about "Where did all the anvils go?", a reference to their falling out of use on a general scale. Animaniacs made frequent gags on the topic throughout its run, even having a kingdom named Anvilania, whose sole national product is anvils. Dwarves were blacksmiths who used anvils for metalworking in C. S. Lewis 's The Chronicles of Narnia , most iconically on The Magician's Nephew and Prince Caspian ; as well as in J. R. R. Tolkien 's The Hobbit . Anvils have been used as percussion instruments in several famous musical compositions , including: Wagner's Ring des Nibelungen

2565-599: The marking consisting of three numbers, indicating hundredweight , quarter hundredweight and pounds. For example, a 3-1-5, if such an anvil existed, would be 3×112   lb + 1×28   lb + 5 lb = 369 lb ≈ 168 kg. Cheap anvils made from inferior steel or cast iron and often sold at retail hardware stores, are considered unsuitable for serious use, and are often derisively referred to as "ASOs", or "anvil shaped objects". Amateur smiths have used lengths of railroad rail, forklift tines, or even simple blocks of steel as makeshift anvils. A metalworking vise may have

2622-456: The movement increasingly difficult because the brass section has all of their accompaniment on the up-beats of each measure. The upper woodwinds and horns join on the melody around the body of the piece, and are accompanied with the sound of a blacksmith forging metal with an anvil called for in the score. The final D major chord has a glorious, heavenly sound, which opens way to the final movement. This chord works so effectively perhaps because it

2679-516: The other, is a standard prop for cartoon gags , as the epitome of a heavy and clumsy object that is perfect for dropping onto an antagonist. This visual metaphor is common, for example, in Warner Brothers ' Looney Tunes and Merrie Melodies shorts, such as those with Wile E. Coyote and the Road Runner . Anvils in cartoons were also referenced in an episode of Gilmore Girls , where one of

2736-409: The piece is a fermata in measure 32, followed by a trumpet pick-up into the final measures of the piece. Again, Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song " A Blacksmith Courted Me ". The brass section plays in a pointillistic style depicting a later Holst style. There are many time signature changes ( 4 to 4 ) making

2793-475: The same opus number was given to more than one of his works. Opus number 12, for example, was assigned, successively, to five different works (an opera, a concert overture, a string quartet, and two unrelated piano works). In other cases, the same work was given as many as three different opus numbers by different publishers. The sequential numbering of his symphonies has also been confused: (a) they were initially numbered by order of publication, not composition; (b)

2850-498: The sloped brow. The brow was first used in medieval times to make armor on the church windows below the brow. Common manufactures include, Söding Halbach and Holthaus. This style of anvil is known not to sway in the face due to the extra mass with the brow. The common blacksmith 's anvil is made of either forged or cast steel, forged wrought iron with a hard steel face or cast iron with a hard steel face. Cast iron anvils are not used for forging as they are incapable of standing up to

2907-458: The suite). His contemporary and friend Ralph Vaughan Williams later based his own Folk Song Suite on English folk tunes. Seven traditional tunes are compressed into the four movements of Holst's suite. Percy Grainger preceded them both by a few years with his interest in Lincolnshire folk singers but didn't get around to writing his band arrangement called Lincolnshire Posy until 1937 on

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2964-449: The trio. For the trio, Holst modulates to the unconventional subdominant minor of B ♭ minor and changes the time signature to 8 , thereby changing the meter. Usually one would modulate to subdominant major in traditional march form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in "El Capitán"), it was not commonplace. The third theme, called "Claudy Banks",

3021-448: The un-numbered compositions have been cataloged and labeled with the German acronym WoO ( Werk ohne Opuszahl ), meaning "work without opus number"; the same has been done with other composers who used opus numbers. (There are also other catalogs of Beethoven's works – see Catalogues of Beethoven compositions .) The practice of enumerating a posthumous opus ("Op. posth.") is noteworthy in

3078-489: The work done by farriers . Anvil firing is the practice of firing an anvil into the air using gunpowder . It has been popular in California , the eastern United States and the southern United States , much like how fireworks are used today. There is a growing interest in re-enacting this "ancient tradition" in the US, which has now spread to England. A typical metalworker's anvil, with horn at one end and flat face at

3135-443: The work piece. An anvil needs to be placed upon a sturdy base made from an impact and fire resistant material. Common methods of attaching an anvil are spikes, chains, steel or iron straps, clips, bolts where there are holes provided, and cables. The most common base traditionally was a hard wood log or large timber buried several feet into the floor of the forge shop. In the industrial era, cast iron bases became available. They had

3192-695: The works of composers such as: Anvil Anvils are massive because the higher their inertia , the more efficiently they cause the energy of striking tools to be transferred to the work piece. In most cases the anvil is used as a forging tool. Before the advent of modern welding technology, it was the primary tool of metal workers. The great majority of modern anvils are made of cast steel that has been heat treated by either flame or electric induction . Inexpensive anvils have been made of cast iron and low-quality steel, but are considered unsuitable for serious use, as they deform and lack rebound when struck. The largest single piece tool steel anvil that

3249-409: Was used to identify, list, and catalogue a work of art. By the 15th and 16th centuries, the word opus was used by Italian composers to denote a specific musical composition, and by German composers for collections of music. In compositional practice, numbering musical works in chronological order dates from 17th-century Italy, especially Venice . In common usage, the word opus is used to describe

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