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Lyric Suite (Berg)
The ''Lyric Suite'' is a six-movement (music), movement work for string quartet written by Alban Berg between 1925 and 1926 using methods derived from Arnold Schoenberg's twelve-tone technique. Though publicly dedicated to Alexander von Zemlinsky (from whose ''Lyric Symphony (Zemlinsky), Lyric Symphony'' it quotes), the work has been shown to possess a "secret dedication" and to outline a "secret programme". Berg arranged three of the "pieces" (movements) for string orchestra in 1928. Composition and analysis The string quartet has six movements: As Berg's friend and fellow Arnold Schoenberg, Schoenberg pupil Erwin Stein wrote in the preface to the score, "[t]he work (Ist and VIth part, the main part of the IIIrd and the middle section of the Vth) has been mostly written strictly in accordance with Schoenberg's technique of the 'Twelve-tone technique, Composition with 12 inwardly related tones'. A set of 12 different tones gives the rough material of the composition, and the p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Quartet
The term string quartet refers to either a type of musical composition or a group of four people who play them. Many composers from the mid-18th century onwards wrote string quartets. The associated musical ensemble consists of two Violin, violinists, a Viola, violist, and a Cello, cellist. The string quartet was developed into its present form by the Austrian composer Joseph Haydn, whose works in the 1750s established the ensemble as a group of four more-or-less equal partners. Since that time, the string quartet has been considered a prestigious form; writing for four instruments with broadly similar characteristics both constrains and tests a composer. String quartet composition flourished in the Classical music era, Classical era, and Wolfgang Amadeus Mozart, Mozart, Ludwig van Beethoven, Beethoven and Franz Schubert, Schubert each wrote a number of them. Many Romantic era music, Romantic and 20th-century classical music, early-twentieth-century composers composed string quarte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theme (music)
In music, a subject is the material, usually a recognizable melody, upon which part or all of a musical composition, composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or Motif (music), motif, a subject is usually a complete phrase (music), phrase or period (music), period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as "[a]ny element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often musical form, structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative music, generative theory's scope of analysis. In different types of mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
René Leibowitz
René Leibowitz (; ; 17 February 1913 – 29 August 1972) was a Polish and French composer, conductor, music theorist and teacher. He was historically significant in promoting the music of the Second Viennese School in Paris after the Second World War, and teaching a new generation of serialist composers. Leibowitz remained firmly committed to the musical aesthetic of Arnold Schoenberg, and was to some extent sidelined among the French avant-garde in the 1950s, when, under the influence of Leibowitz's former student, Pierre Boulez and others, the music of Schoenberg's pupil Anton Webern was adopted as the orthodox model by younger composers. Although his compositional ideas remained strictly serialist, as a conductor Leibowitz had broad sympathies, performing works by composers as diverse as Gluck, Beethoven, Brahms, Offenbach and Ravel, and his repertory extended to include pieces by Gershwin, Puccini, Sullivan and Johann Strauss. Life and career Early years The facts ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tristan Motif
The original Tristan chord is heard in the opening phrase of Richard Wagner's opera ''Tristan und Isolde'' as part of the leitmotif relating to Tristan. It is made up of the notes F, B, D, and G: : More generally, the term refers to any chord that consists of the same intervals: augmented fourth, augmented sixth, and augmented ninth above a bass note. Background The notes of the Tristan chord are not unusual; they could be respelled enharmonically to form a common half-diminished seventh chord. What distinguishes the Tristan chord is its unusual relationship to the implied key of its surroundings. : : This motif also appears in measures 6, 10, and 12, several times later in the work, and at the end of the last act. points out the "chord" in earlier works by Guillaume de Machaut, Carlo Gesualdo, J. S. Bach, Mozart, Beethoven, or Louis Spohr as in the following example from the first movement of Beethoven's Piano Sonata No. 18: : : The chord is found in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lyric Symphony
The ''Lyric Symphony'' (), Op. 18, is a musical work for soprano and baritone soloists and large orchestra composed between 1922 and 1923 by Austrian composer Alexander Zemlinsky. Composition and performance history The work was begun in April 1922. In a letter to his publishers of 19 September 1922, Zemlinsky described the work-in-progress as "...something along the lines of ahler's'' Das Lied von der Erde''". The orchestration was completed in August 1923. The sung texts are taken from ''The Gardener'' by Rabindranath Tagore in a German translation by Hans Effenberger. The work received its premiere in Prague at the New German Theatre on June 4, 1924, under the composer's direction. The vocal solos were sung by Tilly de Garmo and Joseph Schwarz.''Signale für die musikalische Welt'' No. 28, July 9, 1924, p. 1106 Structure The work is in seven connected movements, sung alternately by the two soloists: * ("I am restless. I am athirst for far-away things") * ("O mother ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
F (musical Note)
F is a musical note, the fourth above C or fifth below C. It is the fourth note and the sixth semitone of the solfège. It is also known as fa in fixed-do solfège. It is enharmonic equivalent with E (E-sharp) and G (G-double flat), amongst others. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle F (F4) is approximately 349.228 Hz. See pitch (music) for a discussion of historical variations in frequency. Designation by octave Scales Common scales beginning on F * F major: F G A B C D E F * F natural minor: F G A B C D E F * F harmonic minor: F G A B C D E F * F melodic minor ascending: F G A B C D E F * F melodic minor descending: F E D C B A G F Diatonic scales * F Ionian: F G A B C D E F * F Dorian: F G A B C D E F * F Phrygian: F G A B C D E F * F Lydian: F G A B C D E F * F Mixolydian: F G A B C D E F * F Aeolian: F G A B C D E F * F Locrian: F G A B C D E F Jazz melodic minor * F ascending me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
B (musical Note)
B, also known as Si, Ti, or, in some European countries, H, is the seventh note and the twelfth semitone of the fixed-Do solfège. Its enharmonic equivalents are C (C-flat) and A (A-double sharp). When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle B (B4) is 493.883 Hz. See musical pitch for a discussion of historical variations in frequency. Designation by octave Scales Common scales beginning on B * B major: B C D E F G A B * B natural minor: B C D E F G A B * B Harmonic minor: B C D E F G A B * B Melodic minor ascending: B C D E F G A B * B melodic minor descending: B A G F E D C B Diatonic scales * B Ionian: B C D E F G A B * B Dorian: B C D E F G A B * B Phrygian: B C D E F G A B * B Lydian: B C D E F G A B * B Mixolydian: B C D E F G A B * B Aeolian: B C D E F G A B * B Locrian: B C D E F G A B Jazz melodic minor * B Ascending melodic minor: B C D E F G A B * B Dorian ♭2: B C D E F G A B * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
B♭ (musical Note)
B (B-flat), or, in some European countries, B, is the eleventh step of the Western chromatic scale (starting from C (musical note), C). It lies a diatonic semitone above A (musical note), A and a chromatic semitone below B (musical note), B, thus being enharmonic to A♯ (musical note), A, even though in some musical tunings, B will have a different sounding pitch than A. B-flat is also enharmonic to C (C-double flat). When calculated in equal temperament with a reference of A (musical note), A above middle C as 440 hertz, Hz, the frequency of the B above middle C is approximately 466.164 Hz. See pitch (music), musical pitch for a discussion of historical variations in frequency. While orchestras tune to an A provided by the oboe, oboist, wind ensembles usually tune to a B-flat. In Germany, Russia, Poland, Scandinavia and Slovakia this pitch is designated B, with 'H' used to designate the B-Natural (music), natural. Since the 1990s, B-flat is often denoted Bb or "Bess" instead o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A (musical Note)
A is a musical note equivalent to 440 Hz in typical A440 tuning. It is the sixth note of La and the tenth semitone of the fixed-do solfège. Its enharmonic equivalents are B (B double-flat) and G (G double-sharp). "A" is generally used as a standard for tuning. When the orchestra tunes, the oboe plays an "A" and the rest of the instruments tune to match that pitch. Every string instrument in the orchestra has an A string, from which each player can tune the rest of their instrument. "A" is also used in combination with a number (e.g. A-440) to label the pitch standard. The number designates the frequency in hertz. A lower number indicates a lower pitch. The International Standards Organization (ISO) has standardized the pitch at A-440. However, tuning has varied over time, geographical region, or instrument maker. In 17th-century Europe, tunings ranged from about A-374 to A-403, approximately two to three semitones below A-440. Historical examples exist of instrumen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motif (music)
In music, a motif () or motive is a short musical idea, a Salience (neuroscience), salient recurring Figure (music), figure, musical fragment or succession of notes that has some special importance in or is characteristic of a musical composition, composition. The motif is the smallest structural unit possessing theme (music), thematic identity. History The defines a motif as a "melodic, rhythmic, or harmonic cell (music), cell", whereas the 1958 maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject (music), subject. It is commonly regarded as the shortest subdivision of a Theme (music), theme or Phrase (music), phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity". The New Grove Dictionary of Music and Musicians, Grove and Éditions Larousse, Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Cryptogram
A musical cryptogram is a cryptogrammatic sequence of musical symbols which can be taken to refer to an extra-musical text by some 'logical' relationship, usually between note names and letters. The most common and best known examples result from composers using musically translated versions of their own or their friends' names (or initials) as themes or motifs in their compositions. These are not really rigorous cipher algorithms in the formal sense, but more like musical monograms. The methods used historically by composers were either too incomplete (i.e., did not include all of the letters of the alphabet) or too simplistic to meaningfully encrypt long text messages. There is a separate history of music ciphers utilizing music notation to encode messages for reasons of espionage or personal security that involved encryption and/or steganography. Because of the multitudinous ways in which notes and letters can be related, detecting hidden ciphers in music and proving acc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franz Werfel
Franz Viktor Werfel (; 10 September 1890 – 26 August 1945) was an Austrian-Bohemian novelist, playwright, and poet whose career spanned World War I, the Interwar period, and World War II. He is primarily known as the author of '' The Forty Days of Musa Dagh'' (1933, English tr. 1934, 2012), a novel based on events that took place during the Armenian genocide of 1915, and '' The Song of Bernadette'' (1941), a novel about the life and visions of the French Catholic saint Bernadette Soubirous, which was made into a Hollywood film of the same name. Early life Born in Prague (then part of the Austro-Hungarian Empire), now the capital of the Czech Republic, Werfel was the first of three children of a wealthy manufacturer of gloves and leather goods, Rudolf Werfel. His mother, Albine Kussi, was the daughter of a mill owner. His two sisters were Hanna (born 1896) and Marianne Amalie (born 1899). His family was Jewish. As a child, Werfel was raised by his Czech Catholic governes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
