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Duo Concertant
Duo Concertant is a 1932 composition for violin and piano by Igor Stravinsky. The impetus for this piece came from neo-classical literature and this is reflected in the names of the movements: Stravinsky dedicated Duo Concertant to Samuel Dushkin, a well-known violinist he met in 1931. The composer premiered the work with Dushkin in Berlin in 1932, and the pair gave recitals together across Europe for the next several years. In 1972, George Balanchine choreographed '' Duo Concertant'' to Stravinsky's score for the New York City Ballet Stravinsky Festival. References External links Scoreand repertoire notes by Joseph Horowitz and Jonathan Cross, Boosey & Hawkes Boosey & Hawkes is a British music publisher purported to be the largest specialist classical music publisher in the world. Until 2003, it was also a major manufacturer of brass, string and woodwind musical instruments. Formed in 1930 throu ... * , Dora Bratchkova (violin), Andreas Meyer-Hermann (piano) {{ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Igor Stravinsky
Igor Fyodorovich Stravinsky (6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: '' The Firebird'' (1910), '' Petrushka'' (1911), and '' The Rite of Spring'' (1913). The last transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a revolutionary who pushed the boundaries of musical design. His "Russian phase", which continued with works such as '' Renard'', '' L'Histoire du soldat,'' and '' Les noces'', was followed in the 1920s by a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neoclassicism
Neoclassicism (also spelled Neo-classicism) was a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome largely thanks to the writings of Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but its popularity spread all over Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th and up to the 21st century. European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Movement (music)
A movement is a self-contained part of a musical composition or musical form In music, ''form'' refers to the structure of a musical composition or performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, suc .... While individual or selected movements from a composition are sometimes performed separately as stand-alone pieces, a performance of the complete work requires all the movements to be performed in succession. A movement is a section, "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena". Sources Formal sections in music analysis {{music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantilena
A cantilena (Italian for "lullaby" and Latin for "old, familiar song") is a vocal melody or instrumental passage in a smooth, lyrical style. References {{classical-music-stub Classical music styles ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eclogue
An eclogue is a poem in a classical style on a pastoral subject. Poems in the genre are sometimes also called bucolics. Overview The form of the word ''eclogue'' in contemporary English developed from Middle English , which came from Latin , which came from Greek () in the sense 'selection, literary product' (which was only one of the meanings it had in Greek). The term was applied metaphorically to short writings in any genre, including parts of a poetic sequence or poetry book. The ancients referred to individual pieces in Virgil's ''Bucolica'' as , and the term was used by later Latin poets to refer to their own pastoral poetry, often in imitation of Virgil. The combination of Virgil's influence and the persistence of pastoral poetry through the Renaissance imposed ''eclogues'' as the accepted term for the genre. Later Roman poets who wrote eclogues include Calpurnius and Nemesianus. Variations on a theme In 1526, the Italian Renaissance poet Jacopo Sannazaro published hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gigue
The gigue (; ) or giga () is a lively baroque dance originating from the English jig. It was imported into France in the mid-17th centuryBellingham, Jane"gigue."''The Oxford Companion to Music''. Ed. Alison Latham. Oxford Music Online. 6 July 2008 and usually appears at the end of a suite. The gigue was probably never a court dance, but it was danced by nobility on social occasions and several court composers wrote gigues.Louis Horst, ''Pre-Classic Dance Forms'', (Princeton, NJ: Princeton Book Company, 1987), 54–60. A gigue is usually in or in one of its compound metre derivatives, such as , , or , although there are some gigues written in other metres, as for example the gigue from Johann Sebastian Bach's first ''French Suite'' (BWV 812), which is written in and has a distinctive strutting "dotted" rhythm. Gigues often have a contrapuntal texture as well as often having accents on the third beats in the bar, making the gigue a lively folk dance. In early French thea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dithyramb
The dithyramb (; grc, διθύραμβος, ''dithyrambos'') was an ancient Greek hymn sung and danced in honor of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god. Plato, in '' The Laws'', while discussing various kinds of music mentions "the birth of Dionysos, called, I think, the dithyramb." Plato also remarks in the '' Republic'' that dithyrambs are the clearest example of poetry in which the poet is the only speaker. However, in '' The Apology'' Socrates went to the dithyrambs with some of their own most elaborate passages, asking their meaning but got a response of, "Will you believe me?" which "showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them." Plutarch contrasted the dithyramb's wild and ecstatic character with the paean. According to Aristotle, the dithyramb was th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samuel Dushkin
Samuel Dushkin (December 13, 1891 – June 24, 1976) was an American violinist, composer, and pedagogue of Polish birth and Jewish origin. Dushkin was born in Suwałki, Poland. He studied at the Conservatoire de Paris, as well as with Leopold Auer in New York City and Fritz Kreisler. He made his European debut in 1918 at the age of twenty-three, and six years later, his American debut with the New York Symphony Orchestra under Walter Damrosch. Dushkin collaborated closely with Igor Stravinsky in the composition of the latter's first work for the violin, the Violin Concerto. He performed the concerto's world and US premieres, and on the debut Vox recording (VLP 6340) with Stravinsky conducting Lamoureux Orchestra. Stravinsky also composed his ''Duo Concertante'' and his ''Divertimento'', both for violin and piano, to play with Dushkin on concert tours. They also worked together on violin transcriptions of other works, such as the ''Suite Italienne'' from Pulcinella. Dushkin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Balanchine
George Balanchine (; Various sources: * * * * born Georgiy Melitonovich Balanchivadze; ka, გიორგი მელიტონის ძე ბალანჩივაძე; January 22, 1904 (O. S. January 9) – April 30, 1983) was an ethnic Georgian American ballet choreographer who was one of the most influential 20th-century choreographers. Styled as the father of American ballet, he co-founded the New York City Ballet and remained its artistic director for more than 35 years.Joseph Horowitz (2008)''Artists in Exile: How Refugees from 20th-century War and Revolution Transformed the American Performing Arts.''HarperCollins. His choreography is characterized by plotless ballets with minimal costume and décor, performed to classical and neoclassical music. Born in St. Petersburg, Balanchine took the standards and technique from his time at the Imperial Ballet School and fused it with other schools of movement that he had adopted during his tenure on Broadway an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duo Concertant (ballet)
''Duo Concertant'' is a ballet choreographed by George Balanchine to Stravinsky's score of the same name. The ballet was created for New York City Ballet's Stravinsky Festival, a tribute to the composer a year after his death, and premiered on June 22, 1972, at the New York State Theater, danced by Kay Mazzo and Peter Martins. Choreography ''Duo Concertant'' is danced by a man and a woman, alongside a pianist and a violinist, both onstage. Kay Mazzo, an original cast member of ''Duo Concertant'', said, "In ''Duo Concertant'' Peter Martins and I just did the same thing over and over. Balanchine said that's what the music does." In the first of five movements, Cantilena, the dancers simply stand and listen to the music. According to Mazzo, Balanchine told her, "Now we're going to have them listen." In the next movement, the first Eclogue, the two dancers, as ''New York Times'' critic Anna Kisselgoff described, "start dancing as if the music impels them to do so." Commenting on th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New York City Ballet
New York City Ballet (NYCB) is a ballet company founded in 1948 by choreographer George Balanchine and Lincoln Kirstein. Balanchine and Jerome Robbins are considered the founding choreographers of the company. Léon Barzin was the company's first music director. City Ballet grew out of earlier troupes: the Producing Company of the School of American Ballet, 1934; the American Ballet, 1935, and Ballet Caravan, 1936, which merged into American Ballet Caravan, 1941; and directly from the Ballet Society, 1946. History In a 1946 letter, Kirstein stated, "The only justification I have is to enable Balanchine to do exactly what he wants to do in the way he wants to do it."Alastair Macaulay, "A Paragon of the Arts, as Both Man and Titan" (review of Martin Du ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joseph Horowitz
Joseph Horowitz (born 1948 in New York City) is an American cultural historian whose seven books mainly deal with the institutional history of classical music in the United States. As a producer of concerts, he has played a pioneering role in promoting thematic programming and new concert formats. His tenure as Artistic Advisor and, subsequently, Executive Director of the Brooklyn Philharmonic Orchestra at the Brooklyn Academy of Music (1992–1997) attracted national attention for its radical departure from traditional functions and templates. Life and work Horowitz’s books treat the late nineteenth century as the apex of American classical music, before it generated into a “culture of performance“ spotlighting celebrity conductors and instrumentalists, whom he terms “performance specialists” in contradistinction to the composer/performers of an earlier era. He is also credited (as by Alex Ross in The New Yorker) with coining the phrase “post-classical music” ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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