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List Of Dodecaphonic And Serial Compositions
This is an incomplete list of musical pieces composed in the twelve-tone technique and pieces that use serialism. List of musical pieces composed in the twelve-tone technique * Second Viennese School ** Alban Berg *** '' Kammerkonzert'', for piano, violin, and winds (1923–25) *** '' Lyrische Suite'', for string quartet (1925/26) *** ''Der Wein'', concert aria for soprano and orchestra after a poem by Charles Baudelaire (1929) *** ''Lulu'', opera after ''Die Büchse der Pandora'' by Frank Wedekind (1928–35) *** '' Violinkonzert'', for violin and orchestra (1935) ** Hanns Eisler *** ''Palmström'', song cycle op. 5 (1923/24) *** ''Zeitungsausschnitte'' (Newspaper Clippings), song cycle op. 11 (1926) *** "14 Arten den Regen zu beschreiben" (1940, for the 1929 short documentary ''Regen'') ** Arnold Schoenberg *** Waltz from 5 Klavierstücke, op. 23 *** Serenade, op. 24 *** Suite for Piano, op. 25 *** Wind Quintet, op. 26 *** ''Four Pieces'' for mixed voices, op. 27 *** Suite for p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Twelve-tone Technique
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded equally often in a piece of music while preventing the emphasis of any one notePerle 1977, 2. through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a Key (music), key. The technique was first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. Over time, the technique increased greatly in popularity and eventually became widely ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Variations For Orchestra (Schoenberg)
Variations for Orchestra, Op. 31 (1926–28) is an orchestral set of variations on a theme, composed by Arnold Schoenberg and is his first twelve-tone composition for a large ensemble. Premiered in December 1928 by the Berlin Philharmonic conducted by Wilhelm Furtwängler, it was greeted by a tumultuous scandal. Sections # Introduction # Theme # Variation I: Moderato # Variation II: Adagio # Variation III: Mässig # Variation IV: Walzer-tempo # Variation V: Bewegt # Variation VI: Andante # Variation VII: Langsam # Variation VIII: Sehr rasch # Variation IX: L'istesso Tempo # Finale Music The theme of the piece is stated in measures 34–57. The orchestration includes a flexatone. The piece features the BACH motif (B–A–C–B). The tone row in its four permutations (labeled Prime, Retrograde, Inversion, and Retrograde Inversion) are shown below. : Schoenberg opened a lecture on the composition with the following tyranny of the majority defense of less common aestheti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Quartet (Webern)
The String Quartet, Opus number, Op. 28, by Anton Webern is written for the standard string quartet group of two violins, viola and cello. It was the last piece of chamber music that Webern wrote (his other late works include two cantatas Op. 29/31 and the ''Variations for Orchestra, Op. 30''). The work was initially planned in November 1936Julian Johnson (academic), Johnson, Julian (1999). . pp. 197–199. . and was premiered at the Coolidge Festival in Pittsfield, Massachusetts, on September 22, 1938, in response to a commission that year from Elizabeth Sprague Coolidge. When Webern sent the score of the piece to Coolidge, he accompanied it with a letter saying that the piece was "purely lyrical" and comparing it to the two and three movement piano sonatas of Ludwig van Beethoven. It is in three movements: The string quartet is atonality, atonal and uses twelve-tone technique. The tone row on which the piece is based (B, A, C, B, D, E, C, D, G, F, A, G) is based on the BACH mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Variations For Piano (Webern)
Variations for piano, Op. 27, is a twelve-tone piece for piano composed by Anton Webern in 1936. It consists of three movements: Webern's only published work for solo piano, the Variations are one of his major instrumental works and a signal example of his late style. Webern dedicated the work to pianist Eduard Steuermann. However, it was premiered (after months of coaching from Webern) by Peter Stadlen on 26 October 1937 in Vienna. Much later Stadlen produced the definitive interpretive edition of Op. 27, published by Universal Edition in 1979. History of composition By the early 1930s, Webern was one of the composers and artists criticised by the Nazi Party, which was rapidly gaining power. By 1934, Webern's conducting career, a major source of income for the composer, was practically over, and he earned his living by teaching composition to a few private pupils. Despite the considerable financial disadvantages of this situation, the lack of a stable job provided Webern ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concerto For Nine Instruments (Webern)
Anton Webern's Concerto for Nine Instruments, Op. 24 (German: Konzert für neun Instrumente) is a twelve-tone chamber piece composed in 1934. Its tone row is one of the most notable in history. The piece is admired for its extreme concision and is considered a hallmark in the development of total serialism. Composition By the late 1920s, Webern had developed an extraordinary application of Arnold Schoenberg's twelve-tone technique in works like ''String Trio'' (1927), ''Symphony'' (1928), and ''Quartet'' (1932).Puffett, Kathryn Bailey. "Webern, Anton". ''Grove Music Online''. 2001. Webern began sketching an orchestral work on January 16, 1931. In early February, Webern began attempting to create a melodic equivalent of a Sator Square. Webern had long been enamored of the square. In addition to writing "tenet" in his first sketch for the ''Concerto'', he ended his lectures about new music by quoting it to his audience.Webern, Anton. The Path to the New Music'. Edited by Willi Rei ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hildegard Jone
Hildegard Jone (1 June 1891 – 28 August 1963) was an Austrian poet and artist. As a poet she produced poetry collections and books throughout her life. She was also a painter and sculptor, with works infused with Expressionism and Christian imagery. Many of her lyric poems were set to music by her colleague Anton Webern. Life and career Hildegard Jone was born Hildegard Huber on 1 June 1891 in Sarajevo of Austria-Hungary. Her parents were the architect Ludwig Huber and Amélie (née the Countess Deym), both of whom encouraged her early interest in the arts. In 1908 Jone and her mother moved to Vienna so the former could attend the ', a women's art academy. At the ''Frauenakademie'', her instructor was the sculptor Josef Humplik; the two would later marry in 1921. As a visual artist, Jone created paintings and sculptures throughout her life. Her work was often Expressionist and infused with Christian imagery or inspiration. Jone was well acquainted with many other artists and w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphony (Webern)
Symphony, Op. 21 was composed by Anton Webern between 1927 and 1928. It was his first twelve-tone orchestral work. The two- movement work lasts 10–20 minutes and is full of Alpine topics, abstraction, and intricate musical form, including some fixed register. The Symphony was influenced by Gustav Mahler. Alexander Smallens conducted the world premiere at New York's Town Hall on 18 December 1929. Historical background Webern was an alpinist who enjoyed mountain excursions. He loved the quiet otherworldliness of the altitude. He referred to these landscapes as "up there", a spiritual, utopian realm. He continued Mahler's practice of portraying Alpine stillness and spaciousness in his music. His favorite mountain was the Schneealpe. Webern climbed it twice in 1928 while he was writing the Symphony, summiting only once in July. He also climbed the Hochschwab twice while he was composing the work. After finishing the Symphony, Webern wrote to the poet Hildegard Jone on 6 Aug ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Webern
Anton Webern (; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist. His music was among the most radical of its milieu in its lyric poetry, lyrical, poetic concision and use of then novel atonality, atonal and twelve-tone technique, twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an Aphorism, aphoristic and Expressionist music, expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. He treated themes of love, loss, nature, and spirituality, working from his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Survivor From Warsaw
''A Survivor from Warsaw'', Op. 46, is a work for narrator, chorus and orchestra by the Los Angeles–based Austrian composer Arnold Schoenberg, written in tribute to Holocaust victims. The main narration is written in ''Sprechgesang'' style, between speaking and singing; "never should there be a pitch" to its solo vocal line, wrote the composer. Scored for narrator, men's chorus and orchestra, it resulted from a suggested collaboration between Jewish Russian émigrée dancer Corinne Chochem and Schoenberg, but the dancer's initiative gave way to a project independently developed by the composer after he received a commission from the Koussevitzky Music Foundation for an orchestral work. Concept, text, and musical sketches date from July 7 to August 10, 1947 – the text, by Schoenberg, being in English until the concluding Hebrew plea, except for interjections in German. Composition followed immediately, from August 11 to 23, four years before the composer died. The work was pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Concerto (Schoenberg)
Arnold Schoenberg's Piano Concerto, Op. 42 (1942) is one of his later works, written during his exile in the United States. It consists of four interconnected movements: Andante (bars 1–175), Molto allegro (bars 176–263), Adagio (bars 264–329), and Giocoso (bars 330–492). Around 20 minutes long, its first performance was given on February 6, 1944, at NBC Orchestra's Radio City Habitat in New York City by Leopold Stokowski and the NBC Symphony Orchestra with Eduard Steuermann at the piano. The first UK performance was on 7 September 1945 at the BBC Proms with Kyla Greenbaum (piano) conducted by Basil Cameron. The first German performance took place at the Darmstadt Summer School on 17 July 1948 with Peter Stadlen as the soloist. Commission The concerto was initially the result of a commission from Oscar Levant. Twelve-tone technique The piece features consistent use of the twelve-tone technique and only one tone row ("the language is very systematic, it's the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Violin Concerto (Schoenberg)
The Violin Concerto ( Op. 36) by Arnold Schoenberg dates from Schoenberg's time in the United States, where he had moved in 1933 to escape Nazi Germany. The piece was written in 1936, the same year as the String Quartet No. 4. At the time of its completion, Schoenberg was living in Brentwood, Los Angeles, and had just accepted a teaching position at the University of California, Los Angeles. The work is dedicated to Anton Webern. Style and form Schoenberg had made a return to tonal writing upon his move to America and, though the Violin Concerto uses twelve-tone technique, its neoclassical form demanded a mimesis of tonal melody, and hence a renunciation of the motivic technique used in his earlier work in favour of a thematic structure. The basic row of the concerto is: \new Staff \with \relative c'' While the row is not necessary for understanding any good twelve-note piece, an awareness of it in this concerto is useful because the row is very much in the foreground, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Begleitungsmusik Zu Einer Lichtspielscene
The '' (Drohende Gefahr, Angst, Katastrophe)'', opus number, Op. 34 (literally "Accompaniment Music for a Light Play Scene (Threatening Danger, Fear, Catastrophe)")—also known in English as ''Accompaniment to a Film Scene'', ''Accompaniment to a Cinematographic Scene'', ''Accompaniment to a Cinematic Scene'', and ''Music to Accompany a Cinema Scene''—is an orchestral work by Arnold Schoenberg composed in late 1929 and early 1930. Schoenberg had developed an interest in film as a medium for his own creative work in the years before composing the ''Begleitungsmusik zu einer Lichtspielscene'', but his personal artistic beliefs also made him wary of it. He composed the ''Begleitungsmusik zu einer Lichtspielscene'' for Heinrichshofen Verlag in Magdeburg, which wanted to include it in a commemorative collection of scores they commissioned from German film composers. Schoenberg had no particular film or film scene in mind while composing the work, but he did later consider perform ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
