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Paul Hindemith
Paul Hindemith ( ; ; 16 November 189528 December 1963) was a German and American composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the ''Neue Sachlichkeit'' (New Objectivity) style of music in the 1920s, with compositions such as ''Kammermusik (Hindemith), Kammermusik'', including works with viola and viola d'amore as solo instruments in a neo-Bachian spirit. Other notable compositions include his song cycle ''Das Marienleben'' (1923), Das Unaufhörliche (1931), ''Der Schwanendreher'' for viola and orchestra (1935), the opera ''Mathis der Maler (opera), Mathis der Maler'' (1938), the ''Symphonic Metamorphosis of Themes by Carl Maria von Weber'' (1943), and the oratorio ''When Lilacs Last in the Dooryard Bloom'd (Hindemith), When Lilacs Last in the Dooryard Bloom'd'' (1946), a requiem based on When Lilacs Last in the Dooryard Bloom'd, Walt Whitman's poem. Hindem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
When Lilacs Last In The Dooryard Bloom'd (Hindemith)
''When Lilacs Last in the Dooryard Bloom'd: A Requiem for those we love'' (An American Requiem) is a 1946 oratorio by composer Paul Hindemith, based on the When Lilacs Last in the Dooryard Bloom'd, poem of the same name by Walt Whitman. It is the first musical work to include the entirety of Whitman's 1865 When Lilacs Last in the Dooryard Bloom'd, poem. Conductor Robert Shaw (conductor), Robert Shaw and the Robert Shaw Chorale commissioned the work after the 1945 death of President Franklin D. Roosevelt. It received its world premiere on May 14, 1946, at New York City Center, with the Collegiate Chorale conducted by Shaw and soloists Mona Paulee, contralto, and George Burnson, baritone. Paulee performed the work again with bass-baritone Chester Watson (bass‐baritone), Chester Watson and the CBS Symphony Orchestra for the work's first recorded broadcast on CBS Radio on June 30, 1946. David Neumeyer and others regard the ''Lilacs'' Requiem as Hindemith's "only profoundly American w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hanau
Hanau () is a city in the Main-Kinzig-Kreis, in Hesse, Germany. It is 25 km east of Frankfurt, Frankfurt am Main and part of the Frankfurt Rhine-Main, Frankfurt Rhine-Main Metropolitan Region. Its railway Hanau Hauptbahnhof, station is a major junction and it has a port on the river Main (river), Main, making it an important transport centre. The city is known for being the birthplace of Brothers Grimm, Jakob and Wilhelm Grimm and Franciscus Sylvius. Since the 16th century it was a centre of precious metal working, with many goldsmiths. It is home to Heraeus, one of Germany's largest family-owned companies. Once the seat of the Counts of Hanau, Hanau lost much of its architectural heritage in World War II, such as its Stadtschloss Hanau, City Palace. A British air raid in 1945 created a firestorm, killing a sixth of the remaining population and destroying 98% of the old city and 80% of the city overall. The outer parts of the city have old timbered towns like and castles li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viola D'amore
The viola d'amore (; ) is a 7- or 6- stringed musical instrument with additional sympathetic strings used chiefly in the baroque period. It is played under the chin in the same manner as the violin. Structure and sound The viola d'amore shares many features of the viol family. It looks like a thinner treble viol without frets and sometimes with sympathetic strings added. The six-string viola d'amore and the treble viol also have approximately the same ambitus or range of playable notes. Like all viols, it has a flat back. An intricately carved head at the top of the peg box is common on both viols and viola d'amore, although some viols lack one. Unlike the carved heads on viols, the viola d'amore's head occurs most often as Cupid blindfolded to represent the blindness of love. Its sound-holes are commonly in the shape of a flaming sword known as "The Flaming Sword of Islam" (suggesting the instrument's development was influenced by the Islamic World). This was one of the thre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence
In Classical music, Western musical theory, a cadence () is the end of a Phrase (music), phrase in which the melody or harmony creates a sense of full or partial resolution (music), resolution, especially in music of the 16th century onwards.Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a chord progression, progression of two or more chord (music), chords that conclusion (music), concludes a phrase, section (music), section, or composition (music), piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and melodic contour. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: Counterpoint has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or musical improvisation, 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, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition (music), repetition or variation (music), variation, the arrangement of the instruments (as in the order of solo (music), solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestration, orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "" if it is major and by "" if it is minor. These chords may also appear as seventh chords: in major, as M7, or in minor as 7 or rarely M7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nazi
Nazism (), formally named National Socialism (NS; , ), is the far-right politics, far-right Totalitarianism, totalitarian socio-political ideology and practices associated with Adolf Hitler and the Nazi Party (NSDAP) in Germany. During Hitler's rise to power, it was frequently referred to as Hitler Fascism () and Hitlerism (). The term "neo-Nazism" is applied to other far-right groups with similar ideology, which formed after World War II, and after Nazi Germany collapsed. Nazism is a form of fascism, with disdain for liberal democracy and the parliamentary system. Its beliefs include support for dictatorship, fervent antisemitism, anti-communism, anti-Slavism, anti-Romani sentiment, scientific racism, white supremacy, Nordicism, social Darwinism, homophobia, ableism, and the use of eugenics. The ultranationalism of the Nazis originated in pan-Germanism and the ethno-nationalist ''Völkisch movement, Völkisch'' movement which had been a prominent aspect of German nationa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
When Lilacs Last In The Dooryard Bloom'd
"When Lilacs Last in the Dooryard Bloom'd" is a long poem written by American poet Walt Whitman (1819–1892) as an elegy to President Abraham Lincoln. It was written in the summer of 1865 during a period of profound national mourning in the aftermath of the president's assassination on 14 April of that year. The poem, written in free verse in 206 lines, uses many of the literary techniques associated with the pastoral elegy. Despite being an expression to the fallen president, Whitman neither mentions Lincoln by name nor discusses the circumstances of his death in the poem. Instead, he uses a series of rural and natural imagery including the symbols of the lilacs, a drooping star in the western sky (Venus), and the hermit thrush, and he employs the traditional progression of the pastoral elegy in moving from grief toward an acceptance and knowledge of death. The poem also addresses the pity of war through imagery vaguely referencing the American Civil War (1861–1865), whi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphonic Metamorphosis Of Themes By Carl Maria Von Weber
''Symphonic Metamorphosis of Themes by Carl Maria von Weber'' is an orchestral work written by German composer Paul Hindemith in the United States in 1943. History The idea of composing a work based on Carl Maria von Weber's music was first put to Hindemith in 1940 by the choreographer and dancer Léonide Massine, who suggested that he should arrange music by Weber for a ballet. When Hindemith made a piano arrangement in March 1940 of the two pieces that would become movements 1 and 3 of the ''Metamorphosis'' (which in a letter of April 12, 1940 he described as "lightly coloured and made a bit sharper"), Massine expressed a preference for more strict arrangements of Weber. This was one reason the project fell through. After studying Weber's music, Hindemith watched one of Massine's ballets and disliked it, and so wrote the ''Symphonic Metamorphosis'' instead. The Andantino and Marsch were completed on June 8 and June 13, 1943, respectively, and the manuscript of the complet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mathis Der Maler (opera)
''Mathis der Maler'' (''Matthias the Painter'' is an opera by Paul Hindemith. The work's protagonist, Matthias Grünewald, was a historical figure who flourished during the Reformation, and whose art, in particular the Isenheim Altarpiece, inspired many creative figures in the early 20th century. Hindemith completed the opera, writing his own libretto, in 1935. By that time, however, the rise of Nazism prevented Hindemith from securing a performance in Germany. The story, set during the German Peasants' War (1524–25), concerns Matthias's struggle for artistic freedom of expression in the repressive climate of his day, which mirrored Hindemith's own struggle as the Nazis attained power and repressed dissent. The opera's obvious political message did not escape the regime. Performance history The opera was first performed at the Opernhaus Zürich on 28 May 1938, conducted by Robert Denzler. On 14 October 1956, a rebuilt Schauspiel Köln in Cologne opened with a gala performance ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Der Schwanendreher
Paul Hindemith's ''Der Schwanendreher'' (literally, "The Swan Turner") is a concerto for viola and orchestra. ''Der Schwanendreher'' occupies a place at the core of the viola concerto repertoire, along with the concertos by Walton and Bartók. It was composed in 1935 and premiered by the composer himself at a performance in Amsterdam on 14 November 1935. Each movement is based on a separate medieval German folk song, thus, it is sometimes referred to as the "Concerto from Old Folk Songs". This composition draws its title from the final movement's folk song base, "Aren't you the swan turner?" The orchestra calls for 2 flutes (one doubling on piccolo), oboe, 2 clarinets, 2 bassoons, 3 horns, trumpet, trombone, timpani, harp, and a string section of 4 cellos and 3 double basses. This orchestration is interesting due to its lack of violins and violas which benefits the composition by making it easier for the solo viola to be heard. The movements are: #"Zwischen Berg und tiefem Ta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
