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Solo Cello Sonata (Ligeti)
The Sonata for Solo Cello is an unaccompanied cello sonata written by György Ligeti between 1948 and 1953. The piece was initially received poorly by the Soviet-run Composer's Union and was not allowed to be published or performed. However, in the 1980s and 90s, after over a quarter century in repose, the piece reemerged and has since become a well-known part of the standard cello repertoire. History Ligeti was nearing the end of his schooling in 1948 and had already established himself as a highly gifted student. In this year, he composed the ''Dialogo'', which would later become the first movement of the Sonata, for a female cellist and fellow student at the Budapest Music Academy, Annuss Virány, with whom Ligeti was "secretly in love." Virány purportedly was not aware of the reason behind Ligeti’s generosity; she merely thanked him and never played it. Several years later, in 1953, Ligeti met Vera Dénes, an older and more celebrated cellist, who asked him for a piece of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
György Ligeti (1984)
György Sándor Ligeti (; ; 28 May 1923 – 12 June 2006) was a Hungarian-Austrian composer of contemporary classical music. He has been described as "one of the most important avant-garde music, avant-garde composers in the latter half of the twentieth century" and "one of the most innovative and influential among progressive figures of his time". Born in Romania, he lived in the Hungarian People's Republic before emigrating to Austria in 1956. He became an Austrian citizen in 1968. In 1973 he became professor of composition at the Hochschule für Musik und Theater Hamburg, where he worked until retiring in 1989. His students included Hans Abrahamsen, Unsuk Chin and Michael Daugherty. He died in Vienna in 2006. Restricted in his musical style by the authorities of Communist Hungary, only when he reached the West in 1956 could Ligeti fully realise his passion for avant-garde music and develop new compositional techniques. After experimenting with electronic music in Cologne, G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrygian Mode
: The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. Ancient Greek Phrygian The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the '' Elements'' by Aristoxenos (fl. ), a disciple of Aristotle. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of Phrygia in Anatolia. In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. : In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Niccolò Paganini
Niccolò (or Nicolò) Paganini (; ; 27 October 178227 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin (Paganini), 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Son of a ship chandler from Genoa, Paganini showed great gifts for music from an early age and studied under Alessandro Rolla, Ferdinando Paer and Gasparo Ghiretti. Accompanied by his father, he toured northern Italy extensively as a teenager. By 1805 he had come into the service of Napoleon's sister, Elisa Bonaparte, who then ruled Lucca where Paganini was first violin. From 1809 on he returned to touring and achieved continental fame in the subsequent two and a half decades, developing a reputation for his technical brilliance and showmanship, as well as his extravagant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paganini Caprices
The 24 Caprices for Solo Violin were written in groups (seven, five and twelve) by Niccolò Paganini between 1802 and 1817. They are also designated as M.S. 25 in Maria Rosa Moretti's and Anna Sorrento's ''Catalogo tematico delle musiche di Niccolò Paganini'' which was published in 1982. The '' Caprices'' are in the form of études, with each number exploring different skills (double stopped trills, extremely fast switching of positions and strings, etc.) Ricordi first published them in 1820, where they were grouped and numbered from 1 to 24 as Op. 1, together with 12 Sonatas for Violin and Guitar (Op. 2 and 3) and 6 Guitar Quartets (Op. 4 and 5). When Paganini released his ''Caprices'', he dedicated them "alli artisti" (to the artists) rather than to a specific person. A sort of dedication can be recognized in Paganini's own score, where he annotated between 1832 and 1840 the following 'dedicatee' for each ''Caprice'' (possibly ready for a new printed edition): 1: Henri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virtuoso
A virtuoso (from Italian ''virtuoso'', or ; Late Latin ''virtuosus''; Latin ''virtus''; 'virtue', 'excellence' or 'skill') is an individual who possesses outstanding talent and technical ability in a particular art or field such as fine arts, music, singing, playing a musical instrument, or composition. Meaning This word also refers to a person who has cultivated appreciation of artistic excellence, either as a connoisseur or Collecting, collector. The plural of ''virtuoso'' is either ''virtuosi'' or the Anglicisation ''virtuosos'', and the feminine forms are ''virtuosa'' and ''virtuose''. According to ''Music in the Western World'' by Piero Weiss and Richard Taruskin: ..."A virtuoso was, originally, a highly accomplished musician, but by the nineteenth century the term had become restricted to performers, both vocal and instrumental, whose technical accomplishments were so pronounced as to dazzle the public." The defining element of virtuosity is the performance ability of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
The sonata form (also sonata-allegro form or first movement form) is a musical form, musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical music era, Classical period). While it is typically used in the first Movement (music), movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The standa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capriccio (music)
A or caprice (sometimes plural: ''caprices'', ''capri'' or, in Italian, ''capricci''), is a piece of music, usually fairly free in form and of a lively character. The typical ''capriccio'' is one that is fast, intense, and often virtuoso, virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of Madrigal (music), madrigals. In the late 16th and early 17th centuries, it could refer to madrigals, music intended alternatively for voices or instruments, or strictly instrumental pieces, especially keyboard compositions.Erich Schwandt, Schwandt, Erich. 2001. "Capriccio (i)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (musicologist), John Tyrrell. London: Macmillan. Examples * Charles-Valentin Alkan: ''C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Picardy Third
A Picardy third, (; ) also known as a Picardy cadence or Tierce de Picardie, is a major chord of the tonic (music), tonic at the end of a musical Musical form, section that is either musical mode, modal or in a minor scale, minor key. This is achieved by raising the third (chord), third of the expected Minor chord, minor triad by a semitone to create a Major chord, major triad, as a form of resolution (music), resolution. For example, instead of a cadence (music), cadence ending on an A minor chord (music), chord containing the notes A, C, and E, a Picardy third ending would consist of an A major chord containing the notes A, C, and E. The minor third between the A and C of the A minor chord has become a major third in the Picardy third chord. Philosopher Peter Kivy writes: According to Deryck Cooke, "Western composers, expressing the 'rightness' of happiness by means of a major third, expressed the 'wrongness' of grief by means of the minor third, and for centuries, pieces in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fourth
A fourth is a interval (music), musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth () is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished fourth, Diminished and Tritone, augmented fourths span the same number of staff positions, but consist of a different number of semitones (four and six, respectively). The perfect fourth may be derived from the Harmonic series (music), harmonic series as the interval between the third and fourth harmonics. The term ''perfect'' identifies this interval as belonging to the group of perfect intervals, so called because they are neither major nor minor. A perfect fourth in just intonation corresponds to a pitch ratio of 4:3, or about 498 cent (music), cents (), while in equal temperam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tetrachord
In music theory, a tetrachord (; ) is a series of four notes separated by three interval (music), intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cent (music), cents)—but in modern use it means any four-note segment of a scale (music), scale or tone row, not necessarily related to a particular tuning system. History The name comes from ''tetra'' (from Greek—"four of something") and ''chord'' (from Greek ''chordon''—"string" or "note"). In ancient Greek music theory, ''tetrachord'' signified a segment of the Musical system of ancient Greece#Systema ametabolon, an overview of the tone system, greater and lesser perfect systems bounded by ''immovable'' notes (); the notes between these were ''movable'' (). It literally means ''four strings'', originally in reference to harp-like instruments such as the lyre or the kithara, with the implicit understanding that the four strings produced a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ferenc Farkas
Ferenc Farkas (; 15 December 1905 – 10 October 2000) was a Hungary, Hungarian composer. Biography Born into a musical family (his father, Aladár Farkas, was an Olympian and soldier who played the cimbalom and his mother played the piano) in Nagykanizsa; he began his musical studies in Budapest, at the Protestant Gymnasium (Grammar School) and later attended the Music Academy, where he studied composition with Leó Weiner and Albert Siklós. After his graduation in 1927, he worked as a repetiteur and conductor at the Municipal Theatre of Budapest and collaborated with the Diaghilev Ballet. From 1929 to 1931, he attended Ottorino Respighi's masterclass at the Accademia Nazionale di Santa Cecilia in Rome. The years he spent in Rome had a decisive influence on him. He became acquainted with Italian and Mediterranean culture to which he felt a deep attraction. About this he said: "My principal aim has always been to attain for myself a latin clarity and proportion.".Extract froS ... [...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] |
