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String Quartet No. 2 (Piston)
String Quartet No. 2 by Walter Piston is a Chamber music, chamber-music work composed in 1935 in music, 1935. History Piston's second string quartet was composed two years after his String Quartet No. 1 (Piston), First Quartet and, like it, was premiered by the Chardon Quartet, on March 16, 1935. It was written, together with the Piano Trio, while Piston was on a Guggenheim Fellowship. Analysis The quartet is in three movement (music), movements: #Lento () – Allegro () #Adagio molto e con espressione () #Allegro giusto () The restlessly chromaticism, chromatic Lento introduction to the first movement is built on a three-note motive, A–C–D, that is found also in a number of the composer's other works. The boisterous main allegro portion of the movement is in A minor and Sonata form, sonata-allegro form. The slow movement is based on the motive from the Lento introduction of the first, and is in a chromatically inflected C major. The finale is in changing meters, with a Disson ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Walter Piston
Walter Hamor Piston, Jr. (January 20, 1894 – November 12, 1976), was an American composer of classical music, music theorist, and professor of music at Harvard University. Life Piston was born in Rockland, Maine at 15 Ocean Street to Walter Hamor Piston, a bookkeeper, and Leona Stover. He was the second of four children. Although his family was mainly of English origin, his paternal grandfather was a sailor named Antonio Pistone, who changed his name to Anthony Piston when he came to Maine from Genoa, Italy. In 1905 the composer's father, Walter Piston Sr, moved with his family to Boston, Massachusetts. Walter Jr first trained as an engineer at the Mechanical Arts High School in Boston, but was artistically inclined. After graduating in 1912, he enrolled in the Massachusetts Normal Art School, where he completed a four-year program in fine art in 1916. During the 1910s, Piston made a living playing piano and violin in dance bands and later playing violin in orchestras led ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
G Major
G major (or the key of G) is a major scale based on G, with the pitches G, A, B, C, D, E, and F. Its key signature has one sharp. Its relative minor is E minor and its parallel minor is G minor. The G major scale is: Notable compositions Baroque period In Baroque music, G major was regarded as the "key of benediction". Of Domenico Scarlatti's 555 keyboard sonatas, G major is the home key for 69, or about 12.4%, sonatas. In the music of Johann Sebastian Bach, "G major is often a key of chain rhythms", according to Alfred Einstein, although Bach also used the key for some -based works, including his third and fourth '' Brandenburg Concertos''. Pianist Jeremy Denk observes that the '' Goldberg Variations'' are 80 minutes in G major. Classical era Twelve of Joseph Haydn's 106 symphonies are in G major. Likewise, one of Haydn's most famous piano trios, No. 39 (with the ''Gypsy Rondo''), and one of his last two complete published string quartets (Op. 77, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aaron Copland
Aaron Copland (, ; November 14, 1900December 2, 1990) was an American composer, composition teacher, writer, and later a conductor of his own and other American music. Copland was referred to by his peers and critics as "the Dean of American Composers". The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as "populist" and which the composer labeled his "vernacular" style. Works in this vein include the ballets ''Appalachian Spring'', ''Billy the Kid'' and '' Rodeo'', his '' Fanfare for the Common Man'' and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera and film scores. After some initial studies with composer Rubin Goldmark, Copl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Howard Pollack
Howard Pollack (born March 17, 1952) is a prominent American pianist and musicologist, known for his biographies of American composers. Biography Pollack was born in Brooklyn and studied piano with Jennie Glickman while attending James Madison High School. He continued his piano studies with John Kollen and Eugene Bossart at the University of Michigan, where he received his Bachelor of Music in 1973; and with Adele Marcus at the Aspen Music Festival in 1970. He received a Master of Arts degree (1977) and Ph.D. (1981) in musicology from Cornell University, where he wrote his thesis, "Walter Piston and His Music", under the supervision of William Austin. He also studied composition privately with Samuel Adler in Rochester. After serving on the faculties of the Rochester Institute of Technology, Cornell University, and Empire State College, Pollack joined the faculty of the University of Houston in 1987, becoming John and Rebecca Moores Professor of Music in 2005. Pollack's books ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Budapest String Quartet
The Budapest String Quartet was a string quartet in existence from 1917 to 1967. It originally consisted of three Hungarians and a Dutchman; at the end, the quartet consisted of four Russians. A number of recordings were made for HMV/Victor through 1938; from 1940 through 1967 it recorded for Columbia Records. Additionally, several of the Quartet's live performances were recorded, at the Library of Congress and other venues. Members 1st violin: * Emil Hauser (1893–1978) (from 1917 to 1932) * Josef Roisman (Joe) (1900–1974) (from 1932 to 1967) 2nd violin: * Alfred Indig (1892–?) (from 1917 to 1920) * Imre Pogany (1893–1975) (from 1920 to 1927) * Josef Roisman (Joe) (1900–1974) (from 1927 to 1932) * Alexander Schneider (Sasha) (1908–1993) (from 1932 to 1944 and from 1955 to 1967) * Edgar Ortenberg (1900–1996) (from 1944 to 1949) * Jac Gorodetzky (1913–1955) (from 1949 to 1955) Viola: * István Ipolyi (1886–1955) (from 1917 to 1936) * Boris Kroyt (1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roger Sessions
Roger Huntington Sessions (December 28, 1896March 16, 1985) was an American composer, teacher and musicologist. He had initially started his career writing in a neoclassical style, but gradually moved further towards more complex harmonies and postromanticism, and finally the twelve-tone serialism of the Second Viennese School. Sessions' friendship with Arnold Schoenberg influenced this, but he would modify the technique to develop a unique style involving rows to supply melodic thematic material, while composing the subsidiary parts in a free and dissonant manner. Life Sessions was born in Brooklyn, New York, to a family that could trace its roots back to the American Revolution. His mother, Ruth Huntington Sessions, was a direct descendant of Samuel Huntington, a signatory of the Declaration of Independence. Roger studied music at Harvard University from the age of 14. There he wrote for and subsequently edited the ''Harvard Musical Review''. Graduating at age 18, he went ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ernest Bloch
Ernest Bloch (July 24, 1880 – July 15, 1959) was a Switzerland, Swiss-born Americans, American composer. Bloch was a preeminent artist in his day, and left a lasting legacy. He is recognized as one of the greatest Swiss composers in history. As well as producing musical scores, Bloch had an academic career that culminated in his recognition as Professor Emeritus at the University of California, Berkeley in 1952. Biography Bloch was born in Geneva on July 24, 1880 to Jewish parents. He began playing the violin at age 9, and began composing soon after. He studied music at the conservatory in Brussels, where his teachers included the celebrated Belgian violinist Eugène Ysaÿe. He then traveled around Europe, moving to Germany (where he studied composition from 1900–1901 with Iwan Knorr at the Hoch Conservatory in Frankfurt am Main, Frankfurt), on to Paris in 1903 and back to Geneva before settling in the United States in 1916, taking US citizenship in 1924. He held several teach ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Picardy Third
A Picardy third, (; french: tierce picarde) also known as a Picardy cadence or Tierce de Picardie, is a major chord of the tonic at the end of a musical section that is either modal or in a minor key. This is achieved by raising the third of the expected minor triad by a semitone to create a major triad, as a form of resolution. For example, instead of a cadence ending on an A minor 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 a minor key had to have a 'happy ending' – a final major chord (the 'tierce de Picardie') or a bare fifth." As a harmo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coda (music)
In music, a coda () ( Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme. One of the ways that Beeth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial 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 progression of two or more chords that concludes a phrase, section, or 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 determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
E-flat Major
E-flat major (or the key of E-flat) is a major scale based on E, consisting of the pitches E, F, G, A, B, C, and D. Its key signature has three flats. Its relative minor is C minor, and its parallel minor is E minor, (or enharmonically D minor). The E-flat major scale is: : Characteristics The key of E-flat major is often associated with bold, heroic music, in part because of Beethoven's usage. His ''Eroica Symphony'', ''Emperor Concerto'' and ''Grand Sonata'' are all in this key. Beethoven's (hypothetical) 10th Symphony is also in E-flat. But even before Beethoven, Francesco Galeazzi identified E-flat major as "a heroic key, extremely majestic, grave and serious: in all these features it is superior to that of C." Three of Mozart's completed Horn Concertos and Joseph Haydn's Trumpet Concerto are in E-flat major, and so is Anton Bruckner's Fourth Symphony with its prominent horn theme in the first movement. Another notable heroic piece in the key of E-flat m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pandiatonic
Pandiatonicism is a musical technique of using the diatonic (as opposed to the chromatic) scale without the limitations of functional tonality. Music using this technique is pandiatonic. History The term "pandiatonicism" was coined by Nicolas Slonimsky in the second edition of ''Music since 1900'' to describe chord formations of any number up to all seven degrees of the diatonic scale, "used freely in democratic equality". Triads with added notes such as the sixth, seventh, or second (added tone chords) are the most common,) while the, "most elementary form," is a nonharmonic bass. According to Slonimsky's definition, ''Pan-diatonicism'' sanctions the simultaneous use of any or all seven tones of the diatonic scale, with the bass determining the harmony. The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad. (The eleventh chord is shunned in tonic harmony because of its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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