historical and analytical studies
... exposition are that (1) the voices enter one by one with the subject, each waiting until the preceding voice has completed its statement before entering; (2) each voice enter with the subject, in either subject or answer form, only once (occasionally the first voice to enter may restate the subject ...
... exposition are that (1) the voices enter one by one with the subject, each waiting until the preceding voice has completed its statement before entering; (2) each voice enter with the subject, in either subject or answer form, only once (occasionally the first voice to enter may restate the subject ...
Tempo Ligeti the Postmodernist?
... appear twice and seem to create a shifting tonal ambiguous approach to quasi-tonal harmony centre. The progressions of the intervallic allows Ligeti to 'play' with the listener's framework seem to imply C, D, G, and F, as expectations. The listener never feels completely fleeting tonal centres.16 An ...
... appear twice and seem to create a shifting tonal ambiguous approach to quasi-tonal harmony centre. The progressions of the intervallic allows Ligeti to 'play' with the listener's framework seem to imply C, D, G, and F, as expectations. The listener never feels completely fleeting tonal centres.16 An ...
1875 oil painting by Wilhelm August Rieder, after his
... little more than a record of his compositions. In 1826, he dedicated a symphony (D. 944, that later came to be known as the "Great") to the Gesellschaft der Musikfreunde and received an honorarium in return.[51] In the spring of 1828, he gave, for the only time in his career, a public concert of his ...
... little more than a record of his compositions. In 1826, he dedicated a symphony (D. 944, that later came to be known as the "Great") to the Gesellschaft der Musikfreunde and received an honorarium in return.[51] In the spring of 1828, he gave, for the only time in his career, a public concert of his ...
Press
... In addition to the "Milstein" and "Kreisler" Stradivarii, two others of the eight featured also now reside in Southern California. The 1714 "Leonora Jackson" is owned by William Sloan, a urologist and accomplished amateur fiddler; the 1720 "Red Mendelssohn," said to have inspired the film "The Red V ...
... In addition to the "Milstein" and "Kreisler" Stradivarii, two others of the eight featured also now reside in Southern California. The 1714 "Leonora Jackson" is owned by William Sloan, a urologist and accomplished amateur fiddler; the 1720 "Red Mendelssohn," said to have inspired the film "The Red V ...
Clara Schumann - The Kapralova Society
... wasted little time in taking Clara on tour. By 1835, she was renowned throughout Europe as a child prodigy. As was the custom in the 1830s, at least one of her own compositions appeared on nearly all of her programmes.15 When Ludwig Spohr heard her perform some of her works in 1831, he wrote: ...
... wasted little time in taking Clara on tour. By 1835, she was renowned throughout Europe as a child prodigy. As was the custom in the 1830s, at least one of her own compositions appeared on nearly all of her programmes.15 When Ludwig Spohr heard her perform some of her works in 1831, he wrote: ...
hugues dufourt`s “manifesto of the music of our times”
... technique for producing the evocation, and the manner in which the evocation is produced. The variability of cloud colors in Tiepolo’s fresco inspired the constant variability of Dufourt’s musical colors. Other than the highly resonant individual bass note appoggiaturas in the piano, most notes are ...
... technique for producing the evocation, and the manner in which the evocation is produced. The variability of cloud colors in Tiepolo’s fresco inspired the constant variability of Dufourt’s musical colors. Other than the highly resonant individual bass note appoggiaturas in the piano, most notes are ...
A Study in Performance Practice of George
... countrymen. Rochlitz, reviewing his first piano sonata Op. 2 in the Allgemeine Musikalische Zeitung in 1818 describes Onslow’s music as being German in nature.2 The comparison to Beethoven by the public was first a hindrance and later a boost for Onslow’s career. When Beethoven’s music was first int ...
... countrymen. Rochlitz, reviewing his first piano sonata Op. 2 in the Allgemeine Musikalische Zeitung in 1818 describes Onslow’s music as being German in nature.2 The comparison to Beethoven by the public was first a hindrance and later a boost for Onslow’s career. When Beethoven’s music was first int ...
A Companion to Recent Scottish Music: 1950 to the Present - n-ISM
... .The BACH motif consists of two falling minor 2nd intervals contained within the framework interval of a minor 3rd. The first tuba phrase comes close to imitating the exact contours of the BACH motif, but its intervals are slightly expanded; the second phrase contains greater intervallic expansion. ...
... .The BACH motif consists of two falling minor 2nd intervals contained within the framework interval of a minor 3rd. The first tuba phrase comes close to imitating the exact contours of the BACH motif, but its intervals are slightly expanded; the second phrase contains greater intervallic expansion. ...
Building a Framework for Scordatura: New
... (1) Two of these five factors – notation and bow use – are a matter of convenience rather than a concrete argument against scordatura – the former for the composer and the latter for the performer. (2) The factor of tension on the instrument is the most serious of the five, but would likely refer to ...
... (1) Two of these five factors – notation and bow use – are a matter of convenience rather than a concrete argument against scordatura – the former for the composer and the latter for the performer. (2) The factor of tension on the instrument is the most serious of the five, but would likely refer to ...
Chapter-3 Stringed Instruments Violin - Historical Facts
... chordophones and has its own sub category (the harps). All harps have a neck, resonator and strings. Depending on its size, which varies, a harp may be played while held in the lap or while it stands on a table, or on the floor. Harp strings may be made of nylon, gut, wire or silk. On smaller harps, ...
... chordophones and has its own sub category (the harps). All harps have a neck, resonator and strings. Depending on its size, which varies, a harp may be played while held in the lap or while it stands on a table, or on the floor. Harp strings may be made of nylon, gut, wire or silk. On smaller harps, ...
Selected Clarinet, Cello and Piano Trios: Unknown or
... The clarinet, violoncello, and piano trio, as an important and viable chamber music genre deserves more exposure and prominence. We can all name at least one performing piano trio (e.g., Beaux Arts) but could we name a clarinet trio counterpart? While many people are familiar with the Ludwig van Bee ...
... The clarinet, violoncello, and piano trio, as an important and viable chamber music genre deserves more exposure and prominence. We can all name at least one performing piano trio (e.g., Beaux Arts) but could we name a clarinet trio counterpart? While many people are familiar with the Ludwig van Bee ...
An Introduction to Contemporary Music - Machlis
... (a) imparted a clarity of direction (b) purposeful movement toward a musical goal c) with such conventions the composers of the period made themselves understood by a large public (1) although this framework begins as a support it ends by becoming a straitjacket (2) the artist increasingly finds dif ...
... (a) imparted a clarity of direction (b) purposeful movement toward a musical goal c) with such conventions the composers of the period made themselves understood by a large public (1) although this framework begins as a support it ends by becoming a straitjacket (2) the artist increasingly finds dif ...
"Beethoven the Pianist" by Tilman Skowroneck
... are suddenly slurred although the character given is ‘piacevole’ anyway”; in the very next sentence, he writes about “both halves of the eighteenth variation, a Vivace.” (p. 204). Both references are incorrect. The variation marked “piacevole” is the twenty-sixth; the variation marked “Vivace” in th ...
... are suddenly slurred although the character given is ‘piacevole’ anyway”; in the very next sentence, he writes about “both halves of the eighteenth variation, a Vivace.” (p. 204). Both references are incorrect. The variation marked “piacevole” is the twenty-sixth; the variation marked “Vivace” in th ...
Guide to Piano Quartets
... have been consigned to oblivion at the start of the nineteenth century, yet this was the case, at least as far as public performance went. It took a Mendelssohn to get Bach's music back into the concert hall. In part, this was due to changing musical fashion and tastes. Schubert could not get his qu ...
... have been consigned to oblivion at the start of the nineteenth century, yet this was the case, at least as far as public performance went. It took a Mendelssohn to get Bach's music back into the concert hall. In part, this was due to changing musical fashion and tastes. Schubert could not get his qu ...
Through His Chamber Music
... continue to elicit the interest of music historians. The latest offering in the everexpanding bibliography of Schoenbergiana is Schoenberg’s Chamber Music, Schoenberg’s World, edited by James K. Wright and Alan M. Gillmor, with a forward by the composer’s son Lawrence Schoenberg. It should be noted, ...
... continue to elicit the interest of music historians. The latest offering in the everexpanding bibliography of Schoenbergiana is Schoenberg’s Chamber Music, Schoenberg’s World, edited by James K. Wright and Alan M. Gillmor, with a forward by the composer’s son Lawrence Schoenberg. It should be noted, ...
The Case of Guillaume Lekeu`s String Quartet
... multi-movement work for string quartet.6 One could deduce from Lekeu’s artistic goals outlined above that Lekeu’s decision to compose a multi-movement string quartet was intricately linked to the project begun with the Méditation and would possibly employ a somewhat similar musical style. Thus, it i ...
... multi-movement work for string quartet.6 One could deduce from Lekeu’s artistic goals outlined above that Lekeu’s decision to compose a multi-movement string quartet was intricately linked to the project begun with the Méditation and would possibly employ a somewhat similar musical style. Thus, it i ...
by Frank J. Oteri - Chamber Music America
... quartet. In 2003, he adapted a segment from the third act of one of his operas into a short work for a string quartet in just intonation—Love Scene. Last year, he composed three more quartets— Concord Spiral, Hudson Spiral, and The Light Summer Land, all conventionally tuned but nevertheless fascina ...
... quartet. In 2003, he adapted a segment from the third act of one of his operas into a short work for a string quartet in just intonation—Love Scene. Last year, he composed three more quartets— Concord Spiral, Hudson Spiral, and The Light Summer Land, all conventionally tuned but nevertheless fascina ...
Dissertation - DRUM - University of Maryland
... reveal the most wonderful regions. We were drawn into an increasingly magic circle. There we heard the most genial playing, which made an orchestra out of the piano, with lamenting and jubilant voices. There were sonatas, more like disguised symphonies; songs, whose poetry one would understand witho ...
... reveal the most wonderful regions. We were drawn into an increasingly magic circle. There we heard the most genial playing, which made an orchestra out of the piano, with lamenting and jubilant voices. There were sonatas, more like disguised symphonies; songs, whose poetry one would understand witho ...
Instrumentation_and_Orchestration_in_Aar
... but also for the textures of entire instrumental sections. A major shifting of texture is found in mm. 299-302 where the material for the woodwind section is given to the string section, the piano’s material to the woodwinds, and in m. 303 material from both the woodwinds and piano appear in the sym ...
... but also for the textures of entire instrumental sections. A major shifting of texture is found in mm. 299-302 where the material for the woodwind section is given to the string section, the piano’s material to the woodwinds, and in m. 303 material from both the woodwinds and piano appear in the sym ...
Analysis And Impact Of Selected Compositions That
... quinto there is an interval of a major seventh (E5 and F4). Additionally, the fact that these dissonant pitches are in the highest two voices and are being sung in the same octave would have made them even more audible to the listener than the previous major seventh in measure 63 where the same inte ...
... quinto there is an interval of a major seventh (E5 and F4). Additionally, the fact that these dissonant pitches are in the highest two voices and are being sung in the same octave would have made them even more audible to the listener than the previous major seventh in measure 63 where the same inte ...
Domesticity in Brahms`s String Sextets, Opp. 18 and 36
... to promote his compositions. Although the limitations of the small city’s musical forces would soon push him to resign and seek a more artistically satisfying position, the three years of his Detmold tenure offered a degree of stability and comfort that led to the composition of the two String Sexte ...
... to promote his compositions. Although the limitations of the small city’s musical forces would soon push him to resign and seek a more artistically satisfying position, the three years of his Detmold tenure offered a degree of stability and comfort that led to the composition of the two String Sexte ...
Festival Program - Electronic Music Midwest
... reFRACTion is an object that reflects its own history. Revealed through iterations of fragmented material, its final form is realized through the accretion of layered sound over time. From a simple and transparent opening statement, a foundation is derived which subsequently remains below the surfac ...
... reFRACTion is an object that reflects its own history. Revealed through iterations of fragmented material, its final form is realized through the accretion of layered sound over time. From a simple and transparent opening statement, a foundation is derived which subsequently remains below the surfac ...
Music in Modernism c. 1900-2000
... Fugue for Organ, Op. 57, subtitled “Inferno”. Though not German, Alexander Scriabin was trained at the Moscow Conservatory, and spent most of his life living in Switzerland. Similar to Reger, Scriabin embellishes his tonal structures with chromatic tendencies, which unlike Reger, eventually progress ...
... Fugue for Organ, Op. 57, subtitled “Inferno”. Though not German, Alexander Scriabin was trained at the Moscow Conservatory, and spent most of his life living in Switzerland. Similar to Reger, Scriabin embellishes his tonal structures with chromatic tendencies, which unlike Reger, eventually progress ...
Haydn was the second son of humble parents. His father
... and, after settling in Vienna and resuming his duties for Prince Esterházy, he started work on the oratorio The Creation, the text of which had been translated into German by Baron Gottfried van Swieten. The work was planned and executed to enable performances in either German or English; it is beli ...
... and, after settling in Vienna and resuming his duties for Prince Esterházy, he started work on the oratorio The Creation, the text of which had been translated into German by Baron Gottfried van Swieten. The work was planned and executed to enable performances in either German or English; it is beli ...
Chamber music
Chamber music is a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or any small chamber. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part. However, by definition it usually does not include solo instrument performances.Because of its intimate nature, chamber music has been described as ""the music of friends"". For more than 100 years, chamber music was played primarily by amateur musicians in their homes, and even today, when most chamber music performance has migrated from the home to the concert hall, many musicians, amateur and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works.Johann Wolfgang von Goethe described chamber music (specifically, string quartet music) as ""four rational people conversing"". This conversational paradigm has been a thread woven through the history of chamber music composition from the end of the 18th century to the present. The analogy to conversation recurs in descriptions and analyses of chamber music compositions.