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Abendzauber, WAB 57
' (Evening magic), WAB 57, is a song composed by Anton Bruckner in 1878. History Bruckner composed the song on a text of Heinrich von der Mattig on 13 January 1878. He dedicated it to Carl Almeroth. The piece was not performed during the composer's life, because of its performance difficulties ( humming voices). It was first performed in 1911 by Viktor Keldorfer with the ''Wiener Männergesang-Verein'' (Vienna men's choral association), and was thereafter published by the Universal Edition.C. van Zwol, p. 728 It was very popular with Austrian choirs during the interbellum. The work, of which the original manuscript is stored in the archive of the ''Wiener Männergesang-Verein'', is issued in Band XXIII/2, No. 29 of the '. Text ''Abendzauber'' uses a text by Heinrich von der Mattig. Music The 82-bar long work in G-flat major is scored for choir, tenor or baritone soloist. Similarly to ''Das hohe Lied'', the first part (58 bars) is sung by the soloist with an accomp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Josef Anton Bruckner (; 4 September 182411 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions. There are several version ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vienna State Opera
The Vienna State Opera (, ) is an opera house and opera company based in Vienna, Austria. The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (''Wiener Hofoper'') in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the old Vienna Court Opera (built in 1636 inside the Hofburg). The new site was chosen and the construction paid by Emperor Franz Joseph in 1861. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Uwe Harten
Uwe Harten (born 16 August 1944) is a German musicologist, who works in Austria. Life Born in , Harten grew up in Hamburg, where he was a boy soprano at the Staatsoper. He took over the roles of a child. In Hamburg he also began his studies of musicology and art history, which he continued in Vienna with Erich Schenk. He gained his doctorate with his study of the Viennese Schumann admirer Carl Debrois van Bruyck. He then worked as a dramaturgical assistant at the Vienna Chamber Opera. Furthermore, he assisted Anthony van Hoboken in the production of his Werkverzeichnis of Joseph Haydn. Since 1972 he has been a member of the at the Österreichische Akademie der Wissenschaften. Since 1974 he has been secretary and member of the board of directors of the Denkmäler der Tonkunst in Österreich. In addition Harten worked as an assistant at the since its foundation in 1978. From 1988 to 2000 he was also its deputy scientific director and participated between 1977 and 2000 in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christoph Prégardien
Christoph Prégardien (born 18 January 1956) is a German lyric tenor whose career is closely associated with the roles in Mozart operas, as well as performances of Lieder, oratorio roles, and Baroque music. He is well known for his performances and recordings of the Evangelist roles in Bach's ''St John Passion'' and ''St Matthew Passion''. Born in Limburg an der Lahn, he began his musical education as a choirboy at the cathedral's boys' choir, the Limburger Domsingknaben. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt at the Hochschule für Musik, with Carla Castellani in Milan, with Alois Treml in Stuttgart, and attended Hartmut Höll's lieder-class. His orchestral and oratorio repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th-century works by Britten, Killmayer, Rihm, and Stravinsky. Also recognized as an eminent recitalist, he regularly performs at the major recital venues in Paris, London, Bru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marie Luise Neunecker
Marie Luise Neunecker (born 17 July 1955) is a German horn player and professor at the Hochschule für Musik "Hanns Eisler". Professional career Neunecker was born in Erbes-Büdesheim. She studied musicology and German studies. She completed her horn studies with at the Hochschule für Musik Köln. In 1978 she started her career at the Opern- und Schauspielhaus Frankfurt as second horn. In 1979 she was appointed principal horn with the Bamberg Symphony, and from 1981 to 1989 she held the same position with the hr-Sinfonieorchester. She has appeared as a soloist with various orchestras worldwide, and is also active as a chamber music player. In 1986 she won first prize at the Concert Artists Guild international competition in New York. In 1988 she was appointed professor at the Frankfurt Academy of Music and Performing Arts, and in 2004 she was appointed professor of horn at the Hochschule für Musik "Hanns Eisler". Volker David Kirchner dedicated his ''Orfeo'' for baritone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alfred Orda
Alfred Orda (full name Alfred Orda-Wdowczak; 1915–2004) was a Polish operatic baritone and soloist. Most of his life and performance career was spent in the United Kingdom. A regular performer at the BBC Proms, especially from 1943 to 1964, Orda was born in Łódź, Poland. "There was always singing in his life, for his mother had a good contralto voice." Early singing career "While still at technical high school, his vocal potential was recognized, and at the age of 19, he had his first singing lessons with Adele Comte-Wilgocka at the Łódź Conservatorium. Soon, with a repertoire of ''Eri tu, Di Provenza'', the Prologue from ''Pagliacci,'' and Valentin's aria from '' Faust'', he set off on foot to Warsaw, a distance of 80 miles, in search of further training." In 1936, he traveled to Milan, Italy, where for the next three years he studied under the direction of Alfredo Cecchi, a teacher amongst whose students had been Basiola, Granda, and Ziliani. Leaving Italy Earl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Um Mitternacht, WAB 90
(At midnight), WAB 90, is a song composed by Anton Bruckner in 1886 on a text of Robert Prutz. About twenty years earlier Bruckner had already composed a song on the same text. History Bruckner composed the song on a text of Robert Prutz on 11 February 1886, for the (Men's singing association of Strasbourg). The piece was performed on 15 April 1886 by the Liedertafel ''Frohsinn'' in the . Because of performance difficulties ( humming voices and many modulations), the choir was enhanced by a harp.U. Harten, pp. 454-455C. van Zwol, p. 729 The work, of which the original manuscript is stored in the '' Österreichische Nationalbibliothek'', was issued in the same year by the '' Strassburger Sängerhaus'', and thereafter (1911) by Viktor Keldorfer (Universal Edition), together with the other setting ( ''Um Mitternacht'', WAB 89) and the other "midnight-song" ''Mitternacht'', WAB 80. It is issued in Band XXIII/2, No. 33 of the . Music The song is using the text by Robert ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Um Mitternacht, WAB 89
(At midnight), WAB 89, is a song composed by Anton Bruckner in 1864. History Bruckner composed the song on a text of Robert Prutz on 12 April 1864, for the Linz Liedertafel ''Sängerbund'' (the rival of Liedertafel ''Frohsinn''). The piece was performed on 11 December 1864 by ''Sängerbund'' in the ''Redoutensaal'' under Bruckner's baton.C. van Zwol, p. 724C. Howie, Chapter III, p.88 The work, of which the original manuscript is stored in the '' Österreichische Nationalbibliothek'',U. Harten, p. 454 was first issued by Viktor Keldorfer (Universal Edition) in 1911, together with the other setting ( ''Um Mitternacht'', WAB 90) and the other "midnight-song" ''Mitternacht'', WAB 80. It is issued in Band XXIII/2, No. 17 of the . Text ''Um Mitternacht'' uses a text by Robert Prutz. Music The 56-bar long work in F minor is scored for choir, alto soloist and piano. In strophe 1 the F-minor key forms the mystic background, from which the men's choir, accompanied by pedal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mitternacht, WAB 80
' (Midnight), WAB 80, is a song composed by Anton Bruckner in 1869. History Bruckner composed the song on a text of Joseph Mendelssohn in November 1869, for the 25th anniversary of Linz Liedertafel ''Frohsinn''. The piece was performed on 15 May 1870 by ''Frohsinn'' in the ' in Linz.C. van Zwol, p. 726U. Harten, p. 289C. Howie, Chapter III, p.81 The work, of which the original manuscript is stored in the archive of Liedertafel ''Frohsinn'', was first issued by Doblinger in 1903. It was reissued in 1911 by Viktor Keldorfer (Universal Edition), together with the two other Bruckner's "midnight-songs" (''Um Mitternacht'', WAB 89 and WAB 90). The song is issued in Band XXIII/2, No. 25 of the '. Text ''Mitternacht'' uses a text by Joseph Mendelssohn. Music The 84-bar long work in A-flat major is scored for choir, tenor soloist and piano. Strophe 1 is sung by the choir with an ostinato of the piano. In strophe 2, bars 49-58 ('), the soloist is singing with accompanimen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yodeler
Yodeling (also jodeling) is a form of singing which involves repeated and rapid changes of pitch between the low-pitch chest register (or "chest voice") and the high-pitch head register or falsetto. The English word ''yodel'' is derived from the German (and originally Austro-Bavarian) word ''jodeln'', meaning "to utter the syllable ''jo''" (pronounced "yo" in English). This vocal technique is used in many cultures worldwide. Recent scientific research concerning yodeling and non-Western cultures has shown that music and speech evolved from a common prosodic precursor. Alpine yodeling was a longtime rural tradition in Europe, and became popular in the 1830s as entertainment in theaters and music halls. In Europe, yodeling is still a major feature of folk music (Volksmusik) from Switzerland, Austria and southern Germany and can be heard in many contemporary folk songs, which are also featured on regular TV broadcasts. In the United States, traveling minstrels were yodeling in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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