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Entsagen, WAB 14
The cantata ' (Renunciation), WAB 14, is a cantata composed by Anton Bruckner in . History Bruckner composed the cantata for the name-day of Michael Arneth, the prior of the St. Florian Abbey. The piece was intended to be performed on Arneth's name-day. It is not known when it was performed.C. van Zwol, pp. 711-712 Why Bruckner has chosen this unsound text for the name-day of his Maecenas remains unexplained. Perhaps he has put so into music his resignation following his father's death or Aloisia Bogner's refusal of his proposal of marriage.The 16-year old Aloisia Bogner, alias Louise or Luise Bogner, was the older daughter of Michaël Bogner, by whom Bruckner had a living accommodation. Bruckner composed for her the lieder ''Der Mondabend'' and ''Frühlingslied'', and the piano works Four ''Lancier-Quadrille'', WAB 120, and ''Steiermärker'', WAB 122.U. Harten, p. 145 The manuscript is stored in the archive of the St. Florian Abbey. A facsimile of the cantata was first i ... [...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] |
Piano Works (Bruckner)
Anton Bruckner composed about fifty small piano works, the earliest in 1850, the last in 1868. Works for piano for two hands Seven works are edited in Band XII/2 of the Bruckner's '. These works were mainly composed for his piano pupils during his stay in St. Florian (1845–1855) and in Linz (1855–1868). * Four ''Lancier-Quadrille'', WAB 120, in C major, compiled in from melodies from Albert Lortzing's ''Der Wildschütz'' and ''Zar und Zimmermann'', and Gaetano Donizetti's ''La fille du régiment'', as exercise for his piano pupil Aloisia Bogner:The 16-year old Aloisia Bogner, alias Louise or Luise Bogner, was the older daughter of Michaël Bogner, by whom Bruckner had his living accommodation. Bruckner composed for her also the lieder ''Der Mondabend'' and ''Frühlingslied''. ', Band XII/2, No. 1C. van Zwol, p. 676C. Howie, Chapter II, p. 30 * ' (From Steiermark), WAB 122, a 32-bar long piece in G major, composed also in for Aloisia Bogner: ', Band XII/2, No. 2 It is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantatas By Anton Bruckner
A cantata (; ; literally "sung", past participle feminine singular of the Italian verb ''cantare'', "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single-voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio. Cantatas for use in the liturgy of church services are called church cantata or sacred cantata; other cantatas can be indicated as secular cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Christoph Graupner, Georg Philipp Telemann and Johann Sebastian Bach composed cycles of church cantatas for the occasions of the liturgical year. Hist ... [...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] |
August Göllerich
August Göllerich (2 July 185916 March 1923) was an Austrian pianist, conductor, music educator and music writer. He studied the piano with Franz Liszt, who made him also his secretary and companion on concert tours. Göllerich is known for studying the life and work of Anton Bruckner whose secretary and friend he was. He initiated and conducted concerts of Bruckner's music in Linz, and wrote an influential biography. Life Born in Linz, the son of the Wels town secretary and later member of the Reich Council and State Parliament and his wife Maria, née Nowotny, Göllerich grew up in middle-class circumstances. His father was a member of a liberal writers and literary association in Wels. Göllerich attended the Linz Realschule, which he completed with the Matura. He studied mathematics at the University of Vienna, as his father wished. In 1882, he attended the Bayreuth Festival. After his father's death in 1883, he devoted himself entirely to music, studying in Vienna the pia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera Seria
''Opera seria'' (; plural: ''opere serie''; usually called ''dramma per musica'' or ''melodramma serio'') is an Italian musical term which refers to the noble and "serious" style of Italian opera that predominated in Europe from the 1710s to about 1770. The term itself was rarely used at the time and only attained common usage once ''opera seria'' was becoming unfashionable and beginning to be viewed as something of a historical genre. The popular rival to ''opera seria'' was ''opera buffa,'' the 'comic' opera that took its cue from the improvisatory commedia dell'arte. Italian ''opera seria'' (invariably to Italian libretti) was produced not only in Italy but almost throughout Europe, and beyond (see Opera in Latin America, Opera in Cuba e. g.). Among the main centres in Europe were the court operas based in Warsaw (since 1628), Munich (founded in 1653), London (established in 1662), Vienna (firmly established 1709; first operatic representation: ''Il pomo d'oro'', 1668), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
O Sacred Head, Now Wounded
"O Sacred Head, Now Wounded" is a Christian Passion hymn based on a Latin text written during the Middle Ages. Paul Gerhardt wrote a German version which is known by its incipit, "O Haupt voll Blut und Wunden". Text Original Latin The hymn is based on a long medieval Latin poem, ''Salve mundi salutare'', with stanzas addressing the various parts of Christ's body hanging on the Cross. The last part of the poem, from which the hymn is taken, is addressed to Christ's head, and begins "Salve caput cruentatum". The poem is often attributed to Bernard of Clairvaux (1091–1153), but is now attributed to the medieval poet Arnulf of Leuven (died 1250). A selection of stanzas from the seven cantos were used for the text of Dieterich Buxtehude's ''Membra Jesu Nostri'' addressing the various members of the crucified body German translation The poem was translated into German by the Lutheran hymnist Paul Gerhardt (1607–1676). He reworked the Latin version to suggest a more personal con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorale
Chorale is the name of several related musical forms originating in the music genre of the Lutheran chorale: * Hymn tune of a Lutheran hymn (e.g. the melody of "Wachet auf, ruft uns die Stimme"), or a tune in a similar format (e.g. one of the themes in the Finale of Saint-Saëns's Third Symphony) * Such tune with a harmonic accompaniment (e.g. chorale monody, chorales included in ''Schemellis Gesangbuch'') * Such a tune presented in a homophonic or homorhythmic harmonisation, usually four-part harmony (e.g. Bach's four-part chorales, or the chorale included in the second movement of Mahler's Fifth Symphony) * A more complex setting of a hymn(-like) tune (e.g. chorale fantasia form in Bach's ''Schübler Chorales'', or a combination of compositional techniques in César Franck's ') The chorale originated when Martin Luther translated sacred songs into the vernacular language (German), contrary to the established practice of church music near the end of the first quarter of the ... [...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] |
Oskar Von Redwitz
Oskar Freiherr von Redwitz (28 June 1823 – 6 July 1891) was a German poet from Lichtenau, Bavaria. Having studied at the universities of Munich and Erlangen, he was apprenticed to the law in the Bavarian State service (1846–49). He next (1849–50) studied languages and literature at Bonn, and in 1851 was appointed professor of aesthetics and of the history of literature at Vienna. In 1852, however, he gave up this post and retired to his estate of Schellenberg, near Kaiserslautern. The pious sentimentality of his romantic epic ''Amaranth'' (1849; 42nd ed., 1898) had already gained him enthusiastic admirers, and this work was followed, in 1850, by ''Märchen'' and by ''Gedichte'' (1852) and the tragedy ''Sieglinde'' (1854). He next settled on his estates near Kronach, and here wrote the tragedy ''Thomas Morus'' (1856), the historical dramas ''Philippine Welser'' (1859) and ''Der Zunftmeister von Nürnberg'' (1860), of which the first two met with great success. Elected m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frühlingslied, WAB 68
("Spring song"), WAB 68, is a lied composed by Anton Bruckner in 1851 for the name-day of Aloisia Bogner. History Bruckner composed the lied on a text of Heinrich Heine in 1851 for "the name-day of a blossoming spring rose" (), Bruckner's 16-year old pupil Aloisia Bogner,C. van Zwol, pp. 715-716U. Harten, p. 151 for whom he also composed ''Der Mondabend'' and the piano works ''Lancier-Quadrille'', WAB 120, and ''Steiermärker'', WAB 122.C. van Zwol, pp. 61-62 The manuscript is stored in the archive of the of Linz. The lied, which was first published in Band II/2, pp. 44–46 of the Göllerich/Auer biography, is issued in Band XXIII/1, No. 1 of the . Text ''Frühlingslied'' is based on a text by Heinrich Heine, with one minor change: Music The 24-bar long work in A major is scored for solo voice and piano. This easy composition displays no relationship with Mendelssohn's ''Frühlingslied''. The voice score is conducted ''cantabile'', and the piano accompaniment ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virgin Mary
Mary; arc, ܡܪܝܡ, translit=Mariam; ar, مريم, translit=Maryam; grc, Μαρία, translit=María; la, Maria; cop, Ⲙⲁⲣⲓⲁ, translit=Maria was a first-century Jewish woman of Nazareth, the wife of Joseph and the mother of Jesus. She is a central figure of Christianity, venerated under various titles such as virgin or queen, many of them mentioned in the Litany of Loreto. The Eastern and Oriental Orthodox, Church of the East, Catholic, Anglican, and Lutheran churches believe that Mary, as mother of Jesus, is the Mother of God. Other Protestant views on Mary vary, with some holding her to have considerably lesser status. The New Testament of the Bible provides the earliest documented references to Mary by name, mainly in the canonical Gospels. She is described as a young virgin who was chosen by God to conceive Jesus through the Holy Spirit. After giving birth to Jesus in Bethlehem, she raised him in the city of Nazareth in Galilee, and was in Jerusal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
