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Erlkönig (Schubert)
"Erlkönig", Op. 1, 328, is a '' Lied'' composed by Franz Schubert in 1815, which sets Johann Wolfgang von Goethe's poem of the same name. The singer takes the role of four characters — the narrator, a father, his small son, and the titular "Erlking", a supernatural creature who pursues the boy — each of whom exhibit different tessitura, harmonic and rhythmic characteristics. A technically challenging piece for both performers and accompanists, "Erlkönig" has been popular and acclaimed since its premiere in 1821, and has been described as one of the "commanding compositions of the century". Among Schubert's most famous works, the work has been arranged by various composers, such as Franz Liszt (solo piano) and Heinrich Wilhelm Ernst (solo violin); Hector Berlioz, Franz Liszt, and Max Reger have orchestrated the piece. History Goethe's poem was set in music by some hundred composers, including Johann Friedrich Reichardt, Carl Friedrich Zelter and Carl Loewe, th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lied
In Western classical music tradition, (, plural ; , plural , ) is a term for setting poetry to classical music to create a piece of polyphonic music. The term is used for any kind of song in contemporary German, but among English and French speakers, is often used interchangeably with " art song" to encompass works that the tradition has inspired in other languages as well. The poems that have been made into lieder often center on pastoral themes or themes of romantic love. The earliest lied date from the late fourteenth or early fifteenth centuries, and can even refer to from as early as the 12th and 13th centuries. It later came especially to refer to settings of Romantic poetry during the late eighteenth and nineteenth centuries, and into the early twentieth century. Examples include settings by Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Robert Schumann, Johannes Brahms, Hugo Wolf, Gustav Mahler or Richard Strauss. History For Ger ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Young Schubert, By Josef Abel
''The'' () is a grammatical article in English, denoting persons or things already mentioned, under discussion, implied or otherwise presumed familiar to listeners, readers, or speakers. It is the definite article in English. ''The'' is the most frequently used word in the English language; studies and analyses of texts have found it to account for seven percent of all printed English-language words. It is derived from gendered articles in Old English which combined in Middle English and now has a single form used with pronouns of any gender. The word can be used with both singular and plural nouns, and with a noun that starts with any letter. This is different from many other languages, which have different forms of the definite article for different genders or numbers. Pronunciation In most dialects, "the" is pronounced as (with the voiced dental fricative followed by a schwa) when followed by a consonant sound, and as (homophone of pronoun ''thee'') when followed by a v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale (music)
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature. Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale. However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music, there is no limit to how many notes can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tuplet
In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" This is indicated by a number, or sometimes two indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur. The most common type of tuplet is the triplet. Terminology The modern term 'tuplet' comes from a rebracketing of compound words like quintu(s)-(u)plet and sextu(s)-(u)plet, and from related mathematical terms such as "tuple", "-uplet" and "-plet", which are used to form terms denoting multiplets (''Oxford English Dictionary'', entries "multiplet", "-plet, ''comb. form''", "-let, ''suffix''", and "-et, ''suffix''1"). An alternative modern term, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's '' Boléro'' and the ''Carol of the Bells'', and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's "Baba O'Riley" (1971), and The Verve's " Bitter Sweet Symphony" (1997). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an os ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Through-composed Music
In music theory of musical form, through-composed music is a continuous, non- sectional, and non- repetitive piece of music. The term is typically used to describe songs, but can also apply to instrumental music. While most musical forms such as ternary form, (ABA), rondo form, (ABACABA), and sonata form (ABA') rely on repetition, through-composed music does not re-use material (ABCD). This constant introduction of new material is most noticeable in musical settings of poems, in contrast to the often used strophic form (AAA). Through-composed songs have different music for each stanza of the lyrics. The German word "''durchkomponiert'' " is also used to indicate this concept. Examples Musicologist James Webster defines through-composed music in the following manner: Many examples of this form can be found in Schubert's '' Lieder'', where the words of a poem are set to music and each line is different. In his lied '' Erlkönig'', in which the setting proceeds to a different m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Romantic Music
Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism—the intellectual, artistic and literary movement that became prominent in Western culture from approximately 1798 until 1837. Romantic composers sought to create music that was individualistic, emotional, dramatic and often programmatic; reflecting broader trends within the movements of Romantic literature, poetry, art, and philosophy. Romantic music was often ostensibly inspired by (or else sought to evoke) non-musical stimuli, such as nature, literature, poetry, super-natural elements or the fine arts. It included features such as increased chromaticism and moved away from traditional forms. Background The Romantic movement was an artistic, literary, and intellectual movement that originated in the second half of the 18th century in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gerald Moore
Gerald Moore Order of the British Empire, CBE (30 July 1899 – 13 March 1987) was an England, English classical music, classical pianist best known for his career as a Collaborative piano, collaborative pianist for many distinguished musicians. Among those with whom he was closely associated were Dietrich Fischer-Dieskau, Elisabeth Schumann, Hans Hotter, Elisabeth Schwarzkopf, Victoria de los Ángeles and Pablo Casals. Moore gave lectures on stage, radio and television about musical topics. He also wrote about music, publishing volumes of memoirs and practical guides to interpretation of lieder. Life and career Early years Moore was born in Watford, Hertfordshire, the eldest of four children of David Frank Moore, owner of a men's outfitting company, and his wife Chestina, ''née'' Jones.Joseph Cooper (broadcaster), Cooper, Joseph"Moore, Gerald Frederick (1899–1987)" Oxford Dictionary of National Biography, Oxford University Press, 23 September 2004. Retrieved 17 June 2021 H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dietrich Fischer-Dieskau
Dietrich Fischer-Dieskau (28 May 1925 – 18 May 2012) was a German lyric baritone and conductor of classical music, one of the most famous Lieder (art song) performers of the post-war period, best known as a singer of Franz Schubert's Lieder, particularly ''"Winterreise"'' of which his recordings with accompanists Gerald Moore and Jörg Demus are still critically acclaimed half a century after their release. Recording an array of repertoire (spanning centuries) as musicologist Alan Blyth asserted, "No singer in our time, or probably any other has managed the range and versatility of repertory achieved by Dietrich Fischer-Dieskau. Opera, Lieder and oratorio in German, Italian or English came alike to him, yet he brought to each a precision and individuality that bespoke his perceptive insights into the idiom at hand." In addition, he recorded in French, Russian, Hebrew, Latin and Hungarian. He was described as "one of the supreme vocal artists of the 20th century" and "the most ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theater Am Kärntnertor
or (Carinthian Gate Theatre) was a prestigious theatre in Vienna during the eighteenth and nineteenth centuries. Its official title was (Imperial and Royal Court Theatre of Vienna). History The theatre was built in 1709 to designs by Antonio Beduzzi on a site near the former Kärntnertor, on the grounds of the present Hotel Sacher. The expenses of building the theatre were borne by the City of Vienna, and it was intended (as Eva Badura-Skoda notes)Badura-Skoda 1973 to be "frequented by the Viennese population of all classes". However, at the command of the emperor, the first performances were of Italian operas, an elite form of entertainment. In 1711, the theatre was redirected to its original purpose when it was placed under the direction of Josef Stranitzky, who put on a variety of entertainment, often embodying a German version of the Italian commedia dell'arte. The theatre was managed by Stranitzky's widow after his death. In 1728, court artists Borosini and Sellier ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joseph Von Spaun
Joseph Freiherr von Spaun (November 11, 1788November 25, 1865) was an Austrian nobleman, an Imperial and Royal Councillor, lottery director, and honorary citizen of Vienna and Cieszyn. He is best known for his friendship with the composer Franz Schubert. Family Joseph von Spaun came from the Spaun family, originally of Swabian origin first mentioned in documents from 1583-1593 among farmers and yarn spinners ''Bartholomäus Spaun.'' The family, originally from Deisenhausen (Günzburg) became wealthy in Linz. He was the son of Franz Xaver Ritter von Spaun (1756-1804) a royal councillor and Imperial State Syndic in Upper Austria and the widow Josepha Steyrer von Riedenburg (1757-1835). His brother was the historian and folklorist Anton Ritter von Spaun (1790-1849). Spaun married ''Franziska Roner Edle von Ehrenwert'' (July 17 1795-Jan 31, 1890), daughter of landholder and military captain ''Joseph Roner Edler von Ehrenwert'' on April 14 1828 in Vienna. The son of this union be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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