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First Viennese School
The First Viennese School is a name mostly used to refer to three composers of the Classical period in Western art music in late-18th-century to early-19th-century Vienna: Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Sometimes, Franz Schubert is added to the list. In German-speaking countries, the term ''Wiener Klassik'' (lit. ''Viennese classical era/art'') is used. That term is often more broadly applied to the Classical era in music as a whole, as a means to distinguish it from other periods that are colloquially referred to as ''classical'', namely Baroque and Romantic music. The term "Viennese School" was first used by Austrian musicologist Raphael Georg Kiesewetter, in 1834, although he only counted Haydn and Mozart as members of the school. Other writers followed suit and eventually Beethoven was added to the list. The designation "first" is added today to avoid confusion with the Second Viennese School. These composers sometimes encountered each other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Composer
A composer is a person who writes music. The term is especially used to indicate composers of Western classical music, or those who are composers by occupation. Many composers are, or were, also skilled performers of music. Etymology and Definition The term is descended from Latin, ''compōnō''; literally "one who puts together". The earliest use of the term in a musical context given by the ''Oxford English Dictionary'' is from Thomas Morley's 1597 ''A Plain and Easy Introduction to Practical Music'', where he says "Some wil be good descanters ..and yet wil be but bad composers". 'Composer' is a loose term that generally refers to any person who writes music. More specifically, it is often used to denote people who are composers by occupation, or those who in the tradition of Western classical music. Writers of exclusively or primarily songs may be called composers, but since the 20th century the terms 'songwriter' or ' singer-songwriter' are more often used, particularl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Les Six
"Les Six" () is a name given to a group of six composers, five of them French and one Swiss, who lived and worked in Montparnasse. The name, inspired by Mily Balakirev's '' The Five'', originates in two 1920 articles by critic Henri Collet in '' Comœdia'', (see Bibliography). Their music is often seen as a neoclassic reaction against both the musical style of Richard Wagner and the impressionist music of Claude Debussy and Maurice Ravel. The members were Georges Auric (1899–1983), Louis Durey (1888–1979), Arthur Honegger (1892–1955), Darius Milhaud (1892–1974), Francis Poulenc (1899–1963), and Germaine Tailleferre (1892–1983). ' In 1917, when many theatres and concert halls were closed because of World War I, Blaise Cendrars and the painter Moïse Kisling decided to put on concerts at 6 , the studio of the painter Émile Lejeune (1885–1964). For the first of these events, the walls of the studio were decorated with canvases by Picasso, Matisse, Léger, M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Composition Schools
A composition school is a group of composers or a style of composition purportedly shared by a group of composers, often from the same area or who studied in the same place. The membership of almost all groups is assigned by others and disputed. Older groups tend to be larger and are all assigned, while more contemporary groups tend to be more specific and may be self identified. For example, the title "mighty handful" was coined by music critic Vladimir Stasov in 1867 to describe the composers also referred to as The Five—first by Balakirev in 1870 , while the "Boston Six" were grouped by others and may include ten members. The international members of the Darmstadt School all attended the Darmstädter Ferienkurse. The Franco-Flemish School (1400–1630) is split into five generations, each of which have at least three members, while Les Six (1920) contains six members. See also *Prima pratica *Seconda pratica Seconda pratica, Italian for "second practice", is the counterpar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haydn And Mozart
The composers Wolfgang Amadeus Mozart (1756–1791) and Joseph Haydn (1732–1809) were friends. Their relationship is not very well documented, but the evidence that they enjoyed each other's company is strong. Six string quartets by Mozart are dedicated to Haydn (K. 387, 421, 428, 458, 464, 465, the "Haydn" Quartets). Background Haydn was already a fairly well-known young composer in Mozart's childhood. His six string quartets Opus 20 (1772), called the "Sun" Quartets from the drawing of the sun on the cover of the first edition, were widely circulated and are conjectured (for instance, by Charles Rosen) to have been the inspiration for the six early string quartets K. 168–173 the 17-year-old Mozart wrote during a 1773 visit to Vienna. The two composers probably weren't able to meet until after Mozart's permanent relocation to Vienna in 1781. Haydn's presence was required most of the time at the palace of Eszterháza in Hungary some distance from Vienna, where his employe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beethoven And Mozart
Wolfgang Amadeus Mozart (1756–1791) had a powerful influence on the works of Ludwig van Beethoven (1770–1827). Beethoven held Mozart in high regard; some of his music recalls Mozart's, he composed several variations on Mozart's themes and he modeled a number of his compositions on those of the older composer. Beethoven's years in Bonn Beethoven was born in Bonn in 1770, about 14 years after Mozart (born Salzburg, 1756). In 1781, during Beethoven's childhood, Mozart had moved from Salzburg to Vienna, the Austrian imperial capital, to pursue his career. While Bonn was politically and culturally affiliated to Vienna, it was geographically even more remote than Salzburg, lying around 900 km distant on the opposite side of German-speaking Europe. During his youth and musical training in Bonn, Beethoven had extensive, intimate exposure to Mozart's music. He played Mozart piano concertos with the Bonn court orchestra and performed (playing viola) in Mozart's operas. Indeed, Lew ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beethoven And His Contemporaries
During the course of his lifetime, Ludwig van Beethoven (1770–1827) enjoyed relationships with many of his musical contemporaries. Beethoven was famously difficult to get along with, and the history of his relationships with contemporaries is littered with arguments, misunderstandings, and reconciliations. Beethoven had well-known fallings out with his one-time teacher, Joseph Haydn, with the piano virtuoso and composer Johann Nepomuk Hummel, the German composer Carl Maria von Weber and the Italian violinist Niccolò Paganini. Conversely, he regarded Franz Schubert positively, praising the latter's compositions on his deathbed. Luigi Cherubini Beethoven met the composer Luigi Cherubini on the latter's journey to Vienna in 1805. Cherubini, a longtime resident of Paris, was invited to mount a production of his opera ''Die Tage der Gefahr'' (or ''Der Wasserträger'') after the success of his 1791 opera '' Lodoïska'', which was staged by Emanuel Schikaneder on 23 March 1803 at th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gustav Mahler
Gustav Mahler (; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century. Born in Bohemia (then part of the Austrian Empire) to Jewish parents of humble origins, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johannes Brahms
Johannes Brahms (; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid- Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, violin, voice, and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters. Emb ... [...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] |
Beethoven And His Contemporaries
During the course of his lifetime, Ludwig van Beethoven (1770–1827) enjoyed relationships with many of his musical contemporaries. Beethoven was famously difficult to get along with, and the history of his relationships with contemporaries is littered with arguments, misunderstandings, and reconciliations. Beethoven had well-known fallings out with his one-time teacher, Joseph Haydn, with the piano virtuoso and composer Johann Nepomuk Hummel, the German composer Carl Maria von Weber and the Italian violinist Niccolò Paganini. Conversely, he regarded Franz Schubert positively, praising the latter's compositions on his deathbed. Luigi Cherubini Beethoven met the composer Luigi Cherubini on the latter's journey to Vienna in 1805. Cherubini, a longtime resident of Paris, was invited to mount a production of his opera ''Die Tage der Gefahr'' (or ''Der Wasserträger'') after the success of his 1791 opera '' Lodoïska'', which was staged by Emanuel Schikaneder on 23 March 1803 at th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Classical Period (music)
The Classical period was an era of classical music between roughly 1750 and 1820. The Classical period falls between the Baroque and the Romantic periods. Classical music has a lighter, clearer texture than Baroque music, but a more sophisticated use of form. It is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment, Blume, Friedrich. ''Classic and Romantic Music: A Comprehensive Survey''. New York: W. W. Norton, 1970 but counterpoint was by no means forgotten, especially in liturgical vocal music and, later in the period, secular instrumental music. It also makes use of ''style galant'' which emphasized light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before and the orchestra increased in size, range, and power. The harpsichord was replaced as the main keyboard instrument by the piano (or fortepiano). Unlike the harpsichord, which plucks str ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
