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Festgesang, WAB 15
The ''Festgesang'' (Festive song), WAB 15, is a cantata composed by Anton Bruckner in 1855. History This cantata, also called ''Jodok Cantata'', is the last of three larger-scale occasional compositions. Bruckner composed it on 6 December 1855 for the name-day of Jodok Stülz, the dean of the St. Florian Abbey,C. van Zwol, p. 713 as a "Farewell to St. Florian", three weeks before he moved to Linz.C. van Zwol, p. 64 The piece was intended to be performed on 13 December 1855 (Stülz's name day) or the evening before. The manuscript is stored in the archive of the St. Florian Abbey. The manuscript was retrieved in 1921 by Franz Xaver Müller in the archive of the St. Florian Abbey.U. Harten, pp.151-152 A facsimile was first published in volume II/2, pp. 241–244 of the Göllerich/Auer biography. It is published in volume XXII/1 no. 5 of the '. Text The text used for the cantata is by an unknown author: : Setting The in total 143-bar long work in C major is scored for ... [...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] |
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] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imitation (music)
In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. The intervals and rhythms of an imitation may be exact or modified; imitation occurs at varying distances relative to the first occurrence, and phrases may begin with voices in imitation before they freely go their own ways. Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. Definitions When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Haydn
Johann Michael Haydn (; 14 September 173710 August 1806) was an Austrian composer of the Classical period, the younger brother of Joseph Haydn. Life Michael Haydn was born in 1737 in the Austrian village of Rohrau, near the Hungarian border. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother Maria, Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp, and he also made sure that his children learned to sing. Michael went to Vienna at the age of eight, his early professional career path being paved by his older brother Joseph, whose skillful singing had landed him a position as a boy soprano in the St. Stephen's Cathedral, Vienna choir under the direction of Georg Reutter, as were Johann Georg Albrechtsberger and Franz Jose ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basso Continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing the continuo part are called the ''continuo group''. Forces The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello, double bass, bass viol, or bassoon. In modern performances of chamber works, the most common combination is harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ and cello for sacred music. A double bass may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque
The Baroque (, ; ) is a style of architecture, music, dance, painting, sculpture, poetry, and other arts that flourished in Europe from the early 17th century until the 1750s. In the territories of the Spanish and Portuguese empires including the Iberian Peninsula it continued, together with new styles, until the first decade of the 19th century. It followed Renaissance art and Mannerism and preceded the Rococo (in the past often referred to as "late Baroque") and Neoclassical styles. It was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant architecture, art, and music, though Lutheran Baroque art developed in parts of Europe as well. The Baroque style used contrast, movement, exuberant detail, deep colour, grandeur, and surprise to achieve a sense of awe. The style began at the start of the 17th century in Rome, then spread rapidly to France, northern Italy, Spain, and Portugal, then to Austria, southern Germany, and Russia. B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aria
In music, an aria (Italian: ; plural: ''arie'' , or ''arias'' in common usage, diminutive form arietta , plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, 'Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic poetry; me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recitative
Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic ''recitativo secco'' ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through ''recitativo accompagnato'' (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
