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Herbstkummer, WAB 72
("Autumnal sorrow"), WAB 72 is a lied composed by Anton Bruckner in 1864. History Bruckner composed the lied on the text of "Ernst", in April 1864 during his stay in Linz. It is not known for which purpose the lied was composed.C. Van Zwol, p. 717U. Harten, p. 196 The original manuscript is lost, but a copy of it is stored in the archive of the . A transcription by Emil Posch is also found in the city archive of Linz. In 1930, the work was published in Band III/2, pp. 152–157 of the Göllerich/Auer biography. The song is issued in Band XXIII/1, No. 3 of the . Text The song uses a text by "Ernst".Not further identified. It could be Wenzel Karl Ernst (1830-1910) or Hans Ernst. See: C. van Zwol p. 717. Music The 62-bar long work in E minor is scored for solo voice and piano. The emotional mood of the romantic text is outlined by triplet figures on the piano, chromatic developments, fermata, pauses and the contrast E major/ E minor. Discography There are fou ... [...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] |
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] |
Lieder By Anton Bruckner
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 German sp ... [...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] |
B Minor
B minor is a minor scale based on B, consisting of the pitches B, C, D, E, F, G, and A. Its key signature has two sharps. Its relative major is D major and its parallel major is B major. The B natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B harmonic minor and melodic minor scales are: : : Christian Friedrich Daniel Schubart (1739–1791) regarded B minor as a key expressing a quiet acceptance of fate and very gentle complaint, something commentators find to be in line with Bach's use of the key in his ''St John Passion''. By the end of the Baroque era, however, conventional academic views of B minor had shifted: Composer-theorist Francesco Galeazzi (1758–1819) opined that B minor was not suitable for music in good taste. Beethoven labelled a B-minor melodic idea in one of his sketchbooks as a "black key". Notable compositions in B minor * Johann Sebastian Ba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Transposition (music)
In music, transposition refers to the process or operation of moving a collection of notes ( pitches or pitch classes) up or down in pitch by a constant interval. For example, one might transpose an entire piece of music into another key. Similarly, one might transpose a tone row or an unordered collection of pitches such as a chord so that it begins on another pitch. The transposition of a set ''A'' by ''n'' semitones is designated by ''T''''n''(''A''), representing the addition ( mod 12) of an integer ''n'' to each of the pitch class integers of the set ''A''. Thus the set (''A'') consisting of 0–1–2 transposed by 5 semitones is 5–6–7 (''T''5(''A'')) since , , and . Scalar transpositions In scalar transposition, every pitch in a collection is shifted up or down a fixed number of scale steps within some scale. The pitches remain in the same scale before and after the shift. This term covers both chromatic and diatonic transpositions as follows. Chromatic transpo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
E Major
E major (or the key of E) is a major scale based on E, consisting of the pitches E, F, G, A, B, C, and D. Its key signature has four sharps. Its relative minor is C-sharp minor and its parallel minor is E minor. Its enharmonic equivalent, F-flat major, has eight flats, including the double-flat B, which makes it impractical to use. The E major scale is: Music in E major Antonio Vivaldi used this key for the "Spring" concerto from ''The Four Seasons''. Johann Sebastian Bach used E major for a violin concerto, as well as for his third partita for solo violin; the key is especially appropriate for the latter piece because its tonic (E) and subdominant (A) correspond to open strings on the violin, enhancing the tone colour (and ease of playing) of the bariolage in the first movement. Only two of Joseph Haydn's 106 symphonies are in E major: No. 12 and No. 29. Ludwig van Beethoven used E major for two of his piano sonatas, Op. 14/1 and Op. 109. Starting with B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rest (music)
A rest is a musical notation sign that indicates the absence of a sound. Each rest symbol and name corresponds with a particular note value for length, indicating how long the silence should last. Description Rests are intervals of silence in pieces of music, marked by symbols indicating the length of the pause. Each rest symbol and name corresponds with a particular note value, indicating how long the silence should last, generally as a multiplier of a measure or whole note. * The quarter (crotchet) rest (𝄽) may also be found as a form in older music.''History of Music Notation'' (1937) by C. Gorden, p. 93. * The four-measure rest or longa rest are only used in long silent passages which are not divided into bars. * The combination of rests used to mark a pause follows the same rules as for note values.''AB guide to music theory'' by E. Taylor, chapter 13/1, One-bar rests When an entire bar is devoid of notes, a whole (semibreve) rest is used, regardless of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fermata
A fermata (; "from ''fermare'', to stay, or stop"; also known as a hold, pause, colloquially a birdseye or cyclops eye, or as a grand pause when placed on a note or a rest) is a symbol of musical notation indicating that the note should be prolonged beyond the normal duration its note value would indicate.''The Harvard Dictionary of Music'', p. 310 Exactly how much longer it is held is up to the discretion of the performer or conductor, but twice as long is common. It is usually printed above but can be occasionally below (when it is upside down) the note to be extended. When a fermata is placed over a bar or double-bar, it is used to indicate the end of a phrase or section of a work. In a concerto, it indicates the point at which the soloist is to play a cadenza. A fermata can occur at the end of a piece (or movement) or in the middle of a piece. It can be followed by either a brief rest or more notes. Other names for a fermata are ''corona'' (Italian), ''point d'orgue' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromatic
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900. These terms may mean different things in different contexts. Very often, ''diatonic'' refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B. In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor). ''Chromatic'' most often refers to structures derived from the twelve-note chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the tetrachord, and to a rhythmic notational convention in me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700. Description The word "piano" is a shortened form of ''pianoforte'', the Italian term for the early 1700s versions of the instrument, which in turn derives from ''clavicembalo col piano e forte'' (key cimbalom with quiet and loud)Pollens (1995, 238) and ''fortepiano''. The Italian musical terms ''piano'' and ''forte'' indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the grea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
