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Kitzler-Studienbuch
The ''Kitzler Study Book'' () is an autograph workbook of Anton Bruckner which he wrote taking tuition with the conductor and cellist Otto Kitzler in Linz. Bruckner tried to complete his knowledge in musical form and instrumentation with Kitzler after the end of his studies with Simon Sechter. Description The workbook is composed of 163 pages of different sizes in landscape format (326 numbered pages) in chronological order, some of them dated, from ( Holy Night, 1861) on p. 30, to 10 July 1863 on p. 325.U. Harten, pp. 233-234C. van Zwol, p. 90 The workbook contains autograph sketches, comments, complete and partial compositions, which are displaying a rigorous tuition in musical formatting and instrumentation. The first entries (pp. 1-18) are exercises in musical form: cadences and periods. They are followed (pp. 18-57) by lieder in two and three parts, and (pp. 58-218) by pieces for piano and string quartet: waltz, polka, mazurka, études, theme and variations ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lieder (Bruckner)
Anton Bruckner composed about 20 lieder during his life, the earliest in , the last in 1882. Most of the lieder were composed during his stay in the St. Florian Abbey (1845–1855) and his tuition by Otto Kitzler (1861–1862). St. Florian and early Linz period During his stay in St. Florian and in Linz before Kitzler's tuition, Bruckner made sketches for two lieder and composed three lieder. During the beginning of his stay in St. Florian, Bruckner made sketches for two lieder: * (So gentle as the creeks), WAB 138, a 31-bar sketch made in for a lied in A-flat major on a text of Ernst Marinelli. The manuscript, in which the piano accompaniment is incomplete, is stored in the archive of the St. Florian Abbey.C. Van Zwol, pp. 718-719 This , of which a facsimile was first published in Band II/2, pp. 59–60, of the Göllerich/Auer biography, is edited in Band XXIII/1, '' Liedentwürfe'', of the Bruckner's . * (As the creek's silvery source), WAB 84.1, a 60-bar sketch made ... [...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] |
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] |
Rondo In C Minor (Bruckner)
The Rondo in C minor (Werkverzeichnis Anton Bruckner, WAB 208) is a composition for string quartet by the Austrian composer Anton Bruckner. It was written in 1862 but was not performed publicly until 1984, after the composer's death. A critical edition was first published in 1985 and the piece was first recorded in 1992 by the Raphael Quartet. History During his stay in Linz, Bruckner composed his String Quartet (Bruckner), String Quartet in 1862 as a student exercise assigned by his form and orchestration teacher, Otto Kitzler. On reviewing Bruckner's work, Kitzler was perhaps dissatisfied with Bruckner's unconventionality of the first rondo. He therefore suggested that a new rondo in a more traditional rondo-sonata form would have benefited the piece. Bruckner responded by creating this new large rondo form, creating a new work significantly different in musical content from the original as well as noticeably longer, with a performance time of approximately five minutes. This seco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Quartet (Bruckner)
The String Quartet in C minor WAB 111, was composed by Anton Bruckner's in 1862 during his tuition by Otto Kitzler. History In the spring of 1862, during his tuition by Otto Kitzler, Bruckner composed two scherzi for string quartet in F major and G minor. Thereafter, between 28 July and 7 August 1862, he composed the String Quartet in C minor, as a preliminary to exercises in orchestration. The manuscript of the Quartet was found on pp. 165–196 of the '' Kitzler-Studienbuch''.C. van Zwol, pp. 682-683 On reviewing Bruckner's work one week later (15 August 1862), Kitzler was perhaps dissatisfied with Bruckner's unconventionality of the first rondo. He therefore suggested that a Rondo ' and in a more traditional rondo-sonata form would have benefited the piece. The 40- bars longer piece, which has the same key, metre and formal structure as the first Rondo, can, therefore, be regarded as an alternative to the first Rondo. The Quartet was not issued during Bruckner's li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Otto Kitzler
Otto Kitzler (18 March 1834 – 6 September 1915) was a German cellist and conductor. He is noted for being the form and orchestration teacher of the Austrian composer Anton Bruckner from 1861 to 1863. Kitzler led the Linz theatre orchestra and was responsible for introducing Bruckner to the music of Richard Wagner as well as other 19th-century composers. The sketches and compositions that Bruckner prepared for Kitzler are found in the '' Kitzler-Studienbuch'', which "due to its inaccessibility...has achieved little notoriety in the musical world". Kitzler wrote a funeral music "In Memorial of Anton Bruckner" (Trauermusik "Dem Andenken Anton Bruckners"), re-orchestrated by Gerd Schaller (2012) and recorded with the Philharmonie Festiva for Profil Edition Günter Hänssler Hänssler-Verlag is a German music publishing house founded in 1919 as Musikverlag Hänssler by Friedrich Hänssler Senior (died 1972) to publish church music. The company is now based in Holzgerlingen. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Introduction (music)
In music, the introduction is a passage or section which opens a movement or a separate piece, preceding the theme or lyrics. In popular music, this is often known as the song intro or just the intro. The introduction establishes melodic, harmonic or rhythmic material related to the main body of a piece.Pease, Ted (2003), p.172. ''Jazz Composition : Theory and Practice''. . Introductions may consist of an ostinato that is used in the following music, an important chord or progression that establishes the tonality and groove for the following music, or they may be important but disguised or out-of-context motivic or thematic material. As such, the introduction may be the first statement of primary or other important material, may be related to but different from the primary or other important material, or may bear little relation to any other material. A common introduction to a rubato ballad is a dominant seventh chord with fermata, an introduction that works for many songs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Sonata No
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] |
Exposition (music)
In musical form and analysis, exposition is the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied. *In sonata form, the exposition is "the first major section, incorporating at least one important modulation to the dominant or other secondary key and presenting the principal thematic material." *In a fugue, the exposition is "the statement of the subject in imitation by the several voices; especially the first such statement, with which the fugue begins." In sonata form The term is most widely used as an analytical convenience to denote a portion of a movement identified as an example of classical tonal sonata form. The exposition typically establishes the music's tonic key, and then modulates to, and ends in, the dominant. If the exposition starts in a minor key, it typically modulates to the relative major key. There are many exceptions, e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polka
Polka is a dance and genre of dance music originating in nineteenth-century Bohemia, now part of the Czech Republic. Though associated with Czech culture, polka is popular throughout Europe and the Americas. History Etymology The term ''polka'' referring to the dance is derived from the Czech word ''Polka'' meaning "Polish woman" (feminine form corresponding to ''Polák'', a Pole)."polka, n.". Oxford University Press. (accessed 11 July 2012). Czech cultural historian Čeněk Zíbrt also attributes the term to the Czech word ''půlka'' (half), referring to both the half-tempo and the half-jump step of the dance.Čeněk Zíbrt, "Jak se kdy v Čechách tancovalo: dějiny tance v Čechách, na Moravě, ve Slezsku a na Slovensku z věků nejstarších až do nové doby se zvláštním zřetelem k dějinám tance vůbec", Prague, 189(Google eBook)/ref> The word was widely introduced into the major European languages in the early 1840s. Origin and popularity The polka' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical form, musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical music era, Classical period). While it is typically used in the first Movement (music), movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rondo
The rondo is an instrumental musical form introduced in the Classical period. Etymology The English word ''rondo'' comes from the Italian form of the French ''rondeau'', which means "a little round". Despite the common etymological root, rondo and rondeau as musical forms are essentially different. Rondeau is a ''vocal'' musical form that was originally developed as monophonic music (in the 13th century) and then as polyphonic music (in the 14th century). Notably, both vocal forms of rondeau nearly disappeared from the repertoire by the beginning of the 16th century. In French, ''rondeau'' is used for both forms, while in English ''rondeau'' is generally used for the ''vocal'' musical form, while ''rondo'' is used for the ''instrumental'' musical form.Don Neville, "Rondò", ''The New Grove Dictionary of Opera'', 4 vols., edited by Stanley Sadie Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and edit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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