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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] |
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] |
Oskar Von Redwitz
Oskar Freiherr von Redwitz (28 June 1823 – 6 July 1891) was a German poet from Lichtenau, Bavaria. Having studied at the universities of Munich and Erlangen, he was apprenticed to the law in the Bavarian State service (1846–49). He next (1849–50) studied languages and literature at Bonn, and in 1851 was appointed professor of aesthetics and of the history of literature at Vienna. In 1852, however, he gave up this post and retired to his estate of Schellenberg, near Kaiserslautern. The pious sentimentality of his romantic epic ''Amaranth'' (1849; 42nd ed., 1898) had already gained him enthusiastic admirers, and this work was followed, in 1850, by ''Märchen'' and by ''Gedichte'' (1852) and the tragedy ''Sieglinde'' (1854). He next settled on his estates near Kronach, and here wrote the tragedy ''Thomas Morus'' (1856), the historical dramas ''Philippine Welser'' (1859) and ''Der Zunftmeister von Nürnberg'' (1860), of which the first two met with great success. Elected m ... [...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] |
Der Mondabend
"" ("The moonlit evening") is a poem by , who published his poetry under the pseudonym Ermin in ', a periodical he had founded in 1811. In 1815 Franz Schubert set "Der Mondabend" for voice and piano. It was first published in 1830 in Vienna, as No. 1 of Op. posth. 131. Later the song was known as 141. The other two songs of Op. 131 were (for tenor, men's choir and piano), and 23 (for voice and piano). The only other poem by Kumpf that was set by Schubert was "", D 305. " Der Mondabend", WAB 200, is a reminiscence – in the same key (A major), meter () and first four notes – of Schubert's "Der Mondabend", that Anton Bruckner composed for Aloisia Bogner .Uwe Harten, ''Anton Bruckner. Ein Handbuch''. Residenz Verlag, Salzburg, 1996. , References External links "Der Mondabend" at text and translations at The LiederNet Archive The LiederNet Archive (formerly The Lied, Art Song, and Choral Texts Archive) is a donation-supported web archive of art song and choral texts founded ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tessitura
In music, tessitura (, pl. ''tessiture'', "texture"; ) is the most acceptable and comfortable vocal range for a given singer or less frequently, musical instrument, the range in which a given type of voice presents its best-sounding (or characteristic) timbre. This broad definition is often interpreted to refer specifically to the pitch range that most frequently occurs within a given part of a musical piece. Hence, in musical notation, ''tessitura'' is the ambitus, or a narrower part of it, in which that particular vocal (or less often instrumental) part lies—whether high or low, etc. However, the tessitura of a part or voice is not decided by the extremes of its range, but rather by the share of this total range which is most used. Hence, it is referred to as the "heart" of a range. For example, throughout the entirety of Wagner's ''Ring'', the music written for the tenor role of Siegfried ranges from C to C, but the tessitura is described as high because the phrases are mos ... [...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] |
Weltliche Chorwerke (Bruckner)
Throughout almost all his composing life, Anton Bruckner composed about thirty (secular choral works) and seven (mottoes) on German-language texts, the first in 1843 and the last in 1893. Many of these works including the mottoes, often with a patriotic slant, were written for ''Liedertafel'' (men's choral societies), above all ''Frohsinn'' and ''Sängerbund''. Others were composed for private occasions, such as weddings, funerals, birthdays or name-days, being dedicated to friends and acquaintances of the composer. The large majority of these works are set for men's choir, sometimes with soloists. Only two choral works (WAB 64 and WAB 66) and one motto (WAB 95.1) are set for mixed choir. Kronstorf * ''An dem Feste'', WAB 59a, a 20- bar long work, with 5 strophes, in D-flat major for men's choir composed on 19 September 1843 on a text by Alois Knauer. Around his life-end (1893), Bruckner reissued this first as ''Tafellied'', WAB 59c. Sankt Florian * ''Das Lied vom deutsc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Volkslied, WAB 94
The ("National hymn"), WAB 94, is a patriotic song composed by Anton Bruckner in 1882 for a competition for a (Hymn for the German People in Austria). History On 16 October 1881, the ''Deutsche Zeitung'' invited submissions for a text (for a singable national hymn). From 1,750 texts entered, Josef Winter's was awarded the first prize. On 1 January 1882 a second invitation appeared for a (Hymn for the German People in Austria), for men's choir as well as for voice and piano. Bruckner, as one of the 1,320 participants, sent a sample of both settings. No prize was awarded for any of the submissions.U. Harten, pp. 469-470C. van Zwol, p. 718 The manuscripts are stored in the archive of the ''Österreichische Nationalbibliothek'' and the '' Bibliothèque nationale de Paris''. The two settings were first published in Band III/2, pp. 191 and 192 of the Göllerich/Auer biography. The setting for voice and piano is issued in Band XXIII/1, No. 6 of the . The setting for men's ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mein Herz Und Deine Stimme, WAB 79
(My heart and your voice), WAB 79 is a lied composed by Anton Bruckner in 1868. History Bruckner composed the lied on a text of August von Platen, in 1868 during his stay in Linz. He dedicated it to Pauline Hofmann, sister of his pupil Helene Hofmann.C. Van Zwol, p. 717U. Harten, p. 277C. Howie, Chapter III, p. 117 The original manuscript is lost, but a copy of it is stored in the archive of the . In 1930, the work was published in Band III/2, pp. 144–150 of the Göllerich/Auer biography. The song is issued in Band XXIII/1, No. 4 of the . Text The song is based on a text by August von Platen, to which Bruckner made three small changes: Music The 60-bar long work in A major is scored for solo voice and piano. The continuous triplet figures on the piano ensure a uniform background for the song. Discography There are four recordings of ''Mein Herz und deine Stimme'': * Marie Luise Bart-Larsson (soprano), Gernot Martzy (piano), ''Kammermusikalische Kostbarkeite ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Im April, WAB 75
' ("In April"), WAB 75 is a lied composed by Anton Bruckner in . History Bruckner composed the lied on a text of Emanuel Geibel during his stay in Linz. He dedicated the lied to his pupil Helene Hofmann, Pauline Hofmann's younger sister.C. Howie, Chapter III, p. 117C. van Zwol, pp. 717-718 The date of composition is uncertain. It was originally supposed that the lied was composed in 1868. Because it was dedicated to "Helene Hofmann", Angela Pachovsky put the date "before 18 September 1865" instead, ''i.e.'', before Helene's wedding with Heinrich Heissler. The manuscript is lost, but a copy is stored in the archive of the St. Florian Abbey. In 1898 the work was issued by Bernhard Herzmansky by Doblinger. The first performance occurred on 5 February 1903 by Gisela Seehofer in a concert of the ''Wiener Akademischer Wagner-Verein'',U. Harten, p. 210 during which Seehofer sung also Bruckner's ''Ave Maria'', WAB 7 and ''Wie bist du, Frühling, gut und treu''. The song is issued ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
