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Mitternacht, WAB 80
' (Midnight), WAB 80, is a song composed by Anton Bruckner in 1869. History Bruckner composed the song on a text of Joseph Mendelssohn in November 1869, for the 25th anniversary of Linz Liedertafel ''Frohsinn''. The piece was performed on 15 May 1870 by ''Frohsinn'' in the ' in Linz.C. van Zwol, p. 726U. Harten, p. 289C. Howie, Chapter III, p.81 The work, of which the original manuscript is stored in the archive of Liedertafel ''Frohsinn'', was first issued by Doblinger in 1903. It was reissued in 1911 by Viktor Keldorfer (Universal Edition), together with the two other Bruckner's "midnight-songs" (''Um Mitternacht'', WAB 89 and WAB 90). The song is issued in Band XXIII/2, No. 25 of the '. Text ''Mitternacht'' uses a text by Joseph Mendelssohn. Music The 84-bar long work in A-flat major is scored for choir, tenor soloist and piano. Strophe 1 is sung by the choir with an ostinato of the piano. In strophe 2, bars 49-58 ('), the soloist is singing with accompanimen ... [...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] |
Ostinato
In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's '' Boléro'' and the ''Carol of the Bells'', and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's "Baba O'Riley" (1971), and The Verve's " Bitter Sweet Symphony" (1997). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an os ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vienna State Opera
The Vienna State Opera (, ) is an opera house and opera company based in Vienna, Austria. The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (''Wiener Hofoper'') in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the old Vienna Court Opera (built in 1636 inside the Hofburg). The new site was chosen and the construction paid by Emperor Franz Joseph in 1861. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season. ... [...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] |
Christoph Prégardien
Christoph Prégardien (born 18 January 1956) is a German lyric tenor whose career is closely associated with the roles in Mozart operas, as well as performances of Lieder, oratorio roles, and Baroque music. He is well known for his performances and recordings of the Evangelist roles in Bach's ''St John Passion'' and ''St Matthew Passion''. Born in Limburg an der Lahn, he began his musical education as a choirboy at the cathedral's boys' choir, the Limburger Domsingknaben. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt at the Hochschule für Musik, with Carla Castellani in Milan, with Alois Treml in Stuttgart, and attended Hartmut Höll's lieder-class. His orchestral and oratorio repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th-century works by Britten, Killmayer, Rihm, and Stravinsky. Also recognized as an eminent recitalist, he regularly performs at the major recital venues in Paris, London, Bru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorus Viennensis
Chorus Viennensis is a male choir associated with the Vienna Boys Choir. It was founded in 1952. The choir has won the Grand Prix du Disque Grand may refer to: People with the name * Grand (surname) * Grand L. Bush (born 1955), American actor * Grand Mixer DXT, American turntablist * Grand Puba (born 1966), American rapper Places * Grand, Oklahoma * Grand, Vosges, village and co ..., the Mozart Interpretation Prize and the Schubert Interpretation prize. References 1952 establishments in Austria Austrian choirs {{Austria-band-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Herbert Lippert
Herbert Lippert (born 7 October 1957) is an Austrian operatic tenor. Life Born in Linz, Lippert was a soloist with the Vienna Boys' Choir, studied music teaching at the University of Vienna and graduated with distinction. As a member of the ensemble of the Vienna State Opera he has specialised as a Mozart singer. He has worked with Sir Georg Solti and Wolfgang Sawallisch, under whose direction numerous recordings such as Haydn's ''Die Schöpfung'', Mozart's ''Don Giovanni'' and Wagner's ''Die Meistersinger von Nürnberg'' were made. Lippert worked several times with the conductors Nikolaus Harnoncourt, Franz Welser-Möst, Riccardo Muti and Fabio Luisi. In 2009/10 he made recordings and gave concerts with Harnoncourt and the Concentus Musicus Wien, with Luisi and the Sächsische Staatskapelle Dresden, with Franz Welser-Möst and the Wiener Philharmoniker, as well as opera appearances at the Vienna Volksoper and at the Graz Opera. In June 2014, he performed at the Vienna State ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guido Mancusi
Guido Mancusi (born 14 June 1966) is an Austrian-Italian conductor and composer. Life Born in Portici near Naples, Mancusi was the son of the Neapolitan conductor Enrico Mancusi and the Viennese singing teacher Ines Mancusi and grew up in Naples and Padova. He received his first piano lessons from his father, who was a close friend of the composer Nino Rota. After his father's early death, his mother decided to return to her hometown of Vienna with her two children. Mancusi became boy soprano with the Vienna Boys' Choir. After the Matura at the , he began studies in bassoon and singing at the Konservatorium der Stadt Wien. During his school years he became a member of the Catholic secondary school fraternity K. Ö. St. V. Frankonia zu Wien, to which he still belongs today. Studies followed at the Vienna Academy of Music in composition with Erich Urbanner and conducting with Karl Österreicher, he received diplomas with distinction. In 1992 he became ''magister artium'' with a the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sixteenth Note
Figure 1. A 16th note with stem facing up, a 16th note with stem facing down, and a 16th rest. Figure 2. Four 16th notes beamed together. In music, a 1/16, sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation. Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups. A corresponding symbol is the sixteenth rest (or semiquaver rest), which denotes a silence for the same duration. As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff (or on the middle line, in vocal music). When they are on the middle line (in instrumental music) or ab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...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] |
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