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Nummer 2
''Nummer 2'' for thirteen instruments (also called ''Opus 2 for thirteen instruments'') is a composition written in 1951 by the Belgian composer Karel Goeyvaerts. ''Nummer 2'' has been claimed as the first "total serialism, serial" composition. though the same claim has been made for Milton Babbitt's ''Three Compositions for Piano'' (1947), which predates Goeyvaerts's work by four years. Form ''Nr 2'' is in a single movement, but falls into three large sections. Unlike its immediate predecessor in Goeyvaerts's catalog, ''Nr 1'' (1950–51) Sonata for Two Pianos (Goeyvaerts), Sonata for Two Pianos, and two of its serial successors, the electronic ''Nr 4 met dode tonen'' (1952) and ''Nummer 5, Nr 5 met zuivere tonen'' (1953), ''Nr 2'' uses a recurring twelve-tone technique, twelve-tone row (B F F E G A E D A B D C). In the outer sections this row is played monodically by the piano, five times in succession in part one, and five more times in the third section, but in retrograde. Arou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karel Goeyvaerts
Karel August Goeyvaerts (8 June 1923 – 3 February 1993) was a Belgian composer. Life Goeyvaerts was born in Antwerp, where he studied at the Royal Conservatoire of Antwerp, Royal Flemish Music Conservatory; he later studied musical composition, composition in Paris with Darius Milhaud and musical analysis, analysis with Olivier Messiaen. He also studied ondes Martenot with Maurice Martenot, who invented the instrument. In 1951, Goeyvaerts attended the famous Darmstadt New Music Summer School where he met Karlheinz Stockhausen, who was five years younger. Both were devout Catholics and found ways of integrating religious numerology into their serial compositions. They found themselves deep in conversation, and performed a movement from Goeyvaerts's "Nummer 1", Sonata for Two Pianos (Goeyvaerts), Sonata for Two Pianos, in the composition course by Theodor Adorno there. They were both astonished upon hearing for the first time Olivier Messiaen, Messiaen's "Quatre études de rythme#" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Violin
The violin, sometimes known as a ''fiddle'', is a wooden chordophone (string instrument) in the violin family. Most violins have a hollow wooden body. It is the smallest and thus highest-pitched instrument (soprano) in the family in regular use. The violin typically has four strings (music), strings (some can have five-string violin, five), usually tuned in perfect fifths with notes G3, D4, A4, E5, and is most commonly played by drawing a bow (music), bow across its strings. It can also be played by plucking the strings with the fingers (pizzicato) and, in specialized cases, by striking the strings with the wooden side of the bow (col legno). Violins are important instruments in a wide variety of musical genres. They are most prominent in the Western classical music, Western classical tradition, both in ensembles (from chamber music to orchestras) and as solo instruments. Violins are also important in many varieties of folk music, including country music, bluegrass music, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rainer Riehn
Rainer Riehn (12 November 1941 – 9 June 2015) was a German composer and conductor, and a co-editor of music theory magazines. Riehn was born in Danzig, Germany (modern Gdańsk, Poland) studied music theory in Mainz, Zürich, and Berlin and composition with Gottfried Michael Koenig in Utrecht. He met the music theorist Heinz-Klaus Metzger at the Darmstädter Ferienkurse in the summer of 1965. In 1968 he founded the Ensemble Musica Negativa, in 1977 the series Musik-Konzepte, which he published until 2003 (together with Heinz-Klaus Metzger). In 1984 Metzger and Riehn received the Deutscher Kritikerpreis as editors of the Musik-Konzepte. In 1987 he was chief dramaturge at the Oper Frankfurt together with Heinz-Klaus Metzger, and initiated the first commission for an opera composition for John Cage ( Europeras 1 & 2). Works * ''Les Chants de Maldoror,'' electronic composition, realized in Utrecht about a poetic novel ''Les Chants de Maldoror'' by the Comte de Lautréamont * ''Da ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinz-Klaus Metzger
Heinz-Klaus Metzger (6 February 1932 – 25 October 2009) was a German music critic and theorist. Born in Konstanz, Metzger studied piano under Carl Seemann in Freiburg im Breisgau and composition under Max Deutsch in Paris. Later, he met Theodor W. Adorno, Edgard Varèse, Karlheinz Stockhausen and Luigi Nono at the Darmstadt International Summer Courses for New Music. Here he found his role as a notable theoretician and proponent of serialism in musical theory. He participated as a distinguished contributor to a series of important texts in the journal ''Die Reihe''. Metzger was among the first critics to promote Stockhausen's music, but was soon a substantial critic of Stockhausen's compositional development. In the 1960s, Metzger was one of the first European commentators on John Cage, and spokesman of "compositional anarchy", which resulted in the ''Kölner Manifest'' of 1960, and serving as a copy editor of the magazine ''Collage'' in Palermo. From 1965 until 1969 he worked ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo (journal)
''Tempo'' is a quarterly peer-reviewed academic journal that specialises in music of the 20th century and contemporary music. It was established in 1939 as the 'house magazine' of the music publisher Boosey & Hawkes. ''Tempo'' was the brain-child of Arnold Schoenberg's pupil Erwin Stein, who worked for Boosey & Hawkes as a music editor. The journal's first editor was Ernest Chapman and it was intended to be a bi-monthly publication. Issues 1 to 4 appeared from January to July 1939; but owing to the outbreak of World War II there was a hiatus in publication until August 1941, when issue 5 appeared, and another until February 1944, when regular publication resumed with issue 6 on a roughly quarterly basis. Meanwhile, the New York City office of Boosey & Hawkes set up a separate American edition which produced six issues in 1940–1942 (numbered 1–6, independent of the UK numbering) and an unnumbered 'wartime edition' in February 1944. In 1946, the journal was enlarged and r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orm Finnendahl
Orm Finnendahl (born in 1963) is a German composer. Life Born in Düsseldorf, von 1983 bis 1990 Finnendahl studied music composition and musicology with Frank Michael Beyer, Carl Dahlhaus and Gösta Neuwirth in Berlin. He then studied from 1995 to 1998 with Helmut Lachenmann at the State University of Music and Performing Arts Stuttgart. From 1988 to 1989 he studied at the California Institute of the Arts in Los Angeles. He was director of the Kreuzberg sound workshop from 1991 to 1995. He taught at the Electronic Studio of the Technische Universität Berlin and headed the Institute for New Music at the Universität der Künste Berlin from 1996 to 2001. From 2000 to 2004 he was a university lecturer at the of the Folkwang University of the Arts. In 2004 he became professor for composition at the Hochschule für Musik Freiburg. There he ran the studio for electronic music. Since 2013 Finnendahl has been professor of composition at the Hochschule für Musik und Darstellende Kunst ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Celso Antunes
Celso Antunes (born November 12, 1959) is a Brazilian conductor located in Germany. Biography Antunes studied singing and conducting at the University of São Paulo, achieved recognition as assistant conductor of the São Paulo Youth Symphony Orchestra and obtained a DAAD scholarship to complete his studies on at the Musikhochschule Köln in Germany, where he graduated in 1990. Shortly afterward, in 1991, Antunes founded his own new music group, the Tippett Ensemble, which continues to give concerts throughout Europe, always featuring mainly contemporary music. Following his debut with the Neues Rheinisches Kammerorchester at the Kölner Philharmonie, he was appointed its Chief Conductor, a post he held from 1994 until 1998. During roughly the same period (1994–1997) he was also Chief Conductor of the Antwerp-based ensemble Champ d'Action. His engagements have included appearances at the Flanders Festival, the Cologne MusikTriennale, the Kurt-Weill-Festival in Des ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double Bass
The double bass (), also known simply as the bass () (or #Terminology, by other names), is the largest and lowest-pitched Bow (music), bowed (or plucked) string instrument in the modern orchestra, symphony orchestra (excluding unorthodox additions such as the octobass). Similar in structure to the cello, it has four, although occasionally five, strings. The bass is a standard member of the orchestra's string section, along with violins, viola, and cello, ''The Orchestra: A User's Manual'' , Andrew Hugill with the Philharmonia Orchestra as well as the concert band, and is featured in Double bass concerto, concertos, solo, and chamber music in European classical music, Western classical music.Alfred Planyavsky [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cello
The cello ( ; plural ''celli'' or ''cellos'') or violoncello ( ; ) is a Bow (music), bowed (sometimes pizzicato, plucked and occasionally col legno, hit) string instrument of the violin family. Its four strings are usually intonation (music), tuned in perfect fifths: from low to high, scientific pitch notation, C2, G2, D3 and A3. The viola's four strings are each an octave higher. Music for the cello is generally written in the bass clef, with tenor clef, and treble clef used for higher-range passages. Played by a ''List of cellists, cellist'' or ''violoncellist'', it enjoys a large solo repertoire Cello sonata, with and List of solo cello pieces, without accompaniment, as well as numerous cello concerto, concerti. As a solo instrument, the cello uses its whole range, from bassline, bass to soprano, and in chamber music such as string quartets and the orchestra's string section, it often plays the bass part, where it may be reinforced an octave lower by the double basses. Figure ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viola
The viola ( , also , ) is a string instrument that is bow (music), bowed, plucked, or played with varying techniques. Slightly larger than a violin, it has a lower and deeper sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin (which is tuned a perfect fifth above) and the cello (which is tuned an octave below). The strings from low to high are typically tuned to scientific pitch notation, C3, G3, D4, and A4. In the past, the viola varied in size and style, as did its names. The word viola originates from the Italian language. The Italians often used the term viola da braccio meaning literally: 'of the arm'. "Brazzo" was another Italian word for the viola, which the Germans adopted as ''Bratsche''. The French had their own names: ''cinquiesme'' was a small viola, ''haute contre'' was a large viola, and ''taile'' was a tenor. Today, the French use the term ''alto'', a reference to its range. The viola was popular in the heyd ... [...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] |
Serialism
In music, serialism is a method of Musical composition, composition using series of pitches, rhythms, dynamics, timbres or other elements of music, musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of atonality, post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a tone row, row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variation (music), variations. Other types of serialism also work with set (music), sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameter (music), parameters"), such as duration (music), duration, Dynamics (music), dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architectu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
