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Piano Sonata No. 3 (Enescu)
The Sonata No. 3 for Piano in D major, Op. 24, No. 3, is a piano sonata by the Romanian composer George Enescu, written between 1933 and 1935. History Enescu composed his Third Piano Sonata during an especially dark period in his life. In September 1933 Enescu was abruptly summoned from Paris to Bucharest in order to care for , his future wife with whom he had a sometimes troubled relationship since 1914, and who had suffered a mental collapse. Enescu cancelled all of his obligations abroad in order to tend her through the winter, and then fell ill himself with heart trouble, compelling him to extend his leave from the concert stage for the rest of the year. In August 1934, Maruca was involuntarily hospitalised with a diagnosis of anxiety psychosis in a clinic in Purkersdorf near Vienna. This was on the initiative of her adult children, Constantin ("Bâzu") and Alice Cantacuzino, who subsequently took legal action to ensure she would no longer be allowed to govern her own financ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Enescu
George Enescu (; – 4 May 1955), known in France as Georges Enesco, was a Romanian composer, violinist, conductor and teacher. Regarded as one of the greatest musicians in Romanian history, Enescu is featured on the Romanian five lei. Biography Enescu was born in Romania, in the village of George Enescu, Botoșani, Liveni (later renamed "George Enescu" in his honor), then in Dorohoi County, today Botoșani County. His father was Costache Enescu, a landholder, and his mother was Maria Enescu (née Cosmovici), the daughter of an Orthodox priest. Their eighth child, he was born after all the previous siblings had died in infancy. His father later separated from Maria Enescu and had another son with Maria Ferdinand-Suschi: the painter Dumitru Bâșcu. A child prodigy, Enescu began experimenting with composing at an early age. Several, mostly very short, pieces survive, all for violin and piano. The earliest work of significant length bears the title ''Pămînt românesc'' ("Ro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marcel Mihalovici
Marcel Mihalovici (Bucharest, 22 October 1898 – Paris, 12 August 1985) was a French composer born in Romania. He was discovered by George Enescu in Bucharest. He moved to Paris in 1919 (at age 21) to study under Vincent d'Indy. His works include his ''Sonata number 1 for violin and piano'' (1920), ''Mélusine'' opera (1920, libretto by Yvan Goll), his ''1st string quartet'' (1923), ''2nd string quartet'' (1931), ''Sonata number 2 for violin and piano'' (1941), ''Sonata for violin and cello'' (1944), ''Phèdre'' Opera (1949), ''Étude in two parts for piano and instrumental ensemble'' (1951) and ''Esercizio per archi'' (1960). Many of his piano works were first performed by his wife, the concert pianist Monique Haas. Mihalovici was the original composer for the music of Samuel Beckett's radio play '' Cascando'' (1962). His ''Fifth Symphony'' features a soprano singing a setting of a Beckett poem, and he used '' Krapp's Last Tape'' as the basis for a small opera, Krapp, ou, La der ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kogălniceanu Family
The House of Kogălniceanu, Kogălniceanul or Cogâlniceanu (; ro, Familia Kogălniceanu, ''Kogălniceni'' or ''Kogălnicenii''; Francized ''de Kogalnitchan'') was one of the major political, intellectual and aristocratic families in Moldavia, with branches in modern Romania. Originally Bessarabian peasants, the first Kogălniceanus accumulated wealth and, as owners of the Scrivulenii (Râpile) estate, climbed into the boyar elite. They were also important as skilled members of the Moldavian bureaucracy, and, through brothers Constantin and Enache, also made contributions to 18th-century Romanian literature. Their work was matched and surpassed three generations later by possibly the most famous member of the family, historian and statesman Mihail Kogălniceanu, one of the founders of modern Romania and of Romanian liberalism. Some of the 20th-century Kogălniceanus were politically significant, supporting either the Conservative or People's Parties. Among the latter categ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toccata
Toccata (from Italian ''toccare'', literally, "to touch", with "toccata" being the action of touching) is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera '' L'Orfeo'' being a notable example). History Renaissance The form first appeared in the late Renaissance period. It originated in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gabrieli, Adriano Banchieri, and Luzzasco Luzzaschi. These are keyboard compositions in which one hand, and then the other, performs virtuosic runs and brilliant cascading passages against a chordal accompaniment in the other hand. Am ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coda (music)
In music, a coda () ( Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme. One of the ways that Bee ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Doina
The doina () is a Romanian musical tune style, possibly with Middle Eastern roots, customary in Romanian peasant music, as well as in Lăutărească. It was also adopted into klezmer music. Similar tunes are found throughout Eastern Europe and the Balkans. In some parts of the Balkans this kind of music is referred to as or . Origins and characteristics Béla Bartók discovered the ''doina'' in Northern Transylvania in 1912 and he believed it to be uniquely Romanian. After he found similar genres in Ukraine, Albania, Algeria, Middle East and Northern India, he came to the belief that these are part of a family of related genres of Arabo-Persian origin. He particularly linked the Romanian doina to the Turkish/Arabic '' Makam'' system. Bartók's conclusions were rejected by some Romanian ethnomusicologists, who accused Bartók of anti-Romanian bias. Nevertheless, the similarities between the Romanian ''doina'' and various musical forms from the Middle East have been subsequent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Monody
In music, monody refers to a solo vocal style distinguished by having a single melodic line and instrumental accompaniment. Although such music is found in various cultures throughout history, the term is specifically applied to Italian song of the early 17th century, particularly the period from about 1600 to 1640. The term is used both for the style and for individual songs (so one can speak both of monody as a whole as well as a particular monody). The term itself is a recent invention of scholars. No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos (in the earlier sense of " concertato", meaning "with instruments"). In poetry, the term monody has become specialized to refer to a poem in which one person laments another's death. (In the context of ancient Greek literature, monody, , could simply refer to lyric poetry sung by a single performer, rather than by a chorus.) History M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bridge (music)
In music, especially Western popular music, a bridge is a contrasting section that prepares for the return of the original material section. In a piece in which the original material or melody is referred to as the "A" section, the bridge may be the third eight-bar phrase in a thirty-two-bar form (the B in AABA), or may be used more loosely in verse-chorus form, or, in a compound AABA form, used as a contrast to a full AABA section. The bridge is often used to contrast with and prepare for the return of the verse and the chorus. "The b section of the popular song chorus is often called the ''bridge'' or ''release''." Etymology The term comes from a German word for bridge, ''Steg'', used by the Meistersingers of the 15th to the 18th century to describe a transitional section in medieval bar form. The German term became widely known in 1920s Germany through musicologist Alfred Lorenz and his exhaustive studies of Richard Wagner's adaptations of bar form in his popular 19t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recapitulation (music)
In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition. This material is most often recapitulated in the tonic key of the movement, in such a way that it reaffirms that key as the movement's home key. In some sonata form movements, the recapitulation presents a straightforward image of the movement's exposition. However, many sonata form movements, even early examples, depart from this simple procedure. Devices used by composers include incorporating a secondary development section, or varying the character of the original material, or rearranging its order, or adding new material, or omitting material altogether, or overlaying material that was kept separate in the exposition. The composer of a sonata form movement may disguise the start of the recapitulation as an extension of the d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pascal Bentoiu
Pascal Bentoiu (22 April 1927 – 21 February 2016) was a Romanian modernist composer. Life and career Bentoiu studied harmony, counterpoint and composition with Mihail Jora and piano with Theophil Demetriescu. He spent three years researching the rhythm and harmony of Romanian folk music at the Bucharest Folklore Institute and then began composing for the stage. His operas are written with dramatic flair and make use of a variety of elements, including folksong, tape, serialism and diatonic qualities. His instrumental and orchestral works also contain a variety of contemporary techniques, and Bentoiu's work is characterized by its color and lyricism. He has edited the sketches of the Fourth (1934) and Fifth (1941) Symphonies of Georges Enescu into shape for performance. (There is a recording of both realizations from a 1998 festival.) In 1949, he married Annie Deculescu. Bentoiu died in Bucharest on 21 February 2016 at the age of 88. Compositions Orchestral ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a 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 period). While it is typically used in the first 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 standard definition focuses on the thematic and harm ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tombeau De Couperin
''Le Tombeau de Couperin'' (''The Couperin's Grave'') is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917. The piece is in six movements, based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer (or in one case, two brothers) who had died fighting in World War I. Ravel also produced an orchestral version of the work in 1919, although this omitted two of the original movements. Overview The word ''tombeau'' in the title is a musical term popular from the 17th century, meaning "a piece written as a memorial". The specific Couperin, among a family noted as musicians for about two centuries, that Ravel intended to evoke is thought to be François Couperin "the Great" (1668–1733). Ravel stated that his intention was to pay homage more generally to the sensibilities of the Baroque French keyboard suite, not necessarily to imitate or pay tribute to Couperin himself in particular. This is reflecte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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