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Piano Sonatas (Boulez)
Pierre Boulez composed three piano sonatas: the First Piano Sonata in 1946, the Second Piano Sonata in 1947–48, and the Third Piano Sonata in 1955–57 with further elaborations up to at least 1963, though only two of its movements (and a fragment of another) have been published. First Piano Sonata In early 1945, Boulez, who had been studying with Olivier Messiaen at the Paris Conservatoire, attended a performance of Arnold Schoenberg's Wind Quintet, conducted by René Leibowitz. Boulez later reflected: "It was a revelation to me. It obeyed no tonal laws and I found in it a harmonic and contrapuntal richness and a consequent ability to develop, extend, and vary ideas that I had not found anywhere else. I wanted, above all, to know how it was written". Boulez and a group of fellow students sought out Leibowitz and began studying privately with him. Thanks to Leibowitz, Boulez became familiar with the music of Anton Webern, who would prove to be a major influence. Boulez's First P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre Boulez
Pierre Louis Joseph Boulez (; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war Western classical music. Born in Montbrison, Loire, Montbrison in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism (in the 1950s), Aleatoric music, controlled chance music (in the 1960s) and the electronic transformation of instrumental music in real time (from the 1970s onwards). His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces regarded by many as lan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maurice Martenot
Maurice Louis Eugène Martenot (; October 14, 1898 – October 8, 1980) was a French cellist, a radio telegrapher during the first World War, and an inventor. Born in Paris, he is best known for his invention of the ondes Martenot, an instrument he first realized in 1928 and spent decades improving. He unveiled a microtonal model in 1938. He also was responsible for teaching the first generation of ondes Martenot performers, including Karel Goeyvaerts, Jeanne Loriod, Georges Savaria, Gilles Tremblay, and his sister Ginette Martenot. Martenot himself performed as an 'ondist' with the Philadelphia Orchestra under Leopold Stokowski in 1930. The 1937 World's Fair in Paris awarded him "Le Grand Prix de l'Exposition Mondiale". He taught lessons at the Paris Conservatoire during the 1940s. A Martenot biography, in French, has been written by ondist Jean Laurendeau. His invention of the ondes Martenot The ondes Martenot ( ; , "Martenot waves") or ondes musicales ("musical waves" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue
In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trope (music)
A trope or tropus may refer to a variety of different concepts in medieval, 20th-, and 21st-century music. The term ''trope'' derives from the Greek (''tropos''), "a turn, a change", related to the root of the verb (''trepein''), "to turn, to direct, to alter, to change". The Latinised form of the word is ''tropus''. In music, a trope is adding another section, or trope to a plainchant or section of plainchant, thus making it appropriate to a particular occasion or festival. Medieval music From the 9th century onward, trope refers to additions of new music to pre-existing chants in use in the Western Christian Church. Three types of addition are found in music manuscripts: # new melismas without text (mostly unlabelled or called "trope" in manuscripts) # addition of a new text to a pre-existing melisma (more often called ''prosula'', ''prosa'', ''verba'' or ''versus'') # new verse or verses, consisting of both text and music (mostly called trope, but also ''laudes'' or ' ... [...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 Beethoven ... [...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 de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Development (music)
In music, development is a process by which a musical idea is communicated in the course of a composition. It refers to the transformation and restatement of initial material. Development is often contrasted with musical variation, which is a slightly different means to the same end. ''Development'' is carried out upon portions of material treated in many ''different'' presentations and combinations at a time, while ''variation'' depends upon ''one'' type of presentation at a time. In this process, certain central ideas are repeated in different contexts or in altered form so that the mind of the listener consciously or unconsciously compares the various incarnations of these ideas. Listeners may apprehend a "tension between expected and real results" (see irony), which is one "element of surprise" in music. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contr ... [...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] |
Yvonne Loriod
Yvonne Louise Georgette Loriod-Messiaen (; 20 January 1924 – 17 May 2010) was a French pianist, teacher, and composer, and the second wife of composer Olivier Messiaen. Her sister was the Ondes Martenot player Jeanne Loriod. Biography Loriod was born in Houilles, Yvelines to Gaston and Simone Loriod. Initially receiving piano lessons from her godmother, she later studied at the Paris Conservatoire and became one of Olivier Messiaen's most avid pupils. She also studied with Isidor Philipp, Lazare Lévy then Marcel Ciampi. She went on to become a nationally acclaimed recording artist and concert pianist and premiered most of Messiaen's works for the piano, starting in the 1940s. Messiaen said that he was able to indulge in "the greatest eccentricities" when writing for piano, knowing that they would be mastered by Loriod. Both she and her sister Jeanne often performed as the soloists in his ''Turangalîla-Symphonie''. Loriod also orchestrated part of Messiaen's final orchestra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Cage
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition ''4′33″'', which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New York Herald Tribune
The ''New York Herald Tribune'' was a newspaper published between 1924 and 1966. It was created in 1924 when Ogden Mills Reid of the ''New-York Tribune'' acquired the ''New York Herald''. It was regarded as a "writer's newspaper" and competed with ''The New York Times'' in the daily morning market. The paper won twelve Pulitzer Prizes during its lifetime. A "Republican paper, a Protestant paper and a paper more representative of the suburbs than the ethnic mix of the city", according to one later reporter, the ''Tribune'' generally did not match the comprehensiveness of ''The New York Times'' coverage. Its national, international and business coverage, however, was generally viewed as among the best in the industry, as was its overall style. At one time or another, the paper's writers included Dorothy Thompson, Red Smith, Roger Kahn, Richard Watts Jr., Homer Bigart, Walter Kerr, Walter Lippmann, St. Clair McKelway, Judith Crist, Dick Schaap, Tom Wolfe, John Steinbeck, and J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roger Désormière
Roger Désormière () (13 September 1898 – 25 October 1963) was a French conductor. He was an enthusiastic champion of contemporary composers, but also conducted performances of early eighteenth century French music. Life and career Désormière was born in Vichy in 1898. He studied at the Paris Conservatoire, where his professors included Philippe Gaubert (flute), Xavier Leroux and Charles Koechlin (composition), and Vincent d'Indy (conducting). In 1922 he won the Prix Blumenthal and in 1923 became part of the Ecole d’Arcueil. Désormière's early conducting experience was largely with the Ballets suédois and Sergei Diaghilev's Ballets Russes. He was conductor of the Ballets suédois's premiere of '' Relâche'' (1924), a film and music presentation by Francis Picabia and Erik Satie, with the film segment, ''Entr'acte'', directed by René Clair. He then worked for the Diaghilev company from 1925 until the impresario's death, conducting the premieres of ''Barabau'' by Vittorio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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