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Quatre Études De Rythme
''Quatre Études de rythme'' (Four Rhythm Studies) is a set of four piano compositions by Olivier Messiaen, written in 1949 and 1950. A performance of them lasts between 15 and 20 minutes. History The four pieces which the composer collectively termed ''Études de rythme'' are not a "cycle" like Messiaen's earlier ''Vingt Regards sur l'enfant-Jésus'' (1944) or ''Visions de l’Amen'' (1943). Messiaen composed "Neumes rythmiques" and "Mode de valeurs et d’intensités" in 1949 (the latter at Darmstädter Ferienkurse, Darmstadt) and added the other two études in the following year, when he was at Tanglewood. The four movement (music), movements were premiered on 6 November 1950 in Tunis (at that time under the French protectorate of Tunisia) by the composer himself, who shortly afterward made the first recording of the études. The French premiere was given in Toulouse on 7 June 1951 by Yvonne Loriod. Analysis The work consists of four movements # "Ile de feu I" (Fire Island I) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Olivier Messiaen
Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called ''modes of limited transposition'', which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime. Messiaen entered the Paris Conservatoire at the age of 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Retrograde (music)
A melodic line that is the reverse of a previously or simultaneously stated line is said to be its retrograde or cancrizans ("walking backward", medieval Latin, from ''cancer'', crab). An exact retrograde includes both the pitches and rhythms in reverse. An even more exact retrograde reverses the physical contour of the notes themselves, though this is possible only in electronic music. Some composers choose to subject just the pitches of a musical line to retrograde, or just the rhythms. In twelve-tone music, reversal of the pitch classes alone—regardless of the melodic contour created by their registral placement—is regarded as a retrograde. In modal and tonal music In treatises Retrograde was not mentioned in theoretical treatises prior to 1500.Newes, p. 218. Nicola Vicentino (1555) discussed the difficulty in finding canonic imitation: "At times, the fugue or canon cannot be discovered through the systems mentioned above, either because of the impediment of rests ... [...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] |
Structures (Boulez)
''Structures I'' (1952) and ''Structures II'' (1961) are two related works for two pianos, composed by the French composer Pierre Boulez. History The first book of ''Structures'' was begun in early 1951, as Boulez was completing his orchestral work ''Polyphonie X'', and finished in 1952. It consists of three movements, or "chapters", labelled ''Ia'', ''Ib'', and ''Ic'', composed in the order ''a'', ''c'', ''b''. The first of the second book's two "chapters" was composed in 1956, but chapter2 was not written until 1961. The second chapter includes three sets of variable elements, which are to be arranged to make a performing version. A partial premiere of book2 was performed by the composer and Yvonne Loriod at the Wigmore Hall, London, in March 1957. This was Boulez's first appearance in the UK as a performer. The same performers gave the premiere of the complete second book, with two different versions of chapter2, in a chamber-music concert of the Donaueschinger Musiktage on S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turangalîla-Symphonie
The ''Turangalîla-Symphonie'' is the only symphony by Olivier Messiaen (1908–1992). It was written for an orchestra of large forces from 1946 to 1948 on a commission by Serge Koussevitzky in his wife's memory for the Boston Symphony Orchestra. Along with the ''Quatuor pour la fin du temps'', the symphony is one of the composer's most notable works. The premiere was in Boston on 2 December 1949, conducted by Leonard Bernstein. The commission did not specify the duration, orchestral requirements or style of the piece, leaving the decisions to the composer. Koussevitzky was billed to conduct the premiere, but fell ill, and the task fell to the young Bernstein. Bernstein has been described as "the ideal conductor for it, and it made Messiaen's name more widely known". Yvonne Loriod, who later became Messiaen's second wife, was the piano soloist, and Ginette Martenot played the ondes Martenot for the first and several subsequent performances. From 1953, Yvonne's sister Jeanne ... [...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] |
Kreuzspiel
(Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951 (it was later revised for just three percussionists, along with other changes). It is assigned the number 1/7 in the composer's catalogue of works. History Stockhausen regarded ''Kreuzspiel'' as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies. According to the composer, it was influenced by Olivier Messiaen's " Mode de valeurs et d'intensités" (1949) and Karel Goeyvaerts's Sonata for Two Pianos (1950), and is one of the earliest examples of "point" music. ''Kreuzspiel'' was premièred at the Darmstädter Ferienkurse in the summer of 1952, conducted by the composer. According to Stockhausen, the performance "ended in a scandal". Analysis ''Kreuzspiel'' has been analysed in print more often than any other work by Stockhausen, though all but one restrict themselves to just the first of its thre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata For Two Pianos (Goeyvaerts)
Sonata for Two Pianos (1950–51), also called simply Opus 1 or Nummer 1, is a chamber music work by Belgian composer Karel Goeyvaerts, and a seminal work in the early history of European serialism. History Goeyvaerts composed the sonata during the winter of 1950–51, and brought the score with him when he attended the Darmstädter Ferienkurse in the Summer of 1951. There he met Karlheinz Stockhausen, five years his junior and at the time and a student in his last year at the Cologne Conservatory. Goeyvaert's and Stockhausen's analysis and performance of the second movement of the Sonata in Theodor W. Adorno's composition seminar had considerable significance for those young composers eager to develop serial thinking. The influence of the Sonata is also evident in Stockhausen's early serial compositions, particularly '' Kreuzspiel'', which Stockhausen began composing on his way home from Darmstadt and finished on 4 November 1951. Adorno, however, did not appreciate the qualities ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michel Fano
Michel Fano (born 9 December 1929) is a French musician, composer, writer, filmmaker, and sound designer. He developed the concept of to describe the potential for a film's soundtrack to interact with its visual content. During the early 1950s, he was part of a generation of composers associated with the Darmstadt School, and was a lifelong friend of Pierre Boulez. From 1962 until 1975, he regularly collaborated with Alain Robbe-Grillet on cinematic projects, creating (or "sound-scores") for five of Robbe-Grillet's films. Works Compositions The following are Fano's acknowledged compositions; numerous works of juvenilia and works-in-progress also exist. * Sonate pour deux pianos (1952) * ''Étude XV'' (Picc. Fl. Ob. Eh. Cl ♭ Cl. Bcl. 2Hn. Ptpt. 2Tpt. Sax. 2Vln. 2Va. 2Vlc. Cb) (1954, premiered 2021) * ''La Chambre Secréte'' (Electronic music with text by Alain Robbe-Grillet) * ''Fab V'' (piano solo, 1995) Partitions sonores * ''L'Immortelle'' (1963, dir. Alain Robbe-Gri ... [...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] |
Chronochromie
''Chronochromie'' (Time-Colour) is an orchestral work by French composer Olivier Messiaen, completed in 1960. It consists of seven movements: The sixth movement consists of 18 string instruments playing different birdsong. The first performance was in Donaueschingen on 16 October 1960, conducted by Hans Rosbaud. Instrumentation The work is scored for the following orchestra: ;Woodwinds : : : :3 bassoons ;Brass :4 horns : :3 trombones :1 tuba ;Percussion (6 players): :1 glockenspiel :1 xylophone :1 marimba : bells :3 gongs : suspended cymbal : chinese cymbal : tam-tam ;Strings :16 Violin I's :16 Violin II's :14 Violas :12 Celli :10 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 addit ...es References Further reading * Bauer, Amy. 2008. "The Impossible C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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