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Sonata For Solo Cello (Ligeti)
The Sonata for Solo Cello is an unaccompanied cello sonata written by György Ligeti between 1948 and 1953. The piece was initially received poorly by the Soviet-run Composer's Union and was not allowed to be published or performed. However, in the 1980s and 90s, after over a quarter century in repose, the piece reemerged and has since become a well-known part of the standard cello repertoire. History Ligeti was nearing the end of his schooling in 1948 and had already established himself as a highly gifted student. In this year, he composed the ''Dialogo'', which would later become the first movement of the Sonata, for a female cellist and fellow student at the Budapest Music Academy, Annuss Virány, with whom Ligeti was "secretly in love." Virány purportedly was not aware of the reason behind Ligeti’s generosity; she merely thanked him and never played it. Several years later, in 1953, Ligeti met Vera Dénes, an older and more celebrated cellist, who asked him for a piece of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
György Ligeti (1984)
György Sándor Ligeti (; ; 28 May 1923 – 12 June 2006) was a Hungarian-Austrian composer of contemporary classical music. He has been described as "one of the most important avant-garde composers in the latter half of the twentieth century" and "one of the most innovative and influential among progressive figures of his time". Born in Transylvania, Romania, he lived in the Hungarian People's Republic before emigrating to Austria in 1956. He became an Austrian citizen in 1968. In 1973 he became professor of composition at the Hamburg Hochschule für Musik und Theater, where he worked until retiring in 1989. He died in Vienna in 2006. Restricted in his musical style by the authorities of Communist Hungary, only when he reached the West in 1956 could Ligeti fully realise his passion for avant-garde music and develop new compositional techniques. After experimenting with electronic music in Cologne, Germany, his breakthrough came with orchestral works such as ''Atmosphères'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrygian Mode
The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. Ancient Greek Phrygian The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the '' Elements'' by Aristoxenos (fl. c. 335 BC), a disciple of Aristotle. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of Phrygia in Anatolia. In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. : In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Niccolò Paganini
Niccolò (or Nicolò) Paganini (; 27 October 178227 May 1840) was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers. Biography Childhood Niccolò Paganini was born in Genoa (then capital of the Republic of Genoa) on 27 October 1782, the third of the six children of Antonio and Teresa (née Bocciardo) Paganini. Paganini's father was an unsuccessful trader, but he managed to supplement his income by playing music on the mandolin. At the age of five, Paganini started learning the mandolin from his father and moved to the violin by the age of seven. His musical talents were quickly recognized, earning him numerous scholarships for violin lessons. The young Paganini studied under various local violinists, including Giovanni Serve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paganini Caprices
The 24 Caprices for Solo Violin were written in groups (six, six and twelve) by Niccolò Paganini between 1802 and 1817. They are also designated as M.S. 25 in Maria Rosa Moretti's and Anna Sorrento's ''Catalogo tematico delle musiche di Niccolò Paganini'' which was published in 1982. The ''Caprices'' are in the form of études, with each number exploring different skills (double stopped trills, extremely fast switching of positions and strings, etc.) Ricordi first published them in 1820, where they were grouped and numbered from 1 to 24 as Op. 1, together with 12 Sonatas for Violin and Guitar (Op. 2 and 3) and 6 Guitar Quartets (Op. 4 and 5). When Paganini released his ''Caprices'', he dedicated them " alli artisti" (to the artists) rather than to a specific person. A sort of dedication can be recognized in Paganini's own score, where he annotated between 1832 and 1840 the following 'dedicatee' for each ''Caprice'' (possibly ready for a new printed edition): 1: Henri Vie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virtuoso
A virtuoso (from Italian ''virtuoso'' or , "virtuous", Late Latin ''virtuosus'', Latin ''virtus'', "virtue", "excellence" or "skill") is an individual who possesses outstanding talent and technical ability in a particular art or field such as fine arts, music, singing, playing a musical instrument, or composition. Meaning This word also refers to a person who has cultivated appreciation of artistic excellence, either as a connoisseur or collector. The plural form of ''virtuoso'' is either ''virtuosi'' or the Anglicisation ''virtuosos'', and the feminine forms are ''virtuosa'' and ''virtuose''. According to ''Music in the Western civilization'' by Piero Weiss and Richard Taruskin: ...a virtuoso was, originally, a highly accomplished musician, but by the nineteenth century the term had become restricted to performers, both vocal and instrumental, whose technical accomplishments were so pronounced as to dazzle the public. The defining element of virtuosity is the performance ab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical form, 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 music era, Classical period). While it is typically used in the first Movement (music), 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 st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capriccio (music)
A capriccio or caprice (sometimes plural: ''caprices'', ''capri'' or, in Italian, ''capricci''), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of madrigals. In the late 16th and early 17th centuries, it could refer to madrigals, music intended alternatively for voices or instruments, or strictly instrumental pieces, especially keyboard compositions. Schwandt, Erich. 2001. "Capriccio (i)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Examples * Charles-Valentin Alkan: ''Capriccio alla soldatesca'' (1859) * Fikret Amirov: ''Azerbaijan Cap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Picardy Third
A Picardy third, (; french: tierce picarde) also known as a Picardy cadence or Tierce de Picardie, is a major chord of the tonic at the end of a musical section that is either modal or in a minor key. This is achieved by raising the third of the expected minor triad by a semitone to create a major triad, as a form of resolution. For example, instead of a cadence ending on an A minor chord containing the notes A, C, and E, a Picardy third ending would consist of an A major chord containing the notes A, C, and E. The minor third between the A and C of the A minor chord has become a major third in the Picardy third chord. Philosopher Peter Kivy writes: According to Deryck Cooke, "Western composers, expressing the 'rightness' of happiness by means of a major third, expressed the 'wrongness' of grief by means of the minor third, and for centuries, pieces in a minor key had to have a 'happy ending' – a final major chord (the 'tierce de Picardie') or a bare fifth." As a harmonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fourth
A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth () is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones (four and six, respectively). The perfect fourth may be derived from the harmonic series as the interval between the third and fourth harmonics. The term ''perfect'' identifies this interval as belonging to the group of perfect intervals, so called because they are neither major nor minor. A perfect fourth in just intonation corresponds to a pitch ratio of 4:3, or about 498 cents (), while in equal temperament a perfect fourth is equal to five semitones, or 500 cents (see additive s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tetrachord
In music theory, a tetrachord ( el, τετράχορδoν; lat, tetrachordum) is a series of four notes separated by three intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cents)—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning system. History The name comes from ''tetra'' (from Greek—"four of something") and ''chord'' (from Greek ''chordon''—"string" or "note"). In ancient Greek music theory, ''tetrachord'' signified a segment of the greater and lesser perfect systems bounded by ''immovable'' notes ( ); the notes between these were ''movable'' ( ). It literally means ''four strings'', originally in reference to harp-like instruments such as the lyre or the kithara, with the implicit understanding that the four strings produced adjacent (i.e., conjunct) notes. Modern music theory uses the octave as the basic u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ferenc Farkas
Ferenc Farkas (; 15 December 1905 – 10 October 2000) was a Hungarian composer. Biography Born into a musical family (his father played the cimbalom and his mother played the piano) in Nagykanizsa, Farkas began his musical studies in Budapest, at the Protestant Gymnasium (Grammar School) and later attended the Music Academy, where he studied composition with Leó Weiner and Albert Siklós. After his graduation in 1927, he worked as a repetiteur and conductor at the Municipal Theatre of Budapest and collaborated with the Diaghilev Ballet. From 1929 to 1931, he attended Ottorino Respighi's masterclass at the Accademia Nazionale di Santa Cecilia in Rome. The years he spent in Rome had a decisive influence on him. He became acquainted with Italian and Mediterranean culture to which he felt a deep attraction. About this he said: "My principal aim has always been to attain for myself a latin clarity and proportion.".Extract froSchatten Bartòks, Geständnis eines Komponisten' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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