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String Quartet No. 14 (Schubert)
The String Quartet No. 14 in D minor, D 810, known as ''Death and the Maiden'', is a piece by Franz Schubert that has been called "one of the pillars of the chamber music repertoire". It was composed in 1824, after the composer suffered a serious illness and realized that he was dying. It is named for the theme of the second movement, which Schubert took from a song he wrote in 1817 of the same title. The quartet was first played in 1826 in a private home, and was not published until 1831, three years after Schubert's death. Composition 1823 and 1824 were hard years for Schubert. For much of 1823 he was sick, some scholars believe with an outburst of tertiary stage syphilis, and in May had to be hospitalized. He was also without money: he had entered into a disastrous deal with Diabelli to publish a batch of works, and received almost no payment; and his latest attempt at opera, '' Fierrabras'', was a flop. In a letter to a friend, he wrote, Yet, despite his bad hea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Original Manuscript Of Death And The Maiden Quartet
Originality is the aspect of created or invented works that distinguish them from replica, reproductions, clones, forgery, forgeries, or substantially derivative works. The modern idea of originality is according to some scholars tied to Romanticism, by a notion that is often called romantic originality.Smith (1924)Waterhouse (1926)Macfarlane (2007) The validity of "originality" as an operational concept has been questioned. For example, there is no clear boundary between "derivative" and "inspired by" or "in the tradition of." The concept of originality is both culturally and historically contingent. For example, unattributed reiteration of a published text in one culture might be considered plagiarism but in another culture might be regarded as a convention of veneration. At the time of Shakespeare, it was more common to appreciate the similarity with an admired classical work, and Shakespeare himself avoided "unnecessary invention".Royal Shakespeare Company (2007) ''The RSC ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franz Lachner
Franz Paul Lachner (2 April 1803 – 20 January 1890) was a German composer and conductor. Biography Lachner was born in Rain am Lech to a musical family (his brothers Ignaz, Theodor and Vinzenz also became musicians). He studied music with Simon Sechter and Maximilian, the Abbé Stadler. He conducted at the Theater am Kärntnertor in Vienna. In 1834, he became '' Kapellmeister'' at Mannheim. As a result of composers' aesthetic comparisons of Beethoven's symphonic output with efforts afterwards, in 1835, there was a competition in Vienna for the best new symphony sponsored by Tobias Haslinger of the music publishing firm with no fewer than 57 entries. Lachner received first prize with his 5th Symphony ''Sinfonia passionata, or Preis-Symphonie'' and became royal ''Kapellmeister'' at Munich, becoming a major figure in its musical life, conducting at the opera and various concerts and festivals. His career there came to a sudden end in 1864 after Richard Wagner's disciple Hans von ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
G Minor
G minor is a minor scale based on G, consisting of the pitches G, A, B, C, D, E, and F. Its key signature has two flats. Its relative major is B-flat major and its parallel major is G major. According to Paolo Pietropaolo, it is the contrarian of musical keys. It is smart, argumentative, and stubborn. The G natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G harmonic minor and melodic minor scales are: : : Mozart's use of G minor G minor has been considered the key through which Wolfgang Amadeus Mozart best expressed sadness and tragedy, and many of his minor key works are in G minor, such as Piano Quartet No. 1 and String Quintet No. 4. Though Mozart touched on various minor keys in his symphonies, G minor is the only minor key he used as a main key for his numbered symphonies ( No. 25, and the famous No. 40). In the Classical period, symphonies in G minor almos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andante (tempo)
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common Time
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat. In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or (read ''common time'' or ''four-four time'', respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter. There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., and ), and compound (e.g., and ); or involves shifting beat patterns, including complex (e.g., or ), mixed (e.g., & or & ), additive (e.g., ), fractional (e.g., ), and irrational met ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
D Minor
D minor is a minor scale based on D, consisting of the pitches D, E, F, G, A, B, and C. Its key signature has one flat. Its relative major is F major and its parallel major is D major. The D natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D harmonic minor and melodic minor scales are: Music in D minor Of Domenico Scarlatti's 555 keyboard sonatas, 151 are in minor keys, and with 32 sonatas, D minor is the most often chosen minor key. ''The Art of Fugue'' by Johann Sebastian Bach is in D minor. Michael Haydn's only minor-key symphony, No. 29, is in D minor. According to Alfred Einstein, the history of tuning has led D minor to be associated with counterpoint and chromaticism (for example, the chromatic fourth), and cites Bach's ''Chromatic Fantasia and Fugue'' in D minor. Mozart's Requiem is written primarily in D minor, as are the famous Queen of the Night Aria, "Der ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dynamics (music)
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance, the ''forte'' marking (meaning loud) in one part of a piece might have quite different objective loudness in another piece or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than . There are ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fortissimo
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance, the ''forte'' marking (meaning loud) in one part of a piece might have quite different objective loudness in another piece or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than . There are m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Absolute Music
Absolute music (sometimes abstract music) is music that is not explicitly 'about' anything; in contrast to program music, it is non- representational.M. C. Horowitz (ed.), ''New Dictionary of the History of Ideas'', , vol.1, p. 5 The idea of absolute music developed at the end of the 18th century in the writings of authors of early German Romanticism, such as Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann but the term was not coined until 1846 where it was first used by Richard Wagner in a programme to Beethoven's Ninth Symphony. The aesthetic ideas underlying absolute music derive from debates over the relative value of what was known in the early years of aesthetic theory as the fine arts. Kant, in his '' Critique of Judgment'', dismissed music as "more a matter of enjoyment than culture" and "less worth in the judgement of reason than any other of the fine arts" because of its lack of conceptual content, thus treating as a deficit the very feature of music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Program Music
Program music or programatic music is a type of instrumental art music that attempts to musically render an extramusical narrative. The narrative itself might be offered to the audience through the piece's title, or in the form of program notes, inviting imaginative correlations with the music. A well-known example is Sergei Prokofiev's ''Peter and the Wolf''. The genre culminates in the symphonic works of Richard Strauss that include narrations of the adventures of Don Quixote, ''Till Eulenspiegel'', the composer's domestic life, and an interpretation of Nietzsche's philosophy of the Übermensch. Following Strauss, the genre declined and new works with explicitly narrative content are rare. Nevertheless the genre continues to exert an influence on film music, especially where this draws upon the techniques of 19th-century late romantic music. Similar compositional forms also exist within popular music, including the concept album and rock opera. The term is almost exclusive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tarantella
() is a group of various southern Italian folk dances originating in the regions of Calabria, Campania and Puglia. It is characterized by a fast upbeat tempo, usually in time (sometimes or ), accompanied by tambourines. It is among the most recognized forms of traditional southern Italian music. The specific dance-name varies with every region, for instance ''Sonu a ballu'' in Calabria, ''tammurriata'' in Campania, and ''pizzica'' in Salento. Tarantella is popular in Southern Italy and Argentina. The term may appear as in a linguistically masculine construction. History In the Italian province of Taranto, Apulia, the bite of a locally common type of wolf spider, named "tarantula" after the region, was popularly believed to be highly venomous and to lead to a hysterical condition known as tarantism. This became known as the "tarantella". R. Lowe Thompson proposed that the dance is a survival from a "Dianic or Dionysiac cult", driven underground. John Compton later ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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