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String Quintet (Bruckner)
Anton Bruckner's String Quintet in F major, WAB 112 was composed in 1878/79 in Vienna. History Bruckner's superior Joseph Hellmesberger Sr. requested Bruckner for a string quartet. Instead of a string quartet, Bruckner composed a viola quintet, starting the composition in December 1878 and ended it on 12 July 1879. Bruckner dedicated the Quintet to Duke Max Emanuel of Bavaria.C. van Zwol, pp. 683-684 When looking at the score, Hellmesberger found the scherzo too challenging for the group to perform. In response, Bruckner wrote a less demanding, eight-minute long Intermezzo in the same key as alternative to the scherzo. The first three movements were premiered by Winkler Quartet with Josef Schalk joining on second viola on November 17, 1881 in Vienna.L. Nowak It was not until 1885 that the Hellmesberger Quartet played the Quintet with the original scherzo, Max Mustermann joining on second viola. Duke Emanuel was pleased by the composition and gave Bruckner a diamond pin. In al ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Josef Anton Bruckner (; 4 September 182411 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions. There are several version ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
G-flat Major
G-flat major (or the key of G-flat) is a major scale based on G, consisting of the pitches G, A, B, C, D, E, and F. Its key signature has six flats. Its relative minor is E-flat minor (or enharmonically D-sharp minor), and its parallel minor is G-flat minor, which is usually replaced by F-sharp minor, since G-flat minor's two double-flats make it generally impractical to use. Its direct enharmonic equivalent, F-sharp major, contains the same number of sharps as the G-flat major key does flats. The G-flat major scale is: : Characteristics Like F-sharp major, G-flat major is rarely chosen as the main key for orchestral works. It is more often used as a main key for piano works, such as the impromptus of Chopin and Schubert. It is the predominant key of Maurice Ravel's ''Introduction and Allegro'' for harp, flute, clarinet and string quartet. A striking use of G-flat major can be found in the love duet "Tu l'as dit" that concludes the fourth act of Giacomo Meyerbe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Simpson (composer)
Robert Wilfred Levick Simpson (2 March 1921 – 21 November 1997) was an English composer, as well as a long-serving BBC producer and broadcaster. He is best known for his orchestral and chamber music (particularly those in the key classical forms: 11 symphonies and 15 string quartets), and for his writings on the music of Beethoven, Bruckner, Nielsen and Sibelius. He studied composition under Herbert Howells. Remarkably for a living contemporary composer, a Robert Simpson Society was formed in 1980 by individuals concerned that Simpson's music had been unfairly neglected. The society aims to bring Simpson's music to a wider public by sponsoring recordings and live performances of his work, by issuing a journal and other publications, and by maintaining an archive of material relating to the composer. In 2021, he was featured as ''Composer of the Week'' on BBC Radio 3. Biography Simpson was born in Leamington, Warwickshire. His father, Robert Warren Simpson, was a descendant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphony No
A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Beethoven's Ninth Symphony). Etymology and origins The word ''symphony'' is derived from the Greek word (), meaning "agreement or concord of sound", "concert of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tremolo
In music, ''tremolo'' (), or ''tremolando'' (), is a trembling effect. There are two types of tremolo. The first is a rapid reiteration: * Of a single Musical note, note, particularly used on String instrument#Bowing, bowed string instruments, by rapidly moving the bow back and forth; plucked strings such as on a harp, where it is called ''wikt:bisbigliando, bisbigliando'' () or "whispering". Tremolo picking, on traditionally plucked string instruments including guitar and mandolin, is the rapid articulation of single notes or a group of notes with a plectrum (pick) or with fingers. Tremolo playing sustains notes that would otherwise rapidly decay (fade to silence). * Between two notes or chords in alternation, an imitation (not to be confused with a trill (music), trill) of the preceding that is more common on keyboard instruments. Mallet instruments such as the marimba are capable of either method. * A drum roll, roll on any percussion instrument, whether tuned or untuned. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Finale (music)
A finale is the last movement of a sonata, symphony, or concerto; the ending of a piece of non-vocal classical music which has several movements; or, a prolonged final sequence at the end of an act of an opera or work of musical theatre. Michael Talbot wrote of the finales typical in sonatas: "The rondo is the form par excellence used for final movements, and ... its typical character and structural properties accord perfectly with those thought desirable in a sonata finale of the early nineteenth century." Carl Czerny (1791–1857) observed "that first movements and finales ought to—and in practice actually do—proclaim their contrasted characters already in their opening themes." In theatrical music, Christoph Willibald Gluck was an early proponent of extended finales, with multiple characters, to support the "increasingly natural and realistic" stories in his operas that "improved continuity and theatrical validity" beyond the earlier works.Koopman, John"Expressivity ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedal Point
In music, a pedal point (also pedal note, organ point, pedal tone, or pedal) is a sustained tone, typically in the bass, during which at least one foreign (i.e. dissonant) harmony is sounded in the other parts. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, retardations, and passing tones. However, the pedal point is unique among non-chord tones, "in that it begins on a consonance, sustains (or repeats) through another chord as a dissonance until the harmony", not the non-chord tone, "resolves back to a consonance".Frank, Robert J. (2000)"Non-Chord Tones" , ''Theory on the Web'', Southern Methodist University. Pedal points "have a strong tonal effect, 'pulling' the harmony back to its root". Pedal points can also build drama or intensity and expectation. When a pedal point occurs in a voice other than the bass, it is usually referred to as an inverted pedal pointBenward & Saker (2003). ''Music: In Theory and Prac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Triple Metre
Triple metre (or Am. triple meter, also known as triple time) is a musical metre characterized by a ''primary'' division of 3 beats to the bar, usually indicated by 3 (simple) or 9 (compound) in the upper figure of the time signature, with , , and being the most common examples. The upper figure being divisible by three does not of itself indicate triple metre; for example, a time signature of usually indicates compound duple metre, and similarly usually indicates compound quadruple metre. Shown below are a simple and a compound triple drum pattern. \new Staff \new Staff Stylistic differences In popular music, the metre is most often quadruple,Schroedl, Scott (2001). ''Play Drums Today!'', p. 42. Hal Leonard. . but this does not mean that triple metre does not appear. It features in a good amount of music by artists such as The Chipmunks, Louis Armstrong or Bob Dylan. In jazz, this and other more adventurous metres have become more common since Dave Brubeck's alb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale. For example, C is adjacent to C; the interval between them is a semitone. In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones. In music theory, a distinction is made between a diatonic semitone, or minor second (an interval encompassing two different staff positions, e.g. from C to D) and a chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g. from C to C). These are enharmonically equivalent when twelve-tone equal temperament is used, but are not the same thing in meantone temper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Inversion
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmented ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modulation (music)
In music, modulation is the change from one tonality ( tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Requirements * Harmonic: quasi- tonic, modulating dominant, pivot chordForte (1979), p. 267. *Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone *Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord The quasi-tonic is the tonic of the new key established by the modulation was semi. The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V– ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Part (music)
A part (or voice) generally refers to a single strand or melody or harmony of music within a larger ensemble or a polyphonic musical composition. There are several senses in which the word is often used: * the physical copy of printed or written sheet music given to any individual instrument or voice (as opposed to the full score which shows all parts in the same document). A musician's part usually does not contain instructions for the other players in the ensemble, only instructions for that individual. * the music played by any group of musicians who all perform in unison for a given piece; in a symphony orchestra, a dozen or more cello players may all play "the same part" even if they each have their own physical copy of the music. This sense of "part" does not require a written copy of the music; a bass player in a rock band "plays the bass part" even if there is no written version of the song. * any individual melody that can be abstracted as continuous and independent fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
