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Symphony (Webern)
Symphony, Op. 21 was composed by Anton Webern between 1927 and 1928. It was his first twelve-tone orchestral work. The two- movement work lasts 10–20 minutes and is full of Alpine topics, abstraction, and intricate musical form, including some fixed register. The Symphony was influenced by Gustav Mahler. Alexander Smallens conducted the world premiere at New York's Town Hall on 18 December 1929. Historical background Webern was an alpinist who enjoyed mountain excursions. He loved the quiet otherworldliness of the altitude. He referred to these landscapes as "up there", a spiritual, utopian realm. He continued Mahler's practice of portraying Alpine stillness and spaciousness in his music. His favorite mountain was the Schneealpe. Webern climbed it twice in 1928 while he was writing the Symphony, summiting only once in July. He also climbed the Hochschwab twice while he was composing the work. After finishing the Symphony, Webern wrote to the poet Hildegard Jone on 6 Aug ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphony
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 movement (music), 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 instrument, brass, Woodwind instrument, woodwind, and Percussion instrument, percussion Musical instrument, instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a Full score, 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., Ludwig van Beethoven, Beethoven's Symphony No. 9 (B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or musical improvisation, performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition (music), repetition or variation (music), variation, the arrangement of the instruments (as in the order of solo (music), solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestration, orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachord
In music, a hexachord (also hexachordon) is a six- note series, as exhibited in a scale ( hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the , compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived from the first syllable of e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Derived Row
In music using the twelve-tone technique, derivation is the construction of a row through segments. A derived row is a tone row whose entirety of twelve tones is constructed from a segment or portion of the whole, the generator. Anton Webern often used derived rows in his pieces. A partition is a segment created from a set through partitioning. Derivation Rows may be derived from a sub-set of any number of pitch classes that is a divisor of 12, the most common being the first three pitches or a trichord. This segment may then undergo transposition, inversion, retrograde, or any combination to produce the other parts of the row (in this case, the other three segments). One of the side effects of derived rows is invariance. For example, since a segment may be equivalent to the generating segment inverted and transposed, say, 6 semitones, when the entire row is inverted and transposed six semitones the generating segment will now consist of the pitch classes of the derived segment ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon (music)
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitation (music), imitations of the melody played after a given duration (music), duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different part (music), voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and Interval (music), intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called round (music), rounds—familiar singalong versions of "Row, Row, Row Your Boat" and "Frère Jacques" that call for each successive group of voices to begin the same song a bar or two after the previous group began are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mirror Canon
The mirror canon (also called a canon by contrary motion) is a type of canon (music), canon which involves the leading voice being played alongside its own Melodic inversion, inversion (i.e. upside-down). The realisation from the 'closed' (unrealised) form can be affected by placing the page in front of a mirror, thus upside down, and beginning with the already progressing first voice. The Canon a 2 'Quaerendo invenietis' from Johann Sebastian Bach, J. S. Bach's ''The Musical Offering'', BWV 1079, is a fine example of the process. In its original closed form, the alto clef and an upside-down bass clef indicate both the mirror procedure and the appropriate pitches of the voices for the purpose of realisation. A spectacular example of counterpoint, contrapuntal ingenuity can be found in the Double canon (music), double canon that forms the Minuet, trio section of Wolfgang Amadeus Mozart, Mozart's Serenade No. 12 (Mozart), Serenade for Wind Octet in C, K. 388. Here a pair of oboes a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon Cancrizans
A crab canon (also known by the Latin form of the name, ''canon cancrizans''; as well as ''retrograde canon'', ''canon per recte et retro'' or ''canon per rectus et inversus'')Kennedy, Michael (ed.). 1994. "Canon". The Oxford Dictionary of Music, associate editor, Joyce Bourne. Oxford and New York: Oxford University Press. . is an arrangement of two musical lines that are complementary and backward. If the two lines were placed next to each other (as opposed to stacked), the lines would form something conceptually similar to a palindrome. The name 'crab' refers to the fact that crabs are known to walk backward (although they can also walk forward and sideways). It originally referred to a kind of canon in which one line is played backward (e.g. FABACEAE played simultaneously with EAECABAF). An example is found in J. S. Bach's ''The Musical Offering'', which also contains a table canon ("Quaerendo invenietis"), which combines retrogression with inversion by having one player turn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franco-Flemish School
The designation Franco-Flemish School, also called Netherlandish School, Burgundian School, Low Countries School, Flemish School, Dutch School, or Northern School, refers to the style of polyphonic vocal music composition originating from France and from the Burgundian Netherlands in the 15th and 16th centuries as well as to the composers who wrote it. The spread of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, and hymns. Term and controversy Several generations of Renaissance composers from the region loosely known as the Low Countries (Imperial and French fiefs ruled in personal union by the House of Valois-Burgundy in the period from 1384 to 1482)—i.e. present-day Northern France, Belgium and the Southern Netherlands—are grouped under "Franco-Flemish Sch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orchestration
Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble, such as a concert band) or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts (e.g., melody, bassline, etc.) of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra. In classical music, composers have historically orchestrated their own music. Only gradually over the course of music history did orchestration come to be regarded as a separate compositional art and profession in itself. In modern classical music, composers almost invariably orchestrate their own work. Two notable exceptions to this are Ravel's orchestration of Mussorgsky's solo piano work Pictures at an Exhibition and Malco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hildegard Jone
Hildegard Jone (1 June 1891 – 28 August 1963) was an Austrian poet and artist. As a poet she produced poetry collections and books throughout her life. She was also a painter and sculptor, with works infused with Expressionism and Christian imagery. Many of her lyric poems were set to music by her colleague Anton Webern. Life and career Hildegard Jone was born Hildegard Huber on 1 June 1891 in Sarajevo of Austria-Hungary. Her parents were the architect Ludwig Huber and Amélie (née the Countess Deym), both of whom encouraged her early interest in the arts. In 1908 Jone and her mother moved to Vienna so the former could attend the ', a women's art academy. At the ''Frauenakademie'', her instructor was the sculptor Josef Humplik; the two would later marry in 1921. As a visual artist, Jone created paintings and sculptures throughout her life. Her work was often Expressionist and infused with Christian imagery or inspiration. Jone was well acquainted with many other artists and w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hochschwab
The Hochschwab in the Upper Styria is a mountain, , and the highest summit in the eponymous mountain range. Location The summit of the Hochschwab is a flat, rock and grass-covered dome, that may easily be climbed from the Schiestlhaus () to the northeast in about half an hour via the plateau to the west (Biwakschachtel Fleischerhütte). The Schiestlhaus may be approached from Seewiesen () at the foot of the Steirischer Seeberg via the ''Seetal'' valley, the ''Untere Dullwitz'' to the Voisthaler Hut, the ''Obere Dullwitz'' and the ''Graf-Meran- Steig'', as well as from the north, from Weichselboden in the Salza valley. The showpiece of the Hochschwab is its mighty south face which has a width of almost two kilometres and rises to a height of up to 300 metres above the Trawies Saddle and the valleys of Trawiestal (to the southwest) and ''Obere Dullwitz'' (to the southeast) which meet at that point. There are climbing routes of all grades up the south face. 1988 Hochschwab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schneealpe
The Schneealpe or Schneealm is a limestone massif in the Northern Limestone Alps on the Styrian-Lower Austrian border. Its highest point is the Windberg at 1,903 metres above sea level. Other peaks are the ''Ameisbühel'' (also Amaißbichl, 1,828 m, in the east, on the Styrian-Lower Austrian border), the ''Schönhaltereck'' (1,860 m, west of the Windberg) and the ''Donnerwand'' (1,799 m, in the northwest). Its valley settlements are Hinternaßwald in the northeast, Altenberg an der Rax in the east, Kapellen and Neuberg an der Mürz in the south, Mürzsteg and Frein an der Mürz in the west. The heavily wooded mountains and hills north of the Schneealpe are uninhabited. The Schneealpen House and several alm huts are located the high plateau at a height of about 1,780 metres. On the western perimeter of the plateau on the Hinteralm is another Alpine Club hut, the Hinteralm House. In the northern area is the source region of the Kalte Mürz. The Schneealpe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
