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Symphony No. 2 (Henze)
Symphony No. 2 by Hans Werner Henze was composed in 1949 and premiered on 1 December that year in Stuttgart by the South German Radio Symphony Orchestra conducted by Hans Müller-Kray. The symphony is dedicated to the conductor Hermann Scherchen. Background Henze began contemplating a new symphony early in 1949 and wrote to Wolfgang Steinecke, organiser of the Darmstadt Summer Courses for New Music, hoping for a performance at the course that year. Henze missed the deadline but a commission from South German Radio allowed him to continue and complete work on the symphony, which he did between May and August.Thomas Schulz (2014), liner notes for Wergo recording Structure and style For a New Year's Day 1961 performance, drastic cuts were made to the first and second movements. Henze later claimed that he "never undertook changes" to the symphony, but they persisted into the published score. The final movement is in four sections: 1) slow and melodic, mainly for strings, 2) a m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hans Werner Henze
Hans Werner Henze (1 July 1926 – 27 October 2012) was a German composer. His large oeuvre of works is extremely varied in style, having been influenced by serialism, atonality, Stravinsky, Italian music, Arabic music and jazz, as well as traditional schools of German composition. In particular, his stage works reflect "his consistent cultivation of music for the theatre throughout his life". Henze was also known for his political convictions. He left Germany for Italy in 1953 because of a perceived intolerance towards his leftist politics and homosexuality. Late in life he lived in the village of Marino in the central Italian region of Lazio, and in his final years still travelled extensively, in particular to Britain and Germany, as part of his work. An avowed Marxist and member of the Italian Communist Party, Henze produced compositions honoring Ho Chi Minh and Che Guevara. At the 1968 Hamburg premiere of his requiem for Che Guevara, titled ''Das Floß der Medusa'' (' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stuttgart Radio Symphony Orchestra
The Stuttgart Radio Symphony Orchestra (German: ''Radio-Sinfonieorchester Stuttgart des SWR'') was a German radio orchestra based in Stuttgart in Germany. History The ensemble was founded in 1945 by American occupation authorities as the orchestra for Radio Stuttgart, under the name ''Sinfonieorchester von Radio Stuttgart'' (Symphony Orchestra of Radio Stuttgart). The radio network later became the Süddeutscher Rundfunk (SDR, South German Radio), and the orchestra changed its name in 1949 to the ''Sinfonieorchester des Süddeutschen Rundfunks'' (South German Radio Symphony Orchestra). In 1959, the orchestra took on the name ''Südfunk-Sinfonieorchester''. The orchestra acquired its final name in 1975. Like many broadcast orchestras in Germany, the orchestra had a reputation for performing contemporary music. Past principal conductors included Sir Neville Marriner (1983–1989), who later held the title of principal guest conductor. Georges Prêtre, who became the orchestra's ar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hans Müller-Kray
Hans Müller-Kray (13 October 1908 – 30 May 1969) was a German conductor, music director and academic teacher. Life and career Hans Müller was born in Essen-Kray. He grew up as the youngest of 14 children of the mining foreman Karl Müller, who from 1882 until his death in July 1937 was the leader of the local miners' music corps (''Knappenmusikkorps''). Müller learned to play the piano and cello while still at school. After completing primary school and grammar school, he first turned to commercial training, but then studied music at the Folkwangschule. He passed the final examination as a state-certified music teacher. He worked as a choral conductor and pianist, touring the world as an accompanist. He directed choirs in Essen-Werden and Essen-Steele. He was Kapellmeiste ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hermann Scherchen
Hermann Scherchen (21 June 1891 – 12 June 1966) was a German conductor. Life Scherchen was born in Berlin. Originally a violist, he played among the violas of the Bluthner Orchestra of Berlin while still in his teens. He conducted in Riga from 1914 to 1916 and in Königsberg from 1928 to 1933, after which he left Germany in protest of the new Nazi regime and worked in Switzerland. Along with the philanthropist Werner Reinhart, Scherchen played a leading role in shaping the musical life of Winterthur for many years, with numerous premiere performances, the emphasis being placed on contemporary music. From 1922 to 1950, he was the principal conductor of the city orchestra of Winterthur (today known as Orchester Musikkollegium Winterthur). Making his debut with Arnold Schoenberg's ''Pierrot Lunaire'', he was a champion of 20th-century composers such as Richard Strauss, Anton Webern, Alban Berg and Edgard Varèse, and actively promoted the work of younger contemporary composers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wolfgang Steinecke
Wolfgang Steinecke (22 April 1910 – 23 December 1961) was a German musicologist, music critic, and cultural politician. In Darmstadt, he revived cultural life after World War II, especially by initiating the Darmstädter Ferienkurse, which connected Germany to the international scene of contemporary music. Life Hans Wolfgang Steinecke was born in Essen, to Käthe and Hugo Wolfram Steinecke. His father was a full-time Reichsbahn inspector, a music critic for well-known Essen daily newspapers, and a choral conductor. Already as a child, Steinecke wrote poems and a play. He attended a gymnasium in his home town. At the age of 17 he wrote his first composition. From 1927, he wrote incidental music for school theatre performances as well as for productions of the Kiel Student Theatre. Steinecke first completed practical music studies at the Folkwangschule in Essen with Ludwig Riemann (1863–1927) and Felix Wolfes. He then studied musicology with Ernst Bücken, art history, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darmstadt School
Darmstadt School refers to a group of composers who were associated with the Darmstadt International Summer Courses for New Music (Darmstädter Ferienkurse) from the early 1950s to the early 1960s in Darmstadt, Germany, and who shared some aesthetic attitudes. Initially, this included only Pierre Boulez, Bruno Maderna, Luigi Nono, and Karlheinz Stockhausen, but others came to be added, in various ways. The term does not refer to an educational institution. Initiated in 1946 by Wolfgang Steinecke, the Darmstädter Ferienkurse, held annually until 1970 and subsequently every two years, encompass the teaching of both composition and interpretation and also include premières of new works. After Steinecke's death in 1961, the courses were run by (1962–81), Friedrich Ferdinand Hommel (1981–94), Solf Schaefer (1995–2009), and Thomas Schäfer (2009– ). Thanks to these courses, Darmstadt is now a major centre of modern music, particularly for German composers, and has been ref ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wind Instrument
A wind instrument is a musical instrument that contains some type of resonator (usually a tube) in which a column of air is set into vibration by the player blowing into (or over) a mouthpiece set at or near the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of some wind instruments, sound is produced by blowing through a reed; others require buzzing into a metal mouthpiece, while yet others require the player to blow into a hole at an edge, which splits the air column and creates the sound. Methods for obtaining different notes * Using different air columns for different tones, such as in the pan flute. These instruments can play several notes at once. * Changing the length of the vibrating air column by changing the length of the tube through engaging valves ''(see rotary valve, piston valve)'' which route the air through additional tubing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BACH Motif
In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, ''B flat, A, C, B natural''. In German musical nomenclature, in which the note ''B natural'' is named ''H'' and the ''B flat'' named ''B'', it forms Johann Sebastian Bach's family name. One of the most frequently occurring examples of a musical cryptogram, the motif has been used by countless composers, especially after the Bach Revival in the first half of the 19th century. Origin Johann Gottfried Walther's ''Musicalisches Lexikon'' (1732) contains the only biographical sketch of Johann Sebastian Bach published during the composer's lifetime. There the motif is mentioned thus:This reference work thus indicates Bach as the inventor of the motif. Usage in compositions In a comprehensive study published in the catalogue for the 1985 exhibition "300 Jahre Johann Sebastian Bach" ("300 years of Johann Sebastian Bach") in Stuttgart, Germany, Ulrich Prinz lists 409 works by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach
Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the '' Brandenburg Concertos''; instrumental compositions such as the Cello Suites; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the '' Schubler Chorales'' and the Toccata and Fugue in D minor; and vocal music such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at the age of 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical education in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantata
A cantata (; ; literally "sung", past participle feminine singular of the Italian verb ''cantare'', "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single-voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio. Cantatas for use in the liturgy of church services are called church cantata or sacred cantata; other cantatas can be indicated as secular cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Christoph Graupner, Georg Philipp Telemann and Johann Sebastian Bach composed cycles of church cantatas for the occasions of the liturgical year. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wie Schön Leuchtet Der Morgenstern, BWV 1
('How beautifully the morning star shines'), 1, is a church cantata for Annunciation by Johann Sebastian Bach. In 1725, when the cantata was composed, the feast of the Annunciation (25 March) coincided with Palm Sunday. Based on Philipp Nicolai's hymn "" (1599), it is one of Bach's chorale cantatas. Bach composed it in his second year as Thomaskantor (cantor at St. Thomas) in Leipzig, where the Marian feast was the only occasion during Lent when music of this kind was permitted. The theme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach's chorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and last stanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias. is the last chorale cantata of Bach's second cantata cycle, possibly because the librettist who provided the paraphrases for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coda (music)
In music, a coda () (Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme. One of the ways that Beethoven ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
