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Symphony No. 2 (Bruckner)
Anton Bruckner's Symphony No. 2 in C minor, sometimes known as the "Symphony of Pauses", was completed in 1872. It was actually the fourth symphony composed by Bruckner, after the Symphony in F minor (1863), the Symphony No. 1 in C minor (1866), and the Symphony in D minor (1869). History In the fall of 1871, after having become established in Vienna, Anton Bruckner embarked on a new symphonic project, his fourth, which in less than a year would result in a completed and copied score of nearly 2000 bars. The Symphony No. 2, which was mostly written in the summer of 1872, represents a breakthrough in Bruckner's conception of the symphony. Although Bruckner had been composing sonata-form movements with three distinct themes since he began writing symphonies in 1862, in 1872 he greatly expanded the scope of their presentation and development, and established the framework, which he would use consistently in all of his subsequent symphonic work. Moreover, the Adagio of this symph ... [...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] |
Bassoon
The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuosity. It is a non-transposing instrument and typically its music is written in the bass and tenor clefs, and sometimes in the treble. There are two forms of modern bassoon: the Buffet (or French) and Heckel (or German) systems. It is typically played while sitting using a seat strap, but can be played while standing if the player has a harness to hold the instrument. Sound is produced by rolling both lips over the reed and blowing direct air pressure to cause the reed to vibrate. Its fingering system can be quite complex when compared to those of other instruments. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature, and is occasionally heard in pop, r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hans Richter (conductor)
Johann Baptist Isidor Richter, or János Richter (4 April 1843 – 5 December 1916) was an Austrian– Hungarian orchestral and operatic conductor. Biography Richter was born in Raab ( Hungarian: Győr), Kingdom of Hungary, Austrian Empire. His father was a local composer, conductor and ''regens chori'' Anton Richter. His mother was opera-singer Jozefa Csazenszky. He studied at the Vienna Conservatory. He had a particular interest in the horn, and developed his conducting career at several different opera houses in the Austro-Hungarian Empire. He became associated with Richard Wagner in the 1860s, and played the solo trumpet part in the 1870 private premiere of the ''Siegfried Idyll''. In 1876, he was chosen to conduct the first complete performance of Wagner's ''Der Ring des Nibelungen'' at the Bayreuth Festspielhaus. In 1877, he assisted the ailing composer as conductor of a major series of Wagner concerts in London, and from then onwards he became a familiar feature of En ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georg Tintner
Georg Tintner, (22 May 19172 October 1999) was an Austrian conductor whose career was principally in New Zealand, Australia, and Canada. Although best known as a conductor, he was also a composer (he considered himself a composer who conducted). As a child he was a singer in the Vienna Boys' Choir, the first Jew ever to be accepted; at that time the choir was directed by Franz Schalk. At the Vienna State Academy he studied composition with Joseph Marx and conducting with Felix Weingartner. Soon he was assistant conductor of the Vienna Volksoper. Due to the persecution of Jews, Tintner moved out of Vienna in 1938, arriving in Auckland, New Zealand in 1940. En route, he was falsely accused of being a German spy and arrested in Australia. He conducted a church choir until after the war, when he took over the Auckland Choral Society in 1947, and the Auckland String Players in 1948. He became a New Zealand citizen in 1946. In 1954, he went to Australia and became resident conductor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Internationale Bruckner-Gesellschaft
The International Bruckner Society (German ''Internationale Bruckner-Gesellschaft'') was an organization which began its existence in 1927 in Leipzig and was officially founded in 1929 in Vienna. Its main purpose since then has been to publish editions of the music of Anton Bruckner. Most of Bruckner's music had been published during the composer's lifetime or shortly after his death, but often in versions that incorporated numerous changes suggested by his friends and students. In the case of Bruckner's unfinished Ninth Symphony, Bruckner student Ferdinand Loewe made several unauthorized changes even after Bruckner's death. The mission of the International Bruckner Society was to publish versions of Bruckner's works based directly on the original manuscripts, which the composer had bequeathed to the Austrian National Library. The Society hired Robert Haas as General Editor, with Alfred Orel as his assistant. The first publication was Orel's critical edition of the Ninth Symp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fantasia (music)
A fantasia (; also English language, English: ''fantasy'', ''fancy'', ''fantazy'', ''phantasy'', german: Fantasie, ''Phantasie'', french: fantaisie) is a musical composition with roots in improvisation. The fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form. History The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms. One of the most impo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass No
Mass is an intrinsic property of a body. It was traditionally believed to be related to the quantity of matter in a physical body, until the discovery of the atom and particle physics. It was found that different atoms and different elementary particles, theoretically with the same amount of matter, have nonetheless different masses. Mass in modern physics has multiple definitions which are conceptually distinct, but physically equivalent. Mass can be experimentally defined as a measure of the body's inertia, meaning the resistance to acceleration (change of velocity) when a net force is applied. The object's mass also determines the strength of its gravitational attraction to other bodies. The SI base unit of mass is the kilogram (kg). In physics, mass is not the same as weight, even though mass is often determined by measuring the object's weight using a spring scale, rather than balance scale comparing it directly with known masses. An object on the Moon would weigh less t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ternary Form
Ternary form, sometimes called song form, is a three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A). It is usually schematized as A–B–A. Prominent examples include the da capo aria "The trumpet shall sound" from Handel's ''Messiah'', Chopin's Prelude in D-Flat Major "Raindrop", ( Op. 28) and the opening chorus of Bach's ''St John Passion''. Simple ternary form In ternary form each section is self-contained both thematically as well as tonally (that is, each section contains distinct and complete themes), and ends with an authentic cadence. The B section is generally in a contrasting but closely related key, usually a perfect fifth above or the parallel minor of the home key of the A section (V or i); however, in many works of the Classical period, the B section stays in tonic but has contrasting thematic material. It usually also has a contrasting character; for example section A might be stif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Codetta
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 e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Movement (music)
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately as stand-alone pieces, a performance of the complete work requires all the movements to be performed in succession. A movement is a section Section, Sectioning or Sectioned may refer to: Arts, entertainment and media * Section (music), a complete, but not independent, musical idea * Section (typography), a subdivision, especially of a chapter, in books and documents ** Section sig ..., "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena". Sources Formal sections in music analysis {{music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Instrument
String instruments, stringed instruments, or chordophones are musical instruments that produce sound from vibrating strings when a performer plays or sounds the strings in some manner. Musicians play some string instruments by plucking the strings with their fingers or a plectrum—and others by hitting the strings with a light wooden hammer or by rubbing the strings with a bow. In some keyboard instruments, such as the harpsichord, the musician presses a key that plucks the string. Other musical instruments generate sound by striking the string. With bowed instruments, the player pulls a rosined horsehair bow across the strings, causing them to vibrate. With a hurdy-gurdy, the musician cranks a wheel whose rosined edge touches the strings. Bowed instruments include the string section instruments of the orchestra in Western classical music (violin, viola, cello and double bass) and a number of other instruments (e.g., viols and gambas used in early music from the Baro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Timpani
Timpani (; ) or kettledrums (also informally called timps) are musical instruments in the percussion family. A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionally made of copper. Thus timpani are an example of kettle drums, also known as vessel drums and semispherical drums, whose body is similar to a section of a sphere whose cut conforms the head. Most modern timpani are ''pedal timpani'' and can be tuned quickly and accurately to specific pitches by skilled players through the use of a movable foot-pedal. They are played by striking the head with a specialized drum stick called a ''timpani stick'' or ''timpani mallet''. Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras, and even in some rock bands. ''Timpani'' is an Italian ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
