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Um Mitternacht, WAB 89
(At midnight), WAB 89, is a song composed by Anton Bruckner in 1864. History Bruckner composed the song on a text of Robert Prutz on 12 April 1864, for the Linz Liedertafel ''Sängerbund'' (the rival of Liedertafel ''Frohsinn''). The piece was performed on 11 December 1864 by ''Sängerbund'' in the ''Redoutensaal'' under Bruckner's baton.C. van Zwol, p. 724C. Howie, Chapter III, p.88 The work, of which the original manuscript is stored in the '' Österreichische Nationalbibliothek'',U. Harten, p. 454 was first issued by Viktor Keldorfer (Universal Edition) in 1911, together with the other setting ( ''Um Mitternacht'', WAB 90) and the other "midnight-song" ''Mitternacht'', WAB 80. It is issued in Band XXIII/2, No. 17 of the . Text ''Um Mitternacht'' uses a text by Robert Prutz. Music The 56-bar long work in F minor is scored for choir, alto soloist and piano. In strophe 1 the F-minor key forms the mystic background, from which the men's choir, accompanied by pedal ... [...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] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Uwe Harten
Uwe Harten (born 16 August 1944) is a German musicologist, who works in Austria. Life Born in , Harten grew up in Hamburg, where he was a boy soprano at the Staatsoper. He took over the roles of a child. In Hamburg he also began his studies of musicology and art history, which he continued in Vienna with Erich Schenk. He gained his doctorate with his study of the Viennese Schumann admirer Carl Debrois van Bruyck. He then worked as a dramaturgical assistant at the Vienna Chamber Opera. Furthermore, he assisted Anthony van Hoboken in the production of his Werkverzeichnis of Joseph Haydn. Since 1972 he has been a member of the at the Österreichische Akademie der Wissenschaften. Since 1974 he has been secretary and member of the board of directors of the Denkmäler der Tonkunst in Österreich. In addition Harten worked as an assistant at the since its foundation in 1978. From 1988 to 2000 he was also its deputy scientific director and participated between 1977 and 2000 in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alison Browner
Alison Margaret Browner (born 22 September 1957) is an Irish mezzo-soprano opera singer. Life Born in Dublin, Ireland, Browner graduated in Music at Trinity College (Dublin), Trinity College with Bachelor of Arts, a Bachelor of Arts while she also studied singing and violin at the College of Music (now the DIT Conservatory of Music and Drama). Through a scholarship from the German Academic Exchange Service (''DAAD'') she went to the Hamburg Academy of Music and completed her studies with a recital and concert diploma with Hans Hotter Her married name is Alison Gries and she is based in Limburg an der Lahn, Germany. Career Her singing career began at the Opera Studio of the Bavarian State Opera in Munich, the Staatstheater Darmstadt working with Hans Hotter. Browner sang in Richard Strauss' ''Ariadne auf Naxos'' and the title role in ''Der Rosenkavalier'' and the great Wolfgang Amadeus Mozart, Mozart and Gioacchino Rossini, Rossini parts in 1987 as an ensemble member of the Nat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorus Viennensis
Chorus Viennensis is a male choir associated with the Vienna Boys Choir. It was founded in 1952. The choir has won the Grand Prix du Disque Grand may refer to: People with the name * Grand (surname) * Grand L. Bush (born 1955), American actor * Grand Mixer DXT, American turntablist * Grand Puba (born 1966), American rapper Places * Grand, Oklahoma * Grand, Vosges, village and co ..., the Mozart Interpretation Prize and the Schubert Interpretation prize. References 1952 establishments in Austria Austrian choirs {{Austria-band-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guido Mancusi
Guido Mancusi (born 14 June 1966) is an Austrian-Italian conductor and composer. Life Born in Portici near Naples, Mancusi was the son of the Neapolitan conductor Enrico Mancusi and the Viennese singing teacher Ines Mancusi and grew up in Naples and Padova. He received his first piano lessons from his father, who was a close friend of the composer Nino Rota. After his father's early death, his mother decided to return to her hometown of Vienna with her two children. Mancusi became boy soprano with the Vienna Boys' Choir. After the Matura at the , he began studies in bassoon and singing at the Konservatorium der Stadt Wien. During his school years he became a member of the Catholic secondary school fraternity K. Ö. St. V. Frankonia zu Wien, to which he still belongs today. Studies followed at the Vienna Academy of Music in composition with Erich Urbanner and conducting with Karl Österreicher, he received diplomas with distinction. In 1992 he became ''magister artium'' with a the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wiener Sängerknaben
The Vienna Boys' Choir (german: Wiener Sängerknaben) is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries. The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys". Early history The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to empl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Open Fifth
In music theory, a perfect fifth is the musical interval corresponding to a pair of pitches with a frequency ratio of 3:2, or very nearly so. In classical music from Western culture, a fifth is the interval from the first to the last of five consecutive notes in a diatonic scale. The perfect fifth (often abbreviated P5) spans seven semitones, while the diminished fifth spans six and the augmented fifth spans eight semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C. The perfect fifth may be derived from the harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant note is a perfect fifth above the tonic note. The perfect fifth is more consonant, or stable, than any other interval except the unison and the octave. It occurs above the root of all major and minor chords (triads) and their extensions. Until the late 19th century, it was often referred to by one of its G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...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] |
Mitternacht, WAB 80
' (Midnight), WAB 80, is a song composed by Anton Bruckner in 1869. History Bruckner composed the song on a text of Joseph Mendelssohn in November 1869, for the 25th anniversary of Linz Liedertafel ''Frohsinn''. The piece was performed on 15 May 1870 by ''Frohsinn'' in the ' in Linz.C. van Zwol, p. 726U. Harten, p. 289C. Howie, Chapter III, p.81 The work, of which the original manuscript is stored in the archive of Liedertafel ''Frohsinn'', was first issued by Doblinger in 1903. It was reissued in 1911 by Viktor Keldorfer (Universal Edition), together with the two other Bruckner's "midnight-songs" (''Um Mitternacht'', WAB 89 and WAB 90). The song is issued in Band XXIII/2, No. 25 of the '. Text ''Mitternacht'' uses a text by Joseph Mendelssohn. Music The 84-bar long work in A-flat major is scored for choir, tenor soloist and piano. Strophe 1 is sung by the choir with an ostinato of the piano. In strophe 2, bars 49-58 ('), the soloist is singing with accompanimen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
