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List Of Musical Pieces Which Use Extended Techniques
This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres. *Hector Berlioz ::"Dream of Witches' Sabbath" from ''Symphonie Fantastique.'' The violins and violas play ''col legno'', striking the wood of their bows on the strings . * Heinrich Ignaz Franz von Biber ::''Battalia'' (1673). The strings play ''col legno'', striking the wood of their bows on the strings, in addition to numerous other techniques . *François-Adrien Boieldieu ::''Le calife de Bagdad'' (opera, 1800), strings play ''col legno'' . *Benjamin Britten ::''Passacaglia'' from Peter Grimes, rehearsal 6, "''agitato''", (pp. 16–17 of the score). The violins and violas play ''col legno'', striking the wood of their bows on the strings . *John Cage ::prepared piano pieces (1938) *Nicolas Dalayrac, Nicolas-Marie Dalayrac ::''Une heure de mariage'' (opera, 1804). Strings use ''col legno'' . *Pascal Dusapin ::''Watt'', concerto for trombone and orchestra (1994 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Extended Techniques
In music, extended technique is unconventional, unorthodox, or non-traditional methods of singing or of playing musical instruments employed to obtain unusual sounds or timbres.Burtner, Matthew (2005).Making Noise: Extended Techniques after Experimentalism", ''NewMusicBox.org''. Composers’ use of extended techniques is not specific to Contemporary classical music, contemporary music (for instance, Hector Berlioz’s use of ''col legno'' in his ''Symphonie Fantastique'' is an extended technique) and it transcends compositional schools and styles. Extended techniques have also flourished in popular music. Nearly all jazz performers make significant use of extended techniques of one sort or another, particularly in more recent styles like free jazz or avant-garde jazz. Musicians in free improvisation have also made heavy use of extended techniques. Examples of extended techniques include bowing under the bridge of a string instrument or with two different bows, using key clicks on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helmut Lachenmann
Helmut Friedrich Lachenmann (; born 27 November 1935) is a German composer of contemporary classical music and pianist. Associated with the "instrumental musique concrète" style, Lachenmann is alongside Wolfgang Rihm as among the leading German composers of his time. Life and works Lachenmann was born in Stuttgart and after the end of the Second World War (when he was 11) started singing in his local church choir. Showing an early aptitude for music, he was already composing in his teens. He studied piano with Jürgen Uhde and composition and theory with Johann Nepomuk David at the Musikhochschule Stuttgart from 1955 to 1958 and was the first private student of the Italian composer Luigi Nono in Venice from 1958 to 1960. He also worked briefly at the electronic music studio at the University of Ghent in 1965, composing his only published tape piece ''Szenario'' during that period but thereafter focused almost exclusively on purely instrumental music. The brutality of his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Igor Stravinsky
Igor Fyodorovich Stravinsky ( – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential 20th-century classical music, composers of the 20th century and a pivotal figure in modernism (music), modernist music. Born to a musical family in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the Saint Petersburg State University, University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: ''The Firebird'' (1910), ''Petrushka (ballet), Petrushka'' (1911), and ''The Rite of Spring'' (1913), the last of which caused a List of classical music concerts with an unruly audience respons ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Quartets (Schoenberg)
The Austrian composer Arnold Schoenberg published four string quartets, distributed over his lifetime: ''String Quartet No. 1 in D minor'', Opus number, Opus 7 (1905), ''String Quartet No. 2 in F minor'', Op. 10 (1908), ''String Quartet No. 3'', Op. 30 (1927), and the ''String Quartet No. 4'', Op. 37 (1936). In addition to these, he wrote several other works for string quartet which were not published. The most notable was his early String Quartet in D major (1897). There was also a Presto in C major (), a Scherzo in F major (1897), and later a Four-part Mirror Canon in A major (). Finally, several string quartets exist in fragmentary form. These include String Quartet in F major (before 1897), String Quartet in D minor (1904), String Quartet in C major (after 1904), String Quartet Movement (1926), String Quartet (1926), String Quartet in C major (after 1927) and String Quartet No. 5 (1949). Schoenberg also wrote a Concerto for String Quartet and Orchestra (Schoenberg), Concerto fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Moses Und Aron
''Moses und Aron'' (English: ''Moses and Aaron'') is a three-act opera by Arnold Schoenberg with the music to the third act unfinished. The German libretto is by the composer. It is based on selected incidents from the Book of Exodus (chapters 3-32). Compositional history ''Moses und Aron'' has its roots in Schoenberg's earlier agitprop play, '' Der biblische Weg'' (''The Biblical Way'', 1926–27), a response in dramatic form to the growing anti-Jewish movements in the German-speaking world after 1848 and a deeply personal expression of his own "Jewish identity" crisis. The latter began with a face-to-face encounter with anti-Semitic agitation at Mattsee, near Salzburg, during the summer of 1921, when he was forced to leave the resort because he was a Jew, although he had converted to Protestantism in 1898. It was a traumatic experience to which Schoenberg would frequently refer, and of which a first mention appears in a letter addressed to Wassily Kandinsky (April 1923): "I h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Die Glückliche Hand
' (''The Hand of Fate''), Op. 18, is a ''Drama mit Musik'' ("drama with music") by Arnold Schoenberg in four scenes. It was composed between 1910 and 1913. Like ''Erwartung'', composed a year earlier, it was heavily influenced by Otto Weininger's book '' Sex and Character''.Schiff, David (8 August 1999)"Schoenberg's Cool Eye For the Erotic" ''The New York Times'' Unlike ''Erwartung'', Schoenberg wrote the libretto for ''Die glückliche Hand'' himself. The first performance took place at the Vienna Volksoper on 24 October 1924. The underlying message of the piece is the idea that man continues to repeatedly make the same mistakes, and the plot is developed from events in Schoenberg's personal life. Composition history The subject of the drama was influenced by personal circumstances in Schoenberg's life. Schoenberg's music was not as well received as it had been in previous years. Also, two years before the composition of the piece, Mathilde, Schoenberg's wife, had an affair with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sprechstimme
(, "spoken singing") and (, "spoken voice"), more commonly known as speak-singing in English, are expressionist musical vocal techniques between singing and speaking. Though sometimes used interchangeably, is directly related to the operatic recitative manner of singing (in which pitches are sung, but the articulation is rapid and loose like speech), whereas is closer to speech itself (because it does not emphasise any particular pitches). is more closely aligned with the long-used musical techniques of recitative or than is . Where the term is employed in this way, it is usually in the context of the late Romantic German operas or "music dramas" that were composed by Richard Wagner and others in the 19th century. Thus, is often merely a German alternative to 'recitative'. The earliest compositional use of the technique was in the first version of Engelbert Humperdinck's 1897 melodrama '' Königskinder'' (in the 1910 version it was replaced by conventional singin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gurrelieder
' (''Songs of Gurre'') is a tripartite oratorio followed by a melodramatic epilogue for five vocal soloists, narrator, three choruses, and grand orchestra. The work, which is based on an early song cycle for soprano, tenor and piano, was composed by the then-Austrian composer Arnold Schoenberg from 1900 to 1903. After a break, he resumed orchestration in 1910 and completed it in November 1911. It sets to music the poem cycle ''Gurresange'' by the Danish novelist Jens Peter Jacobsen (translated from Danish to German by ). The Gurre Castle and its surrounding areas in Denmark are the settings of the plot, which involves the mediæval love-tragedy (related in Jacobsen's poems) revolving around a legend of the love of king Valdemar Atterdag (Valdemar IV, 1320–1375, German: Waldemar) for his mistress, Tove, and her subsequent murder by Valdemar's jealous wife, Queen Helvig of Schleswig, (a legend which is historically more likely connected with his ancestor Valdemar I). It i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnold Schoenberg
Arnold Schoenberg or Schönberg (13 September 187413 July 1951) was an Austrian and American composer, music theorist, teacher and writer. He was among the first Modernism (music), modernists who transformed the practice of harmony in 20th-century classical music, and a central element of his music was its use of motive (music), motives as a means of coherence. He propounded concepts like developing variation, the emancipation of the dissonance, and the "unified field, unity of musical space". Schoenberg's early works, like ''Verklärte Nacht'' (1899), represented a Brahmsian–Wagnerian synthesis on which he built. Mentoring Anton Webern and Alban Berg, he became the central figure of the Second Viennese School. They consorted with visual artists, published in ''Der Blaue Reiter'', and wrote atonal, expressionist music, attracting fame and stirring debate. In his String Quartets (Schoenberg)#String Quartet No. 2, Op. 10, String Quartet No. 2 (1907–1908), ''Erwartung'' (1909), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Camille Saint-Saëns
Charles-Camille Saint-Saëns (, , 9October 183516 December 1921) was a French composer, organist, conductor and pianist of the Romantic music, Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Piano Concerto No. 2 (Saint-Saëns), Second Piano Concerto (1868), the Cello Concerto No. 1 (Saint-Saëns), First Cello Concerto (1872), ''Danse macabre (Saint-Saëns), Danse macabre'' (1874), the opera ''Samson and Delilah (opera), Samson and Delilah'' (1877), the Violin Concerto No. 3 (Saint-Saëns), Third Violin Concerto (1880), the Symphony No. 3 (Saint-Saëns), Third ("Organ") Symphony (1886) and ''The Carnival of the Animals'' (1886). Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, Paris, La Madeleine, the official church of the Second French Empire, Fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Il Signor Bruschino
''Il signor Bruschino, ossia Il figlio per azzardo'' ''(Signor Bruschino, or The Accidental Son)'' is a one act operatic farce ( farsa giocosa per musica) by Gioachino Rossini to a libretto by Giuseppe Maria Foppa, based upon the 1809 play ''Le fils par hasard, ou ruse et folie'' by René de Chazet and Maurice Ourry. The opera was first performed in Venice at the Teatro San Moisè on 27 January 1813. Between 1810 and 1813, the young Rossini composed five pieces for the Teatro San Moisè, beginning with ''La cambiale di matrimonio'' (''Bill of Exchange of Marriage''), his first opera, and ending with ''Il signor Bruschino''. These farse were short pieces, popular in Venice at the end of the 18th century and the beginning of the 19th century. They were intimate, with a cast of five to eight singers, always including a pair of lovers, here Sofia and Florville, at least two comic parts, here Bruschino senior, Gaudenzio and Filiberto, and one or more minor roles, here Marianna, Brus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
