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Zeitmaße
''Zeitmaße'' (; German for "Time Measures") is a chamber-music work for five woodwinds (flute, oboe, cor anglais, clarinet, and bassoon) composed in 1955–1956 by German composer Karlheinz Stockhausen; it is Number 5 in the composer's catalog. It is the first of three wind quintets written by Stockhausen, followed by '' Adieu für Wolfgang Sebastian Meyer'' (1966) and the ''Rotary'' Wind Quintet (1997), but is scored with cor anglais instead of the usual French horn of the standard quintet. Its title refers to the different ways that musical time is treated in the composition. History ''Zeitmaße'' was composed more or less concurrently with three other works in contrasting media, which together formed the basis for Stockhausen's rise to fame in the 1950s. The others were '' Gesang der Jünglinge'' for electronic and concrète sounds, '' Gruppen'' for three orchestras, and '' Klavierstück XI'' for piano. In order to begin work on a commission for the new orchestral composi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for sol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adieu (Stockhausen)
''Adieu'' ''für Wolfgang Sebastian Meyer'' is a composition for wind quintet by Karlheinz Stockhausen composed in 1966. It is Number 21 in the composer's catalog of works, and the second of Stockhausen's three wind quintets, the others being '' Zeitmaße'' (1955-1956) and the ''Rotary'' Wind Quintet (1997). History In June 1966 the oboist Wilhelm Meyer, who had frequently performed Stockhausen's earlier quintet ''Zeitmaße'' under the composer's direction, asked Stockhausen to compose a new wind quintet for an upcoming tour of Asia. Stockhausen initially demurred because a new quintet would probably take months to compose, and the current production of ''Hymnen'' in the Cologne electronic studio was taking up all of his time. A visit made a few days later to a comprehensive exhibition in The Hague of Piet Mondrian's paintings made Stockhausen ask himself, when confronted with Mondrian's well-known series of paintings titled simply "compositions"—with their strict organization b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wind Quintet
A wind quintet, also known as a woodwind quintet, is a group of five wind players (most commonly flute, oboe, clarinet, French horn and bassoon). Unlike the string quartet (of 4 string instruments) with its homogeneous blend of sound color, the instruments in a wind quintet differ from each other considerably in technique, idiom, and timbre. The modern wind quintet sprang from the octet ensemble favored in the court of Joseph II in late 18th century Vienna: two oboes, two clarinets, two (natural) horns, and two bassoons. The influence of Haydn's chamber writing suggested similar possibilities for winds, and advances in the building of these instruments in that period made them more useful in small ensemble settings, leading composers to attempt smaller combinations. It was Anton Reicha's twenty-four quintets, begun in 1811, and the nine quintets of Franz Danzi that established the genre, and their pieces are still standards of the repertoire. Though the form fell out of favor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cor Anglais
The cor anglais (, or original ; plural: ''cors anglais''), or English horn in North America, is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, making it essentially an alto oboe in F. The cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe (a C instrument). This means that music for the cor anglais is written a perfect fifth higher than the instrument sounds. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe, and oboists typically double on the cor anglais when required. The cor anglais normally lacks the lowest B key found on most oboes, and so its sounding range stretches from E3 (written B) below middle C to C6 two octaves above middle C. Description and timbre The pear-shaped bell (called Liebesfuß) of the cor anglais gives it a more covered timbre than the oboe, closer in tonal quality to the oboe d' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadenza
In music, a cadenza (from it, cadenza, link=no , meaning cadence; plural, ''cadenze'' ) is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing virtuosic display. During this time the accompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a fermata in all parts. A cadenza will usually occur over the final or penultimate note in a piece, the lead-in (german: Eingang, link=no) or over the final or penultimate note in an important subsection of a piece. It can also be found before a final coda or ritornello. In concerti The term ''cadenza'' often refers to a portion of a concerto in which the orchestra stops playing, leaving the soloist to play alone in free time (without a strict, regular pulse) and can be written or improvised, depending on what the composer specifies. Sometimes, the cadenza will include small ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wind Quintet
A wind quintet, also known as a woodwind quintet, is a group of five wind players (most commonly flute, oboe, clarinet, French horn and bassoon). Unlike the string quartet (of 4 string instruments) with its homogeneous blend of sound color, the instruments in a wind quintet differ from each other considerably in technique, idiom, and timbre. The modern wind quintet sprang from the octet ensemble favored in the court of Joseph II in late 18th century Vienna: two oboes, two clarinets, two (natural) horns, and two bassoons. The influence of Haydn's chamber writing suggested similar possibilities for winds, and advances in the building of these instruments in that period made them more useful in small ensemble settings, leading composers to attempt smaller combinations. It was Anton Reicha's twenty-four quintets, begun in 1811, and the nine quintets of Franz Danzi that established the genre, and their pieces are still standards of the repertoire. Though the form fell out of favor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gruppen
''Gruppen'' (german: Groups) for three orchestras (1955–57) is amongst the best-known compositions of German composer Karlheinz Stockhausen, and is Work Number 6 in the composer's catalog of works. ''Gruppen'' is "a landmark in 20th-century music ... probably the first work of the post-war generation of composers in which technique and imagination combine on the highest level to produce an undisputable masterpiece". History Early in 1955 Stockhausen received a commission from WDR for a new orchestral composition, but his ongoing work on ''Gesang der Jünglinge'' prevented him from starting right away. In August and September, he took the opportunity to retreat to an inexpensive rented room in the attic of a parsonage in Paspels, Switzerland, recommended to him by a colleague, Paul Gredinger. Surrounded by the splendour of the Graubünden alps, he created the entire plan of ''Gruppen'', "with a completely new conception of musical time". The surroundings provided more than jus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rotary Wind Quintet
The ''Rotary'' Wind Quintet is a chamber music composition by Karlheinz Stockhausen, the last of his three wind quintets (following ''Zeitmaße'' and '' Adieu'') and is Nr. 70½ in his catalogue of works. A performance lasts about 8½ minutes. History The ''Rotary'' quintet was composed in September 1997 on a commission from Henrik Rolf Hanstein, president of the Rotary Club of Cologne-Römerturm, on the occasion of the club's 25th anniversary. It was first performed by musikFabrik (Helen Bledsoe, flute, Peter Veale, oboe, Nina Janßen, clarinet, Jan Babinec, horn, and Alban Wesley, bassoon) on 25 October 1997 at a meeting of the club held at the Schloss Dyck in Jüchen in the Rhein-Kreis Neuss. The premiere was sprung by Hanstein as a surprise on the 200 or so club members, who had gathered for a banquet and were already seated when it was announced that, before any food or drinks would be served, a work by Stockhausen composed for the occasion would be performed. The captive a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre Boulez
Pierre Louis Joseph Boulez (; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war Western classical music. Born in Montbrison in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism (in the 1950s), controlled chance music (in the 1960s) and the electronic transformation of instrumental music in real time (from the 1970s onwards). His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces regarded by many as landmarks of twentieth-century music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Domaine Musical
The Domaine musical was a concert society established by Pierre Boulez in Paris, which was active from 1954 to 1973. Composers represented at its concerts included Boulez, Karlheinz Stockhausen, Olivier Messiaen, Luciano Berio, John Cage, Sylvano Bussotti, Mauricio Kagel, Hans Werner Henze, Henri Pousseur, Ernst Krenek, Gilbert Amy, Peter Schat and Gilles Tremblay, Betsy Jolas as well as earlier composers considered part of the Modernist movement in music. Its regular performers included the pianists Claude Helffer, Paul Jacobs, Yvonne Loriod and Marcelle Mercenier Marcelle Mercenier (21 April 1920 – 13 March 1996) was a Belgian pianist and teacher. Life Mercenier was known as an influential pedagogue in Brussels, then in Liège. She was a fervent advocate of contemporary music but also performed Chopin .... References Music organizations based in France {{Music-org-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Il Canto Sospeso
''Il canto sospeso'' (''The Suspended Song'') is a cantata for vocal soloists, choir, and orchestra by the Italian composer Luigi Nono, written in 1955–56. It is one of the most admired examples of serial composition from the 1950s, but has also excited controversy over the relationship between its political content and its compositional means. History The title ''Il canto sospeso'' may be literally translated as "The Suspended Song", though the word ''sospeso'' may also be rendered as "floating" or "interrupted". The title is actually taken from the Italian edition of a poem, "If We Die", by Ethel Rosenberg who, together with her husband Julius, was tried and convicted in the United States of espionage and of passing nuclear secrets to the Soviet Union. Their execution on 19 June 1953 caused outrage in Europe. The phrase in the English original is "the song unsung". Nono chose his texts from an anthology published in 1954 by Giulio Einaudi as ''Lettere di condannati a morte ... [...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] |
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