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German romanticism
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The Romantic school leaders made their headquarters in Heidelberg from 1804-08. Here they laid emphasis on native, popular German middle age spirited life. Their poetic notions drove them to extremes at times, but revealed beautiful, deep, and tender thought. Clemens Brentano (1778 –1842) was a notable figure in the German Romantic movement, an associate among others of Wieland, Herder, Goethe and Schlegel. He was the son of Goethe’s friend, Maximiliane La Roche. Restless and unconventional by nature, he spent some years wandering the countryside with his guitar on his back like a medieval minstrel. His close and lifelong friendship with Achim von Arnim, who married his sister Bettina, provided some stability, and created the work for which they are both best known, the collection of German folk poetry known as Des Knaben Wunderhorn. The collection was far larger than any predecessor, offering enormous supplied themes of beauty and value to strengthen German poetic value. Strauss appreciated the works spirit, setting three poems from that collection, including Hat gesagt—bleibt’s nicht dabei but no doubt recognizing that Gustav Mahler had already achieved all that was possible in this field, he turned in 1918 to six of Brentano’s original poems. Inspired by their highly charged imagery, Strauss produced not only some of his most virtuoso vocal writing, but a series of intricately woven piano accompaniments that clearly owe their richness and fluency to his many years of writing for the opera orchestra. A musical characteristic of these songs is their constant forward motion and organic extension of the melodic lines illuminating somewhat obscure themes. The first performance of the Clemens Brentano lieder was 1918, at the ...
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... Peterson and Alan Jefferson categorize Strauss’s songs differently. Petersen divides Strauss Lieder into three categories based upon style: lyric, dramatic and declamatory (Jefferson, 31). Most of Sophie’s music falls into the lyric category, but contains some declamatory and dramatic moments as well. Sophie sings in all three styles; therefore, selections from each category will be necessary to prepare the singer for this role. Strauss scholar, Jefferson, classifies the songs by mood and text using lusty songs, love songs, sentimental songs and songs describing seasons or time of day as categorical headings (Petersen, Ton und Wort: 67). Sophie experiences a variety of emotions ranging from joy to fear and anger to passion. Strauss songs contain examples of these emotions as well, allowing the student to study and explore these feelings in a more intimate genre.
Peter Sculthorpe is an Australian composer who is renowned for his experimentation and exploration of ideas and symbolism in his music. His music is a representation of his feelings in response to socio-cultural, political and historical viewpoints. For instance, his String Quartet No. 16 is a representation of the emotions of refugees trapped in detention centres. It consists of five movements entitled Loneliness, Anger, Yearning, Trauma and Freedom. Musical elements such as pitch, duration and other expressive devices show how effectively Sculthorpe evokes the feelings of refugees through each movements, especially the movements Trauma and Freedom.
Charlotte Lennox’s opinion towards love is expressed clearly in her piece “A Song.” The poem’s female speak...
It was not only until the spring of that year that he for first time left Hamburg professionally. He undertook a tour with the Hungarian violinist Eduard Remenyi for the purpose of introducing himself and his works. At Gottingen they gave a concert in which the young pianist made a deep impression upon the musicians present. He and Remenyi were to play Beethoven?s Kreutzer sonata, but at the last moment it was discovered that the piano was half a tone too low.
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
What struck me as odd throughout my research, aside from many eerie coincidences in the progression of their lives, was how many times the subject of Ludwig van Beethoven appeared in my research, as he was Wagner's first real musical inspiration and various references are made to him. I was able to make many parallels between the life of Nietzsche and Beethoven, and it is in my opinion that the similarities between these two men are even more profound than the parallels between Wagner and Neitzsche. As academic interest in the comparison between these two men is buried beneath an overwhelming amount of material relating Nietzsche and more directly related historical characte...
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
...ts of fever and general ill-health. And in his last ten years in Vienna, the constant need to write commissioned work - for he was the first of the composing freelances, with no regular patrons or court salaries - had worn him down to the point where one bout of fever was sure to finish him off. In July he'd had the anonymous commission to write a Requiem for the Dead; but that had been progressing slowly, because he'd been busy with two operas - La Clemenza di Tito and The Magic Flute - and two cantatas at the same time. Thirty-five years of artistic, social and personal pressure was taking its toll.
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
The first piece presented in this concert was Robert Strauss’ Metamorphosen, Study for 23 Solo Strings a piece was composed during the last months of World War II, from August 1944 to March 1945, dedicated it to Paul Sacher. It was first performed in January 1946 with ten violins, five violas, five cellos, and three double basses, this was immolated in the performance by the Atlanta Symphony orchestra on April 13th that I attended. It is widely believed that Strauss wrote the work as a statement of mourning for Germany's destruction during the war, in particular as an elegy for devastating bombing of Munich during the second World War.
After changing his name to Carl at a young age, he and his brother followed in his father’s footsteps and attended the prestigious Mannheim school. The school’s court orchestra comprised of a group of composers and musicia...
As might be expected of one of her background and artistic gifts it is in the Part Three "The Guide" we see poetic, rhythmic and musical qualities at its best. She uses words with a keen sense of their rhythmic and musical potentialities: her style is richly figurative.
Sadie, Stanley. Wolfgang Amadeus Mozart: Essays on his Life and his Music. United States: Oxford University Press. 1996, Print.
Von Goethe, Johann W. “The Sorrows of Young Werther.” Romanticism. Ed. John B. Halsted. New . . York: Walker Publishing Company, 1969.
Roughly from 1815 to 1910, this period of time is called the romantic period. At this period, all arts are transforming from classic arts by having greater emphasis on the qualities of remoteness and strangeness in essence. The influence of romanticism in music particularly, has shown that romantic composers value the freedom of expression, movement, passion, and endless pursuit of the unattainable fantasy and imagination. The composers of the romantic period are in search of new subject matters, more emotional and are more expressive of their feelings as they are not bounded by structural rules in classical music where order, equilibrium, control and perfection are deemed important (Dorak, 2000).