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From the fall of 1947 through the summer of 1951 composer Igor Stravinsky and poet W. H. Auden collaborated on the opera The Rake's Progress. At the time, their self-consciously conventional work seemed to appeal only to conservative audiences.
What is the significance of noise in modernist music and literature?When Stravinsky's Rite of Spring premiered in Paris in 1913, the crowd rioted in response to the harsh dissonance and jarring rhythms of its score. This was noise, not music.
The author compares the ancient musical compositions and the modern ones as. He cites the sarcastic criticism by modernist Benedetto Marcello against the old lyric composers and their absurd conventionality. He presents several compositions by Igor Stravinsky, including "The Rake's Progress" and "Canticum Sacrum," and "Firebird."
Hear the name “Igor Stravinsky” and the first thing that comes to mind is a composer of ponderous, “serious” music. But did you know that Stravinsky lived much of his life in Hollywood?
Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano.
Looks at the basic biographical facts about composer Igor Fyodorovich Stravinsky of Russia. His association with Serge Diaghilev, leader of a group of dilettante aesthetes; Stravinsky's approach to modernism; Several musical compositions by Stravinsky.
Chapter 54: Sacred Religious Music in the Twentieth Century
This article investigates the hymnals of four Lutheran churches in Germany, North America, Sweden and Denmark in order to identify the connection between ecclesiastic and theological development during the 20th century, as well as the editorial process used in creating the hymnals of the period.
The article discusses the music of Olivier Messiaen in relation to faith. Messiaen was a Catholic musician, theologian musician and was deemed as one of the great musicians of the 20th century.
The article presents a speech given by Jared Ostermann, music director at the Cathedral of Saint Joseph in Sioux Falls, South Dakota, at the Church Music Association of America (CMAA) conference held in Saint Paul, Minnesota on October 14, 2013. Topics of the speech included the transition from parallel to sequential liturgy and the musical implications of the ordinary form's structure.
The article explores a seemingly anomaly of modern music taking into consideration the Catholicism of composer Olivier Messiaen and his legacy. The author discusses the theme of the relationship between music and modernity.
Examines composer Alban Berg's sketches for the opera "Wozzeck" from 1914 to 1918. Chronology of Berg's tentative beginnings on the opera; Examination of Berg's notebooks which were compiled as a soldier in World War I; Effect of the war on Berg's creative evolution; Diagrams and biographical annotations in the notebook which depicted Berg's struggle during the war; Diagrams that depicted the scenic disposition for "Wozzeck".
An essay is provided that discusses the complexities of the opera music "Three Pieces for Orchestra" or "Drei Orchesterstücke," op. 6, composed by Austrian composer Alban Berg, as a piece of music.
Analyzes Alban Berg's opera `Wozzeck. Consideration of the opera as the first modern drama of the little man; Berg's inspiration from the play written by Georg Buchner; First performance of the opera in December 1925 by the Berlin State Opera with Erich Kleiber as the conductor; `Wozzeck' as a reform opera.
Mad Music is the story of Charles Edward Ives (1874–1954), the innovative American composer who achieved international recognition, but only after he'd stopped making music.
American composer Charles Ives (1874–1954) has gone from being a virtual unknown to become one of the most respected and lauded composers in American music. In this sweeping survey of intellectual and musical history, David C. Paul tells the new story of how Ives's music was shaped by shifting conceptions of American identity within and outside of musical culture, charting the changes in the reception of Ives across the twentieth century and into the twenty-first century.
Celebrates Charles Ives as the man who first made America sing. Nostalgia associated with Ives' songs; Loudness of American music; American music as a reinvention of European music; Ives' sonata, "Concord, Mass, 1845"; Release of the Ives recital by Pierre-Laurent Aimard and Susan Graham from Warner Classics.
The article focuses on the American classical music composer Charles Ives. An overview of his musical style is given, highlighting his versatility and usage of many eclectic sources for his work. The composition "Concord Sonata," performed in 1939, is discussed in detail. Debate is given regarding various considerations as to his rightful genre of classification.
The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America's potent mass culture.
In the 1930s, Aaron Copland began to write in an accessible style he described as'imposed simplicity.'Works like El Salón México, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound.
Profiles American composer Aaron Copland. Popularity of music in various occasions; Reluctance of some critics to treat Copland as a major composer; Lack of work about Copland's life; Family background; Famous works.
Focuses on composer Aaron Copland's impact on classical music in the United States. Impact of his symphony 'Symphony for Organ and Orchestra'; His hopes of exploring and expressing a distinctly American culture; His efforts to bring about social and political change; Effects of his music, including his 'Lincoln Portrait' and 'Fanfare for the Common Man.'
Rosenberg smartly frames this history as a battle between a "musical nationalism" that saw classical music as a projection of national diplomacy and influence, and a "musical universalism" that emphasized its power to unite humanity. Rosenberg's prose can be dry, but classical music aficionados will find much enjoyable lore from a time when the music was at the center of international rivalries.
This article contrasts cultural hybridity in Colorines (1932), a musical collage by composer Silvestre Revueltas, with the exoticist or modernistic expectations implied or explicitly formulated in four articles about the Mexican composer by contemporary US composers Henry Cowell, Aaron Copland, Paul Bowles, and Virgil Thomson.
Features Silvestre Revueltas, a classical music composer from Mexico. Information on the life and career of Revueltas; Creations of Revueltas; Artists advocating the music of Revueltas.
