Résultats lu par "Gerard Schwarz" dans Toutes les catégories

With J.S. Bach and three of his sons, Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christian, we find a concentration of familial talent that is unique in history. The elder Bach was certainly the most accomplished member of his clan, but his offspring also attained a high level of musical achievement.

As the 20th century winds to its close, Igor Stravinsky stands securely as its most important and influential composer. For more than six decades his works defined modernism in music, just as Picasso's canvases showed the essence of modernism in painting. Like that great Spanish artist, who was almost his exact contemporary, Stravinsky attained a dominating stature in his field. Only a handful of composers rivaled him in significance during his lifetime. None surpassed him.

Handel's Water Music is a collection of short orchestral pieces composed to serenade King George I of England during a boating party on the Thames river in 1717. The music is grouped into three suites, each featuring different instrumental colors and having its own distinct character. The individual movements that comprise these suites include overtures, fanfares, instrumental arias, and dances.

Gerard Schwarz describes how Bela Bartok developed new rhythmic patterns modeled on Balkan and North African folk music and explored unusual instrumental colors and textures. During the 1920s and early 1930s, Bartok's innovative tendencies earned him a reputation as an uncompromising modernist, making him almost a musical anarchist who was unappreciated and largely unperformed, particularly in his native Hungary.

The music of Franz Schubert is cherished for its beautiful flow of melody; melody that runs through the composer's songs and instrumental compositions like a clear and inexhaustible stream. But Schubert was more than just a gifted melodist. He was also the creator of exquisite symphonies in the Classical tradition.

Like all tone poems, "Thus Spake Zarathustra" follows a "program" or story line which, to some extent, dictates its musical form and details. Strauss derived his program from Nietzsche's philosophical allegory or the same name which theorizes the rise of mankind from a primitive natural state to one of moral and intellectual superiority.

Beginning in the waning years of the 19th century, Spanish composers turned to the rich tradition of Spanish folk music for materials and inspiration, and in doing so imbued their compositions with a colorful national character. The most brilliant of those composers was Manuel de Falla.

By the time Mozart turned 20 he was already one of the most skilled composers of his day. His output included not only symphonies and concertos but piano pieces, serenades, arias, operas, and smaller species of musical theater, songs, and church music. Symphony No. 40 in G Minor forms the centerpiece of the "final trilogy".

The more adventurous composers of the 19th century, such as Liszt, Chopin, and Berlioz, made use of the Classical forms and procedures, though often modifying them for their own purposes. And certain composers remained dedicated to the Classical heritage. None was more devoted to this than Johannes Brahms.

Debussy was the first great composer of the twentieth century. He departed from previous musical practice to a greater extent than any previous composer. Though he completed his masterpieces Prelude to Afternoon of a Faun and the triptych Nocturnes before the turn of the century, it was not until 1902 that Debussy received widespread recognition.

In 1944 the modern American ballet Appalachian Spring premiered at the Library of Congress in Washington, D.C. The collaborators behind the performance anxiously awaited the critical response to their artistic achievement: Would the world understand what they had done? In Ballet for Martha, the journey to this stage and the success shared among choreographer Martha Graham, composer Aaron Copland, and artist Isamu Noguchi is expressively captured by acclaimed children’s book authors Jan Greenberg and Sandra Jordan.

The work of Ludwig van Beethoven (1770-1827) has been called the culmination of the Classical era or the wellspring of the Romantic era in European music. Historians today see him as the heir of Haydn and Mozart, carrying their musical discoveries to a new level of complexity and integration. But the generations of composers that followed Beethoven saw him more as the headstrong radical, breaking the shackles of classicism and showing new possibilities for music.

Gerard Schwarz explains how Chopin came to embody the Romantic Movement with his rich harmonic shadings, his intense poetic expression, and his attention to the sensual qualities of music. But Chopin did more than just write music imbued with the spirit of Romanticism. In many ways he embodied an archetypal Romantic character: a lonely genius, doomed by that most Romantic disease, tuberculosis; a visionary musician too refined to seek public acclaim.

Berlioz had a passionate and idealistic personality, one given to incandescent enthusiasms and uncompromising struggles. Through most of this career he stood in opposition to Paris' entrenched musical establishments, which looked on his innovations in harmony, form, and instrumentation with suspicion or outright indignation. The judgment that Berlioz was a wild-eyed radical contained a certain element of truth.

Gerard Schwarz shares his enthusiasm for the music of Aaron Copland, the quintessential American composer. Born in 1900 into a family of immigrants in Brooklyn, Copland didn't come from a musical family and had to find his own way, even trying to learn harmony from a mail order course. Today, Copland has become a permanent part of our cultural landscape, as important to our national consciousness as Whitman, Whistler, or Melville.

One of the great composers of the 19th century, Schumann wrote piano solos, chamber music, choral pieces and opera, dozens of superb songs, and some of the finest works in the orchestral reperotry. Much of this music conveys contented and even joyful sentiments; there is surprisingly little darkness in Schumann's compositions. Yet from the beginning of his career, Schumann was plagued by irrational fears and melancholy. In the end, his personal demons overwhelmed him.

Franz Liszt came of age with the flowering of the Romantic movement in literature and the arts, and the Romantic spirit had a profound impact on his development as both a man and an artist. Indeed, Liszt, like Berlioz, Wagner, and Chopin, gave expression to that spirit in both his life and his music. Liszt cut a larger-than-life figure, and everything he did tended towards extravagance.

Gerard Schwarz takes you through the life of Anton Dvorak, a devoted Czech nationalist who, like other composers of the nineteenth century, brought national or ethnic pride into the concert hall by using their nation's folk music to evoke patriotic sentiments.

If the vivid expression of human passion is a hallmark of Romanticism in music, then Pyotr Ilyich Tchaikovsky was perhaps the most Romantic of all composers. A sensitive, introspective, and extremely emotional man, Tchaikovsky poured his joys, sorrows, and drams into compositions that have touched listeners for over a century.

Gerard Schwarz examines the life of this impolitic composer who lived in the political world of revolutionary Russia. Prokofiev's failure to interest himself in political realities, together with his tremendous confidence in his own genius, led him to ignore the darkening climate for artists in the Soviet Union. When the Soviets arrested his first wife on charges of spying, Prokofiev issued a public apology for his failure to write in an appropriate socialist style.