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Louis Joseph Andriessen was a Dutch composer, pianist and academic teacher. Considered the most influential Dutch composer of his generation, he was a central proponent of The Hague school of composition. Although his music was initially dominated by neoclassicism and serialism, his style gradually shifted to a synthesis of American minimalism, big band jazz and the expressionism of Igor Stravinsky.
In music, a tone row or note row, also series or set, is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found.
Igor Fyodorovich Stravinsky was a Russian composer and conductor with French citizenship and American citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and twelve-note composition—is a method of musical composition. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded equally often in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key.
In music theory, retrograde inversion is a musical term that literally means "backwards and upside down": "The inverse of the series is sounded in reverse order." Retrograde reverses the order of the motif's pitches: what was the first pitch becomes the last, and vice versa. This is a technique used in music, specifically in twelve-tone technique, where the inversion and retrograde techniques are performed on the same tone row successively, "[t]he inversion of the prime series in reverse order from last pitch to first."
Composition for Four Instruments (1948) is an early serial music composition written by American composer Milton Babbitt. It is Babbitt's first published ensemble work, following shortly after his Three Compositions for Piano (1947). In both these pieces, Babbitt expands upon the methods of twelve-tone composition developed by Arnold Schoenberg. He is notably innovative for his application of serial techniques to rhythm. Composition for Four Instruments is considered one of the early examples of “totally serialized” music. It is remarkable for a strong sense of integration and concentration on its particular premises—qualities that caused Elliott Carter, upon first hearing it in 1951, to persuade New Music Edition to publish it.
Elegy for J.F.K. is a piece of vocal music composed by the Russian-born composer Igor Stravinsky in 1964, commemorating the assassination of U.S. President John F. Kennedy.
The Flood: A musical play (1962) is a short biblical drama by Igor Stravinsky on the story of Noah and the flood, originally conceived as a work for television. It contains singing, spoken dialogue, and ballet sequences. It is in Stravinsky's late, serial style.
Agon is a 22-minute ballet for twelve dancers with music by Igor Stravinsky. It was choreographed by George Balanchine. Stravinsky began composition in December 1953 but was interrupted the next year; he resumed work in 1956 and concluded on April 27, 1957. The music was premiered in Los Angeles at UCLA's Royce Hall on June 17, 1957, conducted by Robert Craft. Stravinsky himself conducted the sessions for the work's first recording the following day on June 18, 1957. Agon was first performed on stage by the New York City Ballet at the City Center of Music and Drama on December 1, 1957.
Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra. Stravinsky completed the work in 1966, and it received its first performance that same year.
Threni: id est Lamentationes Jeremiae Prophetae, usually referred to simply as Threni, is a musical setting by Igor Stravinsky of verses from the Book of Lamentations in the Latin of the Vulgate, for solo singers, chorus and orchestra. It is Stravinsky's first and longest completely dodecaphonic work, but is not often performed. It has been called "austere" but also a "culminating point" in his career, "important both spiritually and stylistically" and "the most ambitious and structurally the most complex" of all his religious compositions, and even "among Stravinsky's greatest works".
The Octet for wind instruments is a chamber music composition by Igor Stravinsky, completed in 1923.
Variations: Aldous Huxley in memoriam is Igor Stravinsky's last major orchestral composition, written in 1963–64.
Ernst Roth was a music publisher for Universal Edition in Vienna and Boosey & Hawkes in London, and became the company's director in 1968. He also wrote about music and translated.
Abraham and Isaac is a sacred ballad for baritone and orchestra composed in 1962–63 by Igor Stravinsky.
"Epitaphium" is a short chamber-music composition by Igor Stravinsky, for flute, clarinet, and harp. The score was composed in 1959 and is inscribed in German, "Für das Grabmal des Prinzen Max Egon zu Fürstenberg". A performance last for less than two minutes.
Movements is a 1959 five-movement work for piano and orchestra by Igor Stravinsky lasting about ten minutes. It was written during his serial period and shows his dedication to that idiom as well as the influence of Anton Webern.
The Septet for clarinet, bassoon, horn, piano, violin, viola and cello is a Chamber music composition by Igor Stravinsky. It was composed between July 1952 and February 1953, and the first performance took place at Dumbarton Oaks in Washington, D.C., on 23 January 1954. The score is dedicated to the Dumbarton Oaks Research Library and Collection. It consists of three movements, the first lacking a title, and the last lacking a number in the score. The work is influenced by twelve-tone technique, especially by the Wind Quintet, Op. 26, and the Suite for septet, Op. 29, composed by Arnold Schoenberg.
A Sermon, a Narrative and a Prayer is a cantata for alto and tenor singers, a narrator, chorus, and orchestra by Igor Stravinsky, composed in 1960–61. It belongs to the composer’s serial period, and lasts a little over a quarter of an hour in performance.
Lied ohne Name, sometimes also entitled Lied ohne Namen and Duet for Two Bassons, is a composition for two bassoons by Igor Stravinsky.
References
- 1 2 3 Stevenson, Joseph. Igor Stravinsky – Fanfare for a New Theater, for 2 trumpets at AllMusic
- 1 2 3 4 Heninger, Barbara (June 8, 2008). "Igor Stravinsky – Fanfare for a New Theatre". Archived from the original on September 5, 2011. Retrieved February 11, 2013.
- ↑ Stravinsky, Igor (1964). "Fanfare for a New Theatre (score)". Boosey & Hawkes . Retrieved February 11, 2013.
- ↑ Kuster, Andrew (2000). "3. Simple Application of Stravinsky's Method in His Short Works". Stravinsky's Topology (D.M.A. dissertation). University of Colorado. Retrieved February 11, 2013.
