Below is a list of compositions by Josef Bohuslav Foerster sorted by genre, opus number, date of composition, original and English titles.
Genre | Opus | Composition date | Czech title (original title) | English title | Scoring | Notes |
---|---|---|---|---|---|---|
Opera | 41 | 1890–1891 | Debora | Debora | in 3 acts; libretto by Jaroslav Kvapil after Salomon Hermann Mosenthal | |
Opera | 50 | 1895–1897 | Eva | Eva | in 3 acts; libretto by the composer after the 1889 play Gazdina roba by Gabriela Preissová | |
Opera | 60 (68) | 1902–1904 revised 1906 | Jessika | Jessika | in 3 acts; libretto by Jaroslav Vrchlický after The Merchant of Venice by William Shakespeare | |
Opera | 100 | 1917 | Nepřemožení | The Invincible Ones | in 4 acts; libretto by the composer; first sketches date from 1906 | |
Opera | 122 | 1921–1922 | Srdce | The Heart | in 2 acts with prologue and epilogue; libretto by the composer | |
Opera | 158 | 1935–1936 | Bloud | The Fool (a.k.a. The Simpleton) | in 7 scenes; libretto by the composer based on the 1885 short story Two Old Men by Leo Tolstoy | |
Melodrama | 21 | 1889 | Tři jezdci | The Three Riders | for narrator and piano | words by Jaroslav Vrchlický |
Melodrama | 30a | 1897 | Amarus | Amarus | for narrator and piano | words by Jaroslav Vrchlický |
Melodrama | 31 | 1890–1895 | Faustulus | Faustulus | ||
Melodrama | 34 | Legenda o svaté Julii | The Legend of St. Julia | for narrator and piano | words by Jaroslav Vrchlický | |
Melodrama | 40b | 1905 | Norská ballada | Norwegian Ballad | for narrator and piano | words after the novel Román o věrném přátelství Amise a Amila by Julius Zeyer |
Melodrama | 111a | 1921 | Tří králové | Three Kings | for narrator and piano | words by Josef Václav Sládek |
Melodrama | 111d | 1921 | Mše biskupa Turpina | The Mass of Bishop Turpin | for narrator and piano | words by Jaroslav Vrchlický |
Melodrama | 149a | 1942–1943 | Carçamon | Carçamon | for narrator and piano | words by Henry A. Beers in translation by Josef Václav Sládek |
Melodrama | 149b | Pan učitel | The Teacher | for narrator and piano | words by Renata Horaová | |
Melodrama | 155a | 1934 | Romance štědrovečerní | A Christmas Eve Romance | for narrator and piano | words by Jan Neruda |
Melodrama | 1936 | Stín | The Shadow | for narrator and piano | ||
Melodrama | 162 | 1940 | Tří melodramy
| 3 Melodramas
| for narrator and piano | 1.~2. words by Josef Václav Sládek 3. words by Jaroslav Vrchlický |
Melodrama | 176a | 1934 | Kejklíř | The Juggler | for narrator and piano or orchestra | words by Otokar Fischer; orchestrated in 1949 |
Incidental music | 35 | 1897 | Princezna Pampeliška | Princess Dandelion | for the play by Jaroslav Kvapil | |
Incidental music | 64 | 1901 | Šípková Růženka | Sleeping Beauty | ||
Incidental music | 62 | 1906 | Trilogie o Simsonovi | Simson Trilogy | for the dramatic poem by Jaroslav Vrchlický | |
Incidental music | Strakonický dudák | The Bagpiper of Strakonice | for the play by Josef Kajetán Tyl; for voices and orchestra | |||
Incidental music | 116e | 1922 | Večer Tříkrálový | Twelfth Night | for the play by William Shakespeare | |
Incidental music | 116f | 1927 | Julius Caesar | Julius Caesar | for the play by William Shakespeare | |
Orchestral | – | 1884 | Slovanská fantazie | Slavonic Fantasy | for orchestra | |
Orchestral | 7 | 1884 | V horách | In the Mountains | for chamber orchestra | Suite |
Orchestral | 9 | 1887–1888 | Symfonie č. 1 d moll | Symphony No. 1 in D minor | for orchestra | |
Orchestral | – | 1891 | Suita c moll | Suite in C minor | for orchestra | |
Orchestral | 25 | Při západu, Dvě notturna | At Sunset, 2 Nocturnes | for orchestra | ||
Orchestral | 29 | 1892–1893 | Symfonie č. 2 F dur | Symphony No. 2 in F major | for orchestra | |
Orchestral | 36 | 1894–1895 | Symfonie č. 3 D dur „Život“ | Symphony No. 3 "Life" in D major | for orchestra | |
Orchestral | 44 | 1900 | Mé mládí | My Youth | for orchestra | Symphonic poem |
Orchestral | 54 | 1905 | Symfonie č. 4 c moll „Veliká noc“ | Symphony No. 4 "Easter Eve" in C minor | for orchestra | |
Orchestral | 55 | 1903 | Cyrano de Bergerac | Cyrano de Bergerac | for orchestra | Suite |
Orchestral | 58 | 1895 | Tragická ouvertura | Tragic Overture | for orchestra | |
Orchestral | 59 | 1903 | Večer v Belmontu | Evening in Belmont | for orchestra | |
Orchestral | 70 | 1907 | Slavnostní předehra | Festive Prelude | for orchestra | |
Orchestral | 76 | 1908–1909 | Ze Shakespeara
| From Shakespeare
| for orchestra | Suite |
Orchestral | 83 | 1909 | Legenda o štěstí | Legend of Happiness | for orchestra | |
Orchestral | 84 | 1911 | Jaro | Spring | for orchestra | |
Orchestral | 93 | 1912 | Jaro a touha | Springtime and Desire | for orchestra | Symphonic poem |
Orchestral | 124 | 1923 | Jičínská suita | Jičín Suite | for orchestra | also for piano |
Orchestral | 141 | 1924–1929 | Symfonie č. 5 d moll | Symphony No. 5 in D minor | for orchestra | |
Concertante | 88 | 1910–1911 | Houslový koncert č. 1 c moll | Concerto No. 1 in C minor | for violin and orchestra | |
Concertante | 104 | 1925–1926 | Houslový koncert č. 2 d moll | Concerto No. 2 in D minor | for violin and orchestra | |
Concertante | 143 | 1930 | Koncert pro violoncello a orchestr | Concerto | for cello and orchestra | |
Concertante | 183b | 1945–1946 | Capriccio pro sólovou flétnu a malý orchestr | Capriccio | for flute and chamber orchestra | |
Chamber music | 3 | 1886 | Smyčcový kvintet | String Quintet | for 2 violins, viola, cello and double bass | |
Chamber music | 8 | 1883 | Klavírní trio č. 1 f moll | Piano Trio No. 1 in F minor | for violin, cello and piano | |
Chamber music | 15 | 1888 | Smyčcový kvartet č. 1 E dur | String Quartet No. 1 in E major | for 2 violins, viola and cello | |
Chamber music | 10 | 1889 | Houslová sonáta h moll | Sonata in B minor | for violin and piano | |
Chamber music | 35a | 1897 | Princezna Pampeliška, Suita pro housle a klavír | Princess Dandelion, Suite | for violin and piano | after the incidental music for the play by Jaroslav Kvapil |
Chamber music | 1894 | Allegro giocoso pro smyčcové kvarteto | Allegro giocoso | for 2 violins, viola and cello | ||
Chamber music | 38 | 1894 | Klavírní trio č. 2 B dur | Piano Trio No. 2 in B♭ major | for violin, cello and piano | |
Chamber music | 39 | 1893 | Smyčcový kvartet č. 2 D dur | String Quartet No. 2 in D major | for 2 violins, viola and cello | |
Chamber music | 45 | 1898 | Sonáta pro violoncello a klavír č. 1 f moll | Sonata No. 1 in F minor | for cello and piano | |
Chamber music | 61 | 1907 | Smyčcový kvartet č. 3 C dur | String Quartet No. 3 in C major | for 2 violins, viola and cello | revised 1913 |
Chamber music | 92 | 1914 | Ballata pro housle a klavír | Ballade | for violin and piano | |
Chamber music | 95 | 1909 | Dechový kvintet | Woodwind Quintet | for flute, oboe, clarinet, bassoon and horn | |
Chamber music | 105 | 1919–1921 | Klavírní trio č. 3 a moll | Piano Trio No. 3 in A minor | for violin, cello and piano | |
Chamber music | 128 | 1925 | Fantasie pro housle a klavír | Fantasie | for violin and piano | |
Chamber music | 130 | 1926 | Sonáta pro violoncello a klavír č. 2 c moll | Sonata No. 2 in C minor | for cello and piano | |
Chamber music | 138 | 1928 | Komorní hudba pro klavír a smyčcový kvartet | Chamber Music | for 2 violins, viola, cello and piano | |
Chamber music | 147 | 1931 | Nonet: variace o dvou thematech | Nonet: Variations on Two Themes | for flute, oboe, clarinet, bassoon, horn, violin, viola, cello and double bass | |
Chamber music | 154 | 1934 | Dvě impromptu pro housle a klavír | 2 Impromptus | for violin and piano | |
Chamber music | 167 | 1940 | Zbirožská suita pro violu a klavír | Zbiroh Suite | for viola and piano | |
Chamber music | 177 | 1943 | Sonata quasi una fantasia pro housle a klavír | Sonata quasi una fantasia | for violin and piano | |
Chamber music | 182 | 1944 | Smyčcový kvartet č. 4 F dur | String Quartet No. 4 in F major | for 2 violins, viola and cello | |
Chamber music | 183a | 1944 | Malá suita pro dvoje housle | Little Suite | for 2 violins | |
Chamber music | – | 1945 | Elegie pro housle sólo | Elegie | for violin solo | manuscript |
Chamber music | 1950–1951 | Smyčcový kvartet č. 5 F dur „Vestecký“ | String Quartet No. 5 "Vestec" in F major | for 2 violins, viola and cello | ||
Chamber music | 183 | published posth. 1953 | Malá suita pro troje housle | Little Suite | for 3 violins | |
Chamber music | Melodie | Melodie | for cello and piano | |||
Harmonium | 6 | 1896 | Čtyři skladby | 4 Pieces | for harmonium | |
Organ | 14 | 1896 | Fantasie C dur | Fantasie in C major | for organ | |
Organ | 135 | 1927 | Impromptu | Impromptu | for organ | |
Piano | 4 | 1887 | Jarní nálady | Spring Moods | for piano | 3 Pieces |
Piano | 5 | 1885 | Allegro a Scherzo | Allegro and Scherzo | for piano | |
Piano | 17 | 1885 | Miniatury | Miniatures | for piano | |
Piano | 18b | 1890 | Listy z mého deníku | Pages from My Diary | for piano | |
Piano | 33 | Lyrické skladby | Lyric Pieces | for piano 4-hands | ||
Piano | 47 | 1898 | Snění | Dreaming | for piano | |
Piano | 49 | 1902 | Růže vzpomínek | Roses of Memories | for piano | Cycle of 6 piano pieces |
Piano | 79 | 1904 | Hudba večera | Evening Music | for piano | |
Piano | 52 | 1905 | A jabloně kvetly | And Apple Trees Were in Bloom | for piano | |
Piano | 48 | 1906 | Taneční skicy | Dance Sketches | for piano | |
Piano | 73 | 1907–1909 | Imprese | Impressions | for piano | |
Piano | 72 | 1908–1909 | Skladby pro mého synáčka | Compositions for My Son | for piano | |
Piano | 98 | 1912 | Erotovy masky | Masks of Eros | for piano 4-hands | |
Piano | 124 | 1924 | Jičínská suita o čtyřech větách | Jičín Suite | for piano | in 4 movements; also for orchestra |
Piano | 129 | 1926 | Osenická suita | Osenice Suite | for piano | |
Piano | 1926 | Stopy ve sněhu, 2 nálady ve snazším slohu | Footprints in the Snow: 2 Easy Mood Pieces | for piano 4-hands | ||
Piano | 136 | 1927 | Črty uhlem | Charcoal sketches | for piano | Cycle of piano pieces |
Piano | 142 | Notturno fantastico, dvě klavírní skladby pro levou ruku | Notturno fantastico, 2 Pieces | for piano left-hand | ||
Piano | 153b | 1939 | Den | Day | for piano | |
Vocal | 2 | 1882 | Pět písní ve slohu národním
| 5 Songs in Folk Style | for voice (baritone) and piano | |
Vocal | 11 | 1886–1888 | Písně jarní a podzimní | Songs of Spring and Autumn | ||
Vocal | 12 | 1888 | Petrklíče, Čtyři písně
| Primroses, 4 Songs | for soprano and piano | words by Josef Václav Sládek, John Paulsen and Svatopluk Čech |
Vocal | 22 | 1895 | Čtyři písně | 4 Songs | for medium voice and piano | |
Vocal | 23 | Erotikon, 4 písně pro vyšší hlas a klavír
| Erotikon: 4 Songs | for high voice and piano | ||
Vocal | 24 | 1890–1895 | Tři písně | 3 Songs | for voice and piano | 1. folk text 2. words by Karl Stieler 3. words by Jaroslav Vrchlický |
Vocal | 26 | 1896 | Polní květy | Wild Flowers | ||
Vocal | 27 | 1895 | Tři písně | 3 Songs | for medium voice and piano | |
Vocal | 32 | Vzpomínky | Souvenirs | |||
Vocal | 42 | Písně soumraku
| Twilight Songs | for voice and piano | 1.~5. translations by Karel Burian 1. words by Rainer Maria Rilke 2. words by Ernst Eckstein 3. words by Heinrich Heine 4. words by Martin Greif 5. words by Paul Verlaine 6. words by Jaroslav Vrchlický | |
Vocal | 43 | Nachtviolen | 4 Lieder aus dem Zyklus Eine Liebe von G. Falke | |||
Vocal | 46 | 1899–1900 | Láska | Love: Song Cycle | for voice and piano | words by Gustav Falke in translation by Josef Theurer and Karel Burian |
Vocal | 60 | Čtyři písně
| 4 Songs | for voice and piano | 1. words by Johann Friedrich Rochlitz 2. words by Carl Siebel (1836–1868) 3. words by Paul Bornstein 4. words by Hedda Rzach Sauer (1875–1953) | |
Vocal | 65 | Sen jarní noci
| A Spring Night's Dream | for voice and piano | words by Robert Hamerling | |
Vocal | 69 | 1900–1902 | Zářivé dni
| Brilliant Days | for voice and piano | words by Ludwig Jacobowski (1868–1900) |
Vocal | 78 | Mučenka, 6 písní | Passionflower: 6 Songs | for voice and piano | ||
Vocal | 81 | 1909 | Démon láska | The Devil Love | for voice and piano | words by Jaroslav Vrchlický |
Vocal | 85 | 1910 | Písně na slova K. H. Máchy
| Songs on Words by Mácha | for voice and piano | words by Karel Hynek Mácha |
Vocal | 90 | Bílé růže, 4 písně | White Roses: 4 Songs | for voice and piano | words by Jaroslav Kvapil | |
Vocal | 91 | 1912 | Dvě písně s violou a klavírem | 2 Songs | for voice, viola and piano | |
Vocal | 96 | 1914 | Milostné písně na slova Rabindranátha Thákura
| Love Songs on Words by Rabindranath Tagore | for voice and piano or orchestra | words by Rabindranath Tagore |
Vocal | 97 | 1915 | Drei Lieder aus der Kriegszeit
| 3 Songs from the War | for medium voice and piano | 1. words by Gustav Falke 2. words by Christian Morgenstern 3. words by Ernst Lothar |
Vocal | 101 | 1910 | Pohádka o dlouhé touze, soubor 15 písní na slova Josefa Merhauta
| Fairy-Tale of a Long Craving: 15 Songs | for voice and piano | words by Josef Merhaut (1863–1907) |
Vocal | 107 | 1914–1918 | Čisté jitro, 3 zpěvy pro sólový hlas a orchestr | Pure Morning: 3 Songs | for voice and orchestra | words by Otokar Březina, Antonín Sova and František Xaver Šalda |
Vocal | 109a | 1911 | Dva motivy z Jana Nerudy | 2 Motifs of Jan Neruda | for voice and piano | words by Jan Neruda |
Vocal | 109b | 1897–1912 | Tři modlitby | 3 Prayers | for voice and piano | words by Maurice Maeterlinck, Paul Fleming and Mikhail Lermontov |
Vocal | 125a | Dva žalmy | 2 Psalms | for medium voice and organ (or harmonium, or piano) | ||
Vocal | 126 | Co zpívá večer, Cyklus písní | for voice and piano | |||
Vocal | 127 | 1897–1898 | Zpívající noc | A Night for Singing | ||
Vocal | 132 | 1924 | Kvetoucí magnólie, 5 písní | Flowering Magnolia: 5 Songs | for voice and piano | words by Vítězslav Hálek |
Vocal | Ó, jen se dívej | for voice and piano | ||||
Vocal | Oči | for voice and piano | ||||
Vocal | V deštivé chvíli | In a Rainy Time | for voice and piano | |||
Vocal | 1927 | Ballada horská | Mountain Ballad | for voice and piano | words by Jan Neruda | |
Vocal | 142 | 1932–1940 | Šest zpěvů | 6 Songs | for voice and piano | |
Vocal | 144 |
| for voice and piano | |||
Vocal | 157 |
| for voice, violin, cello and organ | 2. words by Karel Bohdan Ort | ||
Vocal | Ježíšek | Father Christmas | ||||
Vocal | 161 | 1937 | Šest písní na básně A.S. Puškina
| 6 Songs on Poems of Alexander Pushkin | for medium voice and piano | words by Aleksander Pushkin in translation by Petr Křička |
Vocal | 163 | 1939 | Tři notturna
| 3 Nocturnes
| for voice, cello and piano | 1. words by the composer 2. words by František Xaver Svoboda 3. words by Jan Rokyta |
Vocal | 165a | 1941–1942 | Šest písní na slova českých básníků
| 6 Songs on Words of Czech Poets | for voice and piano | 1.~2. words by Josef Václav Sládek 3. words by Jaroslav Vrchlický 4. words by Jaroslav Kvapil 5.~6. words by Jaroslav Vrchlický |
Vocal | 180 | 1943 | Poslední písně F.X. Svobody | The Last Songs of František Xaver Svoboda | for voice and piano | words by František Xaver Svoboda |
Vocal | 181 | 1938 | Tři zpěvy | 3 Songs
| for voice and orchestra | 1. words by Jaroslav Vrchlický 2. words by Jaroslav Vyplel 3. words by František Xaver Šalda |
Vocal | 184 | 1945–1946 | Rozmarné písně | Whimsical Songs | for voice and piano | |
Vocal | 186 | 1945 | U bran štěstí | At the Gates of Happiness | for voice and piano | words by Josef Václav Sládek |
Vocal | 189 | 1948 | Písně červnových dnů
| Songs of June Days | for voice and piano | words by the composer, William Shakespeare and Josef Václav Sládek |
Vocal | Praze, 3 písně
| To Prague: 3 Songs | for voice and piano | 1. words by Nina Tučková 2. words by Karel Toman 3. words by Jan Grmela | ||
Choral | 13 | 1889 | Hymnus andělů | Hymn of the Angels | for mixed chorus and orchestra | words by Svatopluk Čech |
Choral | 16 | 1889 | Tři smíšené sbory | 3 Mixed Choruses | for mixed chorus | words by Josef Václav Sládek |
Choral | 18 | Tři starosvětské písničky
| 3 Old-World Songs | for male chorus | ||
Choral | 19 | 1889 | Tři selské písně | 3 Village Songs | for male chorus | words by Josef Václav Sládek |
Choral | 20 | 1889 | Dva mužské sbory
| 2 Male Choruses | for male chorus | words by Josef Václav Sládek |
Choral | 30 | 1889 | Česká píseň | Czech Song | for mixed chorus | words by Jaroslav Kvapil |
Choral | 32 | Tě Boha chválíme, ambrosianský chvalozpěv (in falso bordone) | for mixed chorus and organ | |||
Choral | 37 | 1894–1897 | Devět mužských sborů
| 9 Male Choruses | for male chorus | one edition erroneously designated Op. 47 1. words by Karel Dostál-Lutinov 2. words by Josef Václav Sládek 3. words by Jaroslav Kvapil 4.~9. words by Josef Václav Sládek |
Choral | 56 | 1891–1892 | Stabat Mater | Stabat Mater | for mixed chorus, orchestra and organ | |
Choral | 57 | Dva ženské čtverozpěvy
| 3 Female Quartets | for 4 female voices and piano | ||
Choral | 63 | 1901–1907 | Šest mužských sborů : No. 3 Hymnus | 6 Male Choruses | for double male chorus | 3. words by Josef Václav Sládek |
Choral | 68 | 1932 | Písně k svatým patronům českým | Songs for Czech Patron Saints | ||
Choral | 71 | 1901 | Modlitba na moři | Prayer to the Sea | for mixed chorus | words by Moritz von Strachwitz and Vladimír Hornof |
Choral | 74 | Dva ženské čtverozpěvy
| 3 Female Quartets | for 4 female voices and piano | words by Josef Václav Sládek | |
Choral | 77 | 1898 1909 | Dva sbory pro smíšené hlasy s průvodem klavíru
| 2 Choruses
| for mixed voices and piano | 1. words by Heinrich Heine in translation by Václav Juda Novotný |
Choral | 82 | 1885 | Tři dvojzpěvy | 3 Duets | ||
Choral | 86 | 1910 | Svatý Václave! | Saint Wenceslas! | for male chorus | words by Josef Václav Sládek |
Choral | 87 | 1910–1911 | Ženské sbory
| Female Choruses
| for female chorus and orchestra | 1. words by Christian Friedrich Hebbel 2. words by Thomas Hood in translation by Josef Václav Sládek |
Choral | 89 | Dětské sbory
| 5 Children's Choruses | for children's chorus a cappella | 1. words by Josef Václav Sládek 2. words by Karel Toman 3.~5. words by Josef Václav Sládek | |
Choral | 94 | 1913–1916 | Pět mužských sborů na církevní texty | 5 Male Choruses on Church Texts | for male chorus | |
Choral | 102 | 1920–1921 | Devět mužských sborů | 9 Male Choruses | for male chorus | words by Josef Václav Sládek and Jaroslav Vrchlický |
Choral | 108 | 1918 | Mrtvým bratřím | To the Dead Brothers | for soloists, mixed chorus, orchestra and organ | biblical words, and by Karl Gerok, Josef Merhaut, Jaroslav Vrchlický and Rabindranath Tagore |
Choral | 110 | 1919–1920 | Co podzim dal | |||
Choral | 112 | 1920–1921 | Vzhůru, spáči!
| Arise, Sleepers!
| for mixed chorus and orchestra (or piano) | words by Josef Václav Sládek |
Choral | 114 | 1920–1923 | Zpěvy večera
| Evening Songs | for male chorus | |
Choral | 115 | Bílá, červená, modrá: tři ženské sbory | White, Red, Blue: 3 Female Choruses | for female chorus a cappella | ||
Choral | 117 | 1913 | Čtyři bohatýři | Four Heroes | for mixed chorus and orchestra | words by Josef Václav Sládek |
Choral | 118 | Sluncem a stínem | In Sun and Shadow | |||
Choral | 119 | 1919 | Česká píseň mešní | Czech Mass Song | ||
Choral | 121 | 1900 |
| for mixed chorus | 16th century words | |
Choral | 123 | 1923 | Glagolská mše | Glagolitic Mass | for mixed chorus and organ | |
Choral | 125 | 1923–1924 | Duchovní písně | Spiritual Songs | ||
Choral | 131 | 1925–1926 | Missa in honorem S. Francisci Assisiensis | for mixed chorus and organ | ||
Choral | 134 | 1927–1928 | Oblačný pták | Cloud Bird | for mixed chorus | words by Rudolf Krupička |
Choral | 140 | 1928 | Svatý Václav, Kantáta o třech dílech | Saint Wenceslas, Cantata in 3 parts | for soloists, chorus, orchestra and organ | words by Antonín Klášterský |
Choral | 145 | 1930–1931 | Sborové písně | Choral Songs | ||
Choral | 146 | 1931 | Te Deum | Te Deum | ||
Choral | 151b | 1936 | Srdci mému | To My Heart | for mixed chorus and orchestra (or piano) | words by Karel Hynek Mácha |
Choral | 157 | 1936 | Hymnus k Panně Marii | Hymn to the Virgin Mary | ||
Choral | 159 | 1936 | Máj | May | for baritone, narrator, male chorus and orchestra | words by Karel Hynek Mácha |
Choral | 160 | Betlehem | Bethlehem | for mixed chorus, violin, cello, harp (or piano) and organ (or harmonium) | words by the composer after an old chorale | |
Choral | 164 | 1932 | Matičce | To Mother | ||
Choral | 166 | Pět zpěvů pro dětský nebo ženský sbor a klavír | 5 Songs | for children's or female chorus and piano | ||
Choral | 168 | 1941 | Smuteční písně | Songs of Mourning | ||
Choral | 169 | Tři sbory pohřební | 5 Funeral Choruses | for male chorus | ||
Choral | 170 | 1940 | Missa in honorem Sanctissimae Trinitatis | Missa in honorem Sanctissimae Trinitatis | for mixed chorus and organ | |
Choral | 171 | 1925–1944 | Dvanáct sborů pro mužské hlasy na básně J. V. Sládka | 12 Choruses on Poems of J.V. Sládek | for male chorus | words by Josef Václav Sládek |
Choral | 173 | 1944 | Píseň bratra Slunce | Song of Brother Sun, Cantata | for baritone, male chorus and orchestra | words by Saint Francis of Assisi and Albert Vyskočil |
Choral | 175 | 1933–1940 | Šest sborů pro smíšené hlasy : No. 5 Kukačka volá | 6 Choruses | for mixed chorus | words by Taras Shevchenko, Josef Hora, Rudolf Krupička, Eugen Stoklas |
Choral | 178 | 1939 | Tři sbory pro ženské hlasy a klavír | 3 Female Choruses | for female chorus and piano | |
Choral | 185 | 1948 | Missa in honorem Beatae Mariae Virginis | Missa in honorem Beatae Mariae Virginis | ||
Choral | 187 | 1943–1945 | Kantáta 1945 | Cantata 1945 | for soprano, baritone, mixed chorus and orchestra | words by Maria Rafajová and Bohumil Mathesius |
Choral | 188 | 1947 | Missa in honorem S. Adalberti | Missa in honorem S. Adalberti | for mixed chorus and organ |
Computer music is the application of computing technology in music composition, to help human composers create new music or to have computers independently create music, such as with algorithmic composition programs. It includes the theory and application of new and existing computer software technologies and basic aspects of music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, electrical engineering and psychoacoustics. The field of computer music can trace its roots back to the origins of electronic music, and the first experiments and innovations with electronic instruments at the turn of the 20th century.
Electronic music is music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means. Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar.
Music is the art of arranging sounds in time through the elements of melody, harmony, rhythm, and timbre. It is one of the universal cultural aspects of all human societies. General definitions of music include common elements such as pitch, rhythm, dynamics, and the sonic qualities of timbre and texture. Different styles or types of music may emphasize, de-emphasize or omit some of these elements. Music is performed with a vast range of instruments and vocal techniques ranging from singing to rapping; there are solely instrumental pieces, solely vocal pieces and pieces that combine singing and instruments. The word derives from Greek μουσική.
A song is a musical composition intended to be performed by the human voice. This is often done at distinct and fixed pitches (melodies) using patterns of sound and silence. Songs contain various forms, such as those including the repetition and variation of sections.
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all and instead compose the song in their mind and then play, sing or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music.
In musicology, the opus number is the "work number" that is assigned to a musical composition, or to a set of compositions, to indicate the chronological order of the composer's production. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work.
Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Sanatana dharma sciences and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.
A composer is a person who writes music, especially western art music, in any form, including vocal music, instrumental music, electronic music, and music which combines multiple forms. A composer may create music in any music genre, including, for example, western classical music, musical theatre, blues, folk music, jazz, and popular music. Composers often express their works in a written musical score using musical notation.
A madrigal is a secular vocal music composition of the Renaissance and early Baroque (1600–1750) eras. The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike the verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung.
Bachelor of Music is an academic degree awarded by a college, university, or conservatory upon completion of a program of study in music. In the United States, it is a professional degree, and the majority of work consists of prescribed music courses and study in applied music, usually requiring proficiency in an instrument, voice, or conducting. In Canada, the B.M. is often considered an undergraduate degree. Programs typically last from three to four and a half years.
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately, a performance of the complete work requires all the movements to be performed in succession. A movement is a section, "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena".
A unit of a larger work that may stand by itself as a complete composition. Such divisions are usually self-contained. Most often the sequence of movements is arranged fast-slow-fast or in some other order that provides contrast.
While the ultimate harmonic goal of a tonal composition is the final tonic triad, there will also be many interior harmonic goals found within the piece, some of them tonic triads and some of them not. ...We use the term cadence to mean a harmonic goal, specifically the chords used at the goal.
Purandara Dasa was a Haridasa philosopher and a follower of Madhwacharya 's Dwaitha philosophy -saint from present-day Karnataka, India. He was a composer, singer and one of the chief founding-proponents of Carnatic music. In honor of his significant contributions to Carnatic music, he is widely referred to as the Pitamaha of Carnatic music. According to a legend, he is considered as an incarnation of Saint Narada.
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, shastriya sangeet. Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent.
Shyama Shastri or Syama Sastri was a musician and composer of Carnatic music. He was the oldest among the Trinity of Carnatic music, Tyagaraja and Muthuswami Dikshitar being the other two.
Bruce Harold Broughton is an American orchestral composer of television, film, and video game scores and concert works. He has composed several highly acclaimed soundtracks over his extensive career and has contributed many pieces to music archives. He has won ten Emmy Awards and has been nominated for the Academy Award for Best Original Score. Broughton is currently a lecturer in composition at UCLA.
Johann Sebastian Bach was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the Brandenburg Concertos; instrumental compositions such as the Cello Suites; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music.
A music publisher is a type of publisher that specializes in distributing music. Music publishers originally published sheet music. When copyright became legally protected, music publishers started to play a role in the management of the intellectual property of composers.
The Yale School of Music is one of the 12 professional schools at Yale University. It offers three graduate degrees: Master of Music (MM), Master of Musical Arts (MMA), and Doctor of Musical Arts (DMA), as well as a joint Bachelor of Arts—Master of Music program in conjunction with Yale College, a Certificate in Performance, and an Artist Diploma.
Experimental music is a general label for any music that pushes existing boundaries and genre definitions. Experimental compositional practice is defined broadly by exploratory sensibilities radically opposed to, and questioning of, institutionalized compositional, performing, and aesthetic conventions in music. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. Artists may also approach a hybrid of disparate styles or incorporate unorthodox and unique elements.