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Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era. It is closely related to the broader concept of Romanticism—the intellectual, artistic and literary movement that became prominent in Western culture from approximately 1798 until 1837.
A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section, brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts.
The term neo-romanticism is used to cover a variety of movements in philosophy, literature, music, painting, and architecture, as well as social movements, that exist after and incorporate elements from the era of Romanticism.
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality. In this hierarchy, the single pitch or triadic chord with the greatest stability is called the tonic. The root of the tonic chord forms the name given to the key, so in the key of C major, the note C can be both the tonic of the scale and the root of the tonic chord. The tonic can be a different note in the same scale, when the work is said to be in one of the modes of the scale.
20th-century classical music is art music that was written between the years 1901 and 2000, inclusive. Musical style diverged during the 20th century as it never had previously, so this century was without a dominant style. Modernism, impressionism, and post-romanticism can all be traced to the decades before the turn of the 20th century, but can be included because they evolved beyond the musical boundaries of the 19th-century styles that were part of the earlier common practice period. Neoclassicism and expressionism came mostly after 1900. Minimalism started much later in the century and can be seen as a change from the modern to postmodern era, although some date postmodernism from as early as about 1930. Aleatory, atonality, serialism, musique concrète, electronic music, and concept music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century.
Contemporary classical music, also called modern classical, is classical music composed close to the present day. At the beginning of the 21st century, it commonly referred to the post-1945 modern forms of post-tonal music after the death of Anton Webern, and included serial music, electronic music, experimental music, and minimalist music. Newer forms of music include spectral music, and post-minimalism.
Ars subtilior is a musical style characterized by rhythmic and notational complexity, centered on Paris, Avignon in southern France, and also in northern Spain at the end of the fourteenth century. The style also is found in the French Cypriot repertory. Often the term is used in contrast with ars nova, which applies to the musical style of the preceding period from about 1310 to about 1370; though some scholars prefer to consider ars subtilior a subcategory of the earlier style. Primary sources for ars subtilior are the Chantilly Codex, the Modena Codex, and the Turin Manuscript.
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
Neoclassicism in music was a twentieth-century trend, particularly current in the interwar period, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late Romanticism, as well as a "call to order" after the experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music.
Andrzej Dobrowolski was a Polish composer and teacher. He studied at the Warsaw Conservatoire during the war and afterwards in the State High School of Music in Kraków. He went on to teach theory and, later, composition in Kraków and then Warsaw at the State Higher School of Music, becoming a Professor at the University of Music and Performing Arts in Graz in 1976, where he taught composition and electronic music.
French classical music began with the sacred music of the Roman Catholic Church, with written records predating the reign of Charlemagne. It includes all of the major genres of sacred and secular, instrumental and vocal music. French classical styles often have an identifiably national character, ranging from the clarity and precision of the music of the late Renaissance music to the sensitive and emotional Impressionistic styles of the early 20th century. Important French composers include Pérotin, Machaut, Du Fay, Ockeghem, Josquin, Lully, Charpentier, Couperin, Rameau, Leclair, Grétry, Méhul, Auber, Berlioz, Alkan, Gounod, Offenbach, Franck, Lalo, Saint-Saëns, Delibes, Bizet, Chabrier, Massenet, Widor, Fauré, d'Indy, Chausson, Debussy, Dukas, Vierne, Duruflé, Satie, Roussel, Hahn, Ravel, Honegger, Milhaud, Poulenc, Auric, Messiaen, Françaix, Dupré, Dutilleux, Xenakis, Boulez, Guillou, Grisey, and Murail.
Post-romanticism or Postromanticism refers to a range of cultural endeavors and attitudes emerging in the late nineteenth and early twentieth centuries, after the period of Romanticism.
William Hugh Albright was an American composer, pianist and organist.
In music, an octet is a musical ensemble consisting of eight instruments or voices, or a musical composition written for such an ensemble.
Musical historicism signifies the use in classical music of historical materials, structures, styles, techniques, media, conceptual content, etc., whether by a single composer or those associated with a particular school, movement, or period.
Hugues Dufourt is a French composer and philosopher associated with the spectral school of composition. Born in Lyon on September 28, 1943, Dufourt studied piano and composition at the Geneva Conservatory.
Merton Brown was an American composer who studied with Wallingford Riegger and Carl Ruggles. He often collaborated with choreographers including former Martha Graham dancer Matti Haim, José Limón, and Thomas Hewitt.
In music, neoconservative postmodernism is "a sort of 'postmodernism of reaction'," which values "textual unity and organicism as totalizing musical structures" like "latter-day modernists".
Neoconservative modernism...critically engages modernism, but rejects it out of hand. Neoconservative composers employ premodern styles in an attempt to bring a new type of coherence to the 'heterogeneous present' and re-establish the dominance of Western musical practice. Jann Pasler notes the musical characteristics that are indicative of a neoconservative postmodernism: "In music, we all know about the nostalgia that has gripped composers in recent years, resulting in neo-romantic works ... the sudden popularity of writing operas and symphonies again, of construing one's ideas in tonal terms. ...Many of those returning to romantic sentiment, narrative curve, or simple melody wish to entice audiences back to the concert hall. To the extent that these developments are a true "about face," they represent a postmodernism of reaction, a return to pre-modernist musical thinking [emphasis added].
21st-century classical music is Western art music in the contemporary classical tradition that has been produced since the year 2000. A loose and ongoing period, 21st-century classical music is defined entirely by the calendar and does not refer to a musical style in the sense of Baroque or Romantic music.
The Viola Concerto N1, Op. 7, was composed by Airat Ichmouratov in 2004. It was commissioned and premiered by Elvira Misbakhova, a Canadian violist, today the principal viola of Orchestre Métropolitain, who was in 2004 a student at University of Montreal and was looking for new romantic viola concerto for her Doctoral program recital. Concerto was premiered at Claude Champagne Concert Hall in Montreal, Canada on 24 February 2005 by students of University of Montreal under the baton of composer Airat Ichmouratov.
References
- ↑ KIERSTEN VAN VLIET (1 September 2017). "Airat Ichmouratov: 21st Century Romanticist". Montreal: myscena.org. Retrieved 2020-02-02.
- ↑ HASSAN LAGHCHA (7 February 2020). "Airat Ichmouratov: The Neo-Romantic with a Passion for Klezmer". Montreal: myscena.org. Retrieved 2020-02-02.