This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources.(April 2016)
Sur le même accord (On only one chord) is a piece by the French composer Henri Dutilleux for solo violin and orchestra. It was composed for the violinist Anne-Sophie Mutter, and was premiered by her on 28 April 2002 in London with the London Philharmonic Orchestra conducted by Kurt Masur. The piece lasts about 10 minutes in performance.
Henri Dutilleux was a French composer active mainly in the second half of the 20th century. His work, which garnered international acclaim, followed in the tradition of Maurice Ravel, Claude Debussy, Albert Roussel and Olivier Messiaen, but in an idiosyncratic style.
The violin, also known informally as a fiddle, is a wooden string instrument in the violin family. Most violins have a hollow wooden body. It is the smallest and highest-pitched instrument in the family in regular use. Smaller violin-type instruments exist, including the violino piccolo and the kit violin, but these are virtually unused. The violin typically has four strings tuned in perfect fifths, and is most commonly played by drawing a bow across its strings, though it can also be played by plucking the strings with the fingers (pizzicato) and by striking the strings with the wooden side of the bow.
Anne-Sophie Mutter is a German violinist. She was supported early in her career by Herbert von Karajan, and has had several works composed specially for her, including ones by Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, André Previn, Wolfgang Rihm, and John Williams.
Dutilleux describes the piece as "a nocturne-like work".[1] The one movement consists of an introduction followed by an alternation of rapid music and slow, lyrical passages: Introduction – Rapid Music – Lyrical Section I – Rapid Music – Lyrical Section II – Rapid Music.
The entire piece is based on one six-note chord, heard at the beginning of the piece, which is manipulated in various ways. The chord has the property of all-combinatoriality, and Dutilleux uses this property several times to create an aggregate. The piece also features the Dutilleux trademark of mirror writing, which can be heard in several passages. The work is tonally centered on G, which is established by assertion, most notably by the repeated use of the violin's low open G.
In music, a hexachord is a six-note series, as exhibited in a scale or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the Greek: ἑξάχορδος, compounded from ἕξ and χορδή, and was also the term used in music theory up to the 18th century for the interval of a sixth.
In music using the twelve tone technique, combinatoriality is a quality shared by twelve-tone tone rows whereby each section of a row and a proportionate number of its transformations combine to form aggregates. Much as the pitches of an aggregate created by a tone row do not need to occur simultaneously, the pitches of a combinatorially created aggregate need not occur simultaneously. Arnold Schoenberg, creator of the twelve-tone technique, often combined P-0/I-5 to create "two aggregates, between the first hexachords of each, and the second hexachords of each, respectively."
The chromatic scale is a musical scale with twelve pitches, each a semitone above or below its adjacent pitches. As a result, in 12-tone equal temperament, the chromatic scale covers all 12 of the available pitches. Thus, there is only one chromatic scale.
The Western concert flute is a transverse (side-blown) woodwind instrument made of metal or wood. It is the most common variant of the flute. A musician who plays the flute is called a flautist, flutist, flute player, or (rarely) fluter.
The piccolo is a half-size flute, and a member of the woodwind family of musical instruments. The modern piccolo has most of the same fingerings as its larger sibling, the standard transverse flute, but the sound it produces is an octave higher than written. This gave rise to the name ottavino, which the instrument is called in the scores of Italian composers. It is also called flauto piccolo or flautino.
Oboes are a family of double reed woodwind instruments. The most common oboe plays in the treble or soprano range. Oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with metal keys, a conical bore and a flared bell. Sound is produced by blowing into the reed at a sufficient air pressure, causing it to vibrate with the air column. The distinctive tone is versatile and has been described as "bright". When oboe is used alone, it is generally taken to mean the treble instrument rather than other instruments of the family, such as the bass oboe, the cor anglais, or oboe d'amore
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
Related Research Articles
Orchestration is the study or practice of writing music for an orchestra or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the selection of different instruments to play the different parts of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra.
The Pomp and Circumstance Marches, Op. 39, are a series of marches for orchestra composed by Sir Edward Elgar. They include some of Elgar's best-known compositions.
Alban Berg's Violin Concerto was written in 1935. It is probably Berg's best-known and most frequently performed instrumental piece, in which the composer sought to reconcile diatonicism and dodecaphony. Berg composed it on a commission from Louis Krasner, and it became the last work that he completed. Krasner performed the solo part in the premiere at the Palau de la Música Catalana, Barcelona on 19 April 1936, after the composer's death.
The Carnival of the Animals is a humorous musical suite of fourteen movements by the French Romantic composer Camille Saint-Saëns. The work was written for private performance by an ad hoc ensemble of two pianos and other instruments, and lasts around 25 minutes.
The Violin Concerto in D minor, Op. 47, was written by Jean Sibelius in 1904, revised in 1905. It is his only concerto. It is symphonic in scope, with the solo violin and all sections of the orchestra being equal voices. An extended cadenza for the soloist takes on the role of the development section in the first movement.
Felix Mendelssohn's Violin Concerto in E minor, Op. 64, is his last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertos in history. A typical performance lasts just under half an hour.
Edward Elgar's Cello Concerto in E minor, Op. 85, his last notable work, is a cornerstone of the solo cello repertoire. Elgar composed it in the aftermath of the First World War, when his music had already gone out of fashion with the concert-going public. In contrast with Elgar's earlier Violin Concerto, which is lyrical and passionate, the Cello Concerto is for the most part contemplative and elegiac.
Mozart's Clarinet Concerto in A major, K. 622, was written in October 1791 for the clarinetist Anton Stadler. It consists of three movements, in a fast–slow–fast succession:
Also sprach Zarathustra, Op. 30 is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical novel of the same name. The composer conducted its first performance on 27 November 1896 in Frankfurt. A typical performance lasts half an hour.
Piano Concerto No. 3 in C major, Op. 26, is a piano concerto by Sergei Prokofiev. It was completed in 1921 using sketches first started in 1913.
Ein Heldenleben, Op. 40 is a tone poem by Richard Strauss. The work was completed in 1898. It was his eighth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in nature, despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, Don Quixote, and Death and Transfiguration.
Sir Edward Elgar's Introduction and Allegro for Strings, Op. 47, was composed in 1905 for performance in an all-Elgar concert by the newly formed London Symphony Orchestra. Scored for string quartet and string orchestra, Elgar composed it to show off the players' virtuosity. Though initial critical reception was lukewarm at best, the score soon came to be recognized as a masterpiece. The work, which is roughly twelve to fourteen minutes in length, is like a multi-layered symphonic poem for string orchestra, with several prominent themes.
The Symphony No. 99 in E♭ major, Hoboken I/99, is the seventh of the twelve London symphonies written by Joseph Haydn. The symphony was written in 1793 in Vienna in anticipation for his second trip to London. The work was premiered on 10 February 1794 at the Hanover Square Rooms in London, with Haydn directing the orchestra seated at a fortepiano. This concert series featuring Haydn's compositions was organized by his colleague and friend Johann Peter Salomon.
Légende Op. 17 is a showpiece by the Polish violin virtuoso Henryk Wieniawski, written for solo violin and orchestral accompaniment, though it is often performed using a piano reduction as a substitute for the orchestra. It is estimated to have been written in about 1860, though the exact date is unknown.
Le temps l'horloge is a song cycle for soprano and orchestra, by the French composer Henri Dutilleux.
Robert Simpson composed his Seventh Symphony in 1977, the same year he completed his Sixth Symphony. The work is dedicated to Hans Keller and his wife, Milein Keller, and was first performed by the Royal Liverpool Philharmonic Orchestra, conducted by Brian Wright at the Philharmonic Hall, Liverpool on 30 October 1984. It is a one-movement work of approximately 28 minutes duration, and since its first performance it has become one of Simpson’s most frequently heard symphonies.
Henri Dutilleux's Symphony No. 2 Le Double is an orchestral work completed in 1959, commissioned by the Koussevitzky Music Foundation for the 75th anniversary of the Boston Symphony Orchestra.
The Concerto for Piano, Violin, and Strings in D minor, MWV O4, also known as the Double Concerto in D minor, was written in 1823 by Felix Mendelssohn when he was 14 years old. This piece is Mendelssohn's fourth work for a solo instrument with orchestral accompaniment, preceded by a Largo and Allegro in D minor for Piano and Strings MWV O1, the Piano Concerto in A Minor MWV O2, and the Violin Concerto in D minor MWV O3. Mendelssohn composed the work to be performed for a private concert on May 25, 1823 at the Mendelssohn home in Berlin with his violin teacher and friend, Eduard Rietz. Following this private performance, Mendelssohn revised the scoring, adding winds and timpani and is possibly the first work in which Mendelssohn used winds and timpani in a large work. A public performance was given on July 3, 1823 at the Berlin Schauspielhaus. Like the A minor Piano Concerto, it remained unpublished during Mendelssohn's lifetime and it wasn't until 1999 when a critical edition of the piece was available.
Métaboles is an orchestral work by Henri Dutilleux, commissioned by the conductor George Szell in 1959 to mark the fortieth anniversary of the Cleveland Orchestra. Métaboles was composed in 1963–64 and was first performed by Szell and the Cleveland Orchestra on 14 January 1965.
