Barbara B. Heyman
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195090581
- eISBN:
- 9780199853090
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090581.003.0011
- Subject:
- Music, History, American
After the war Samuel Barber was discharged from the United States army. His compositions were continuously loved by its patrons as well as critics, and he was awarded once more, this time the Fifth ...
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After the war Samuel Barber was discharged from the United States army. His compositions were continuously loved by its patrons as well as critics, and he was awarded once more, this time the Fifth Annual Award of the Music Critics Circle of New York. He continued to trailblaze his way into music history, with his Cello Concerto dubbed as one of the most challenging contemporary cello compositions. This chapter describes his most “American work”: Knoxville: Summer of 1915. He was reputed to be one of the most promising American composers of his time. Barber even took an interest in ballet, for which he produced the piece Medea. This was however, dampened by the news of his father's deteriorating health and the stress it placed in Barber's mother.Less
After the war Samuel Barber was discharged from the United States army. His compositions were continuously loved by its patrons as well as critics, and he was awarded once more, this time the Fifth Annual Award of the Music Critics Circle of New York. He continued to trailblaze his way into music history, with his Cello Concerto dubbed as one of the most challenging contemporary cello compositions. This chapter describes his most “American work”: Knoxville: Summer of 1915. He was reputed to be one of the most promising American composers of his time. Barber even took an interest in ballet, for which he produced the piece Medea. This was however, dampened by the news of his father's deteriorating health and the stress it placed in Barber's mother.
Malcolm MacDonald
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195172010
- eISBN:
- 9780199852000
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195172010.003.0013
- Subject:
- Music, History, American
This chapter describes various pieces of a heterogeneous collection that receive scant notice from most commentators. In general they are regarded as mere footnotes to Schoenberg’s main creative ...
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This chapter describes various pieces of a heterogeneous collection that receive scant notice from most commentators. In general they are regarded as mere footnotes to Schoenberg’s main creative work; but in fact they all have intrinsic interest, and help round-out the picture of their composer, especially in his lighter moods. Schoenberg’s most numerous “occasional” works were canons, vocal or instrumental. Like Bach or Brahms before him, he wrote many of these throughout his career; sometimes simply, one suspects, to keep his hand in with a little “tonal” composition in the old style, sometimes as riddles or as greetings or presents for friends, often fitted with whimsical texts of his own devising.Less
This chapter describes various pieces of a heterogeneous collection that receive scant notice from most commentators. In general they are regarded as mere footnotes to Schoenberg’s main creative work; but in fact they all have intrinsic interest, and help round-out the picture of their composer, especially in his lighter moods. Schoenberg’s most numerous “occasional” works were canons, vocal or instrumental. Like Bach or Brahms before him, he wrote many of these throughout his career; sometimes simply, one suspects, to keep his hand in with a little “tonal” composition in the old style, sometimes as riddles or as greetings or presents for friends, often fitted with whimsical texts of his own devising.
Benjamin R. Levy
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780199381999
- eISBN:
- 9780199382019
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199381999.003.0006
- Subject:
- Music, History, Western, Theory, Analysis, Composition
Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the ...
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Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the Requiem—especially the Kyrie and Dies irae movements—show explicit forms of rulemaking that differ from those associated with Boulez, Stockhausen, and others using the integral serial approach. Ligeti’s approach to rhythm is further refined in Lux aeterna and Lontano, and the Cello Concerto represents the synthesis of the static and wild textures developed so meticulously in the previous works. The Cello Concerto also reuses types of musical material created in Aventures, referencing specific episodes from the earlier work in an instrumental setting.Less
Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the Requiem—especially the Kyrie and Dies irae movements—show explicit forms of rulemaking that differ from those associated with Boulez, Stockhausen, and others using the integral serial approach. Ligeti’s approach to rhythm is further refined in Lux aeterna and Lontano, and the Cello Concerto represents the synthesis of the static and wild textures developed so meticulously in the previous works. The Cello Concerto also reuses types of musical material created in Aventures, referencing specific episodes from the earlier work in an instrumental setting.
