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Портал:Классическая музыка

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Портал классической музыки

Дублинский филармонический оркестр исполняет Симфонию № 4 Чайковского в Шарлотте, Северная Каролина, США.
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Классическая музыка обычно относится к художественной музыке западного мира , которая считается отличной от западной народной музыки илитрадиций популярной музыки . Иногда ее называют западной классической музыкой , поскольку термин «классическая музыка» также может применяться к незападной художественной музыке . Классическая музыка часто отличается формальностью и сложностью музыкальной формы и гармонической организации , особенно с применением полифонии . По крайней мере, с девятого века это была преимущественно письменная традиция, породившая сложную систему обозначений , а также сопутствующую литературу в аналитической , критической , историографической , музыковедческой и философской практике.основополагающим компонентом западной культуры , часто рассматривается с точки зрения отдельных композиторов или групп композиторов , чьикомпозиции, личности и убеждения фундаментально сформировали ее историю. ( Полная статья... )

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  • Портрет Антона Депаули Шуберта в конце его жизни


    Последние три фортепианные сонаты Франца Шуберта , D 958, 959 и 960, являются его последними крупными сочинениями для фортепиано соло. Они были написаны в последние месяцы его жизни, между весной и осенью 1828 года, но были опубликованы лишь примерно через десять лет после его смерти, в 1838–1839 годах. Как и остальные фортепианные сонаты Шуберта, в XIX веке на них практически не обращали внимания. Однако к концу 20 века общественное и критическое мнение изменилось, и эти сонаты теперь считаются одними из самых важных из зрелых шедевров композитора. Они являются частью основного фортепианного репертуара и регулярно появляются в концертных программах и записях.

    Одной из причин длительного периода пренебрежения фортепианными сонатами Шуберта, по-видимому, является игнорирование их как структурно и драматически уступающих сонатам Бетховена . Фактически, последние сонаты содержат явные аллюзии и сходства с произведениями Бетховена, композитора, которого почитал Шуберт. Тем не менее музыковедческий анализ показал, что они сохраняют зрелый, индивидуальный стиль. Последние сонаты Шуберта сейчас хвалят за этот зрелый стиль, проявляющийся в таких уникальных чертах, как цикличность формального и тонального оформления, камерная музыкальная фактура, редкая глубина эмоциональной выразительности. ( Полная статья... )

  • «Голубой Дунай» (1867)

    « Голубой Дунай » — общепринятое английское название « An der schönen blauen Donau », соч.  314 (по-немецки «У прекрасного голубого Дуная »), вальс австрийского композитора Иоганна Штрауса II , написанный в 1866 году. Первоначально исполнен 15 февраля 1867 года на концерте Wiener Männergesang-Verein (Венской мужской хоровой ассоциации). было одним из самых популярных музыкальных произведений классического репертуара. Однако его первоначальное исполнение было признано лишь умеренным успехом, и, как известно, Штраус сказал: «Черт возьми вальс, я сожалею только о коде - хотелось бы, чтобы она имела успех!»

    После того, как оригинальная музыка была написана, слова были добавлены поэтом Хоровой ассоциации Йозефом Вейлем. Позже Штраус добавил больше музыки, и Вейлю пришлось изменить некоторые слова. Штраус адаптировал ее в чисто оркестровую версию для Всемирной выставки в Париже 1867 года , и в этой форме она имела большой успех. Инструментальная версия сегодня является наиболее распространенной. Альтернативный текст был написан Францем фон Гернертом : « Donau so blau » (Дунай такой синий). Премьера «Голубого Дуная» состоялась в США в инструментальной версии 1 июля 1867 года в Нью-Йорке и в Великобритании в хоровой версии 21 сентября 1867 года в Лондоне на променадных концертах в Ковент-Гардене . ( Полная статья... )
  • Painting by Evaristo Baschenis of Baroque instruments, including a cittern, viola da gamba, violin, and two lutes

    Baroque music (UK: /bəˈrɒk/ or US: /bəˈroʊk/) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition (the galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". The works of Antonio Vivaldi, George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Alessandro Stradella, Tomaso Albinoni, Johann Pachelbel, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Dieterich Buxtehude, Gaspar Sanz, José de Nebra, Antonio Soler, Carlos Seixas and others.

    The Baroque saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this type of harmony has continued to be used extensively in Western classical and popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers. (Full article...)

  • The pipe organ is a musical instrument that produces sound by driving pressurised air (called wind) through the organ pipes selected from a keyboard. Because each pipe produces a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre, volume, and construction throughout the keyboard compass. Most organs have many ranks of pipes of differing pitch, timbre, and volume that the player can employ singly or in combination through the use of controls called stops.

    A pipe organ has one or more keyboards (called manuals) played by the hands, and a pedal clavier played by the feet; each keyboard controls its own division, or group of stops. The keyboard(s), pedalboard, and stops are housed in the organ's console. The organ's continuous supply of wind allows it to sustain notes for as long as the corresponding keys are pressed, unlike the piano and harpsichord whose sound begins to dissipate immediately after a key is depressed. The smallest portable pipe organs may have only one or two dozen pipes and one manual; the largest may have over 33,000 pipes and seven manuals. A list of some of the most notable and largest pipe organs in the world can be viewed at List of pipe organs. A ranking of the largest organs in the world—based on the criterion constructed by Michał Szostak, i.e. 'the number of ranks and additional equipment managed from a single console—can be found in the quarterly magazine The Organ and in the online journal Vox Humana. (Full article...)

  • The composer (c. 1900)

    Finlandia, Op. 26, is a tone poem by the Finnish composer Jean Sibelius. It was written in 1899 and revised in 1900. The piece was composed for the Press Celebrations of 1899, a covert protest against increasing censorship from the Russian Empire, and was the last of seven pieces performed as an accompaniment to a tableau depicting episodes from Finnish history. The premiere was on 2 July 1900 in Helsinki with the Helsinki Philharmonic Society conducted by Robert Kajanus. A typical performance takes between 7½ and 9 minutes depending on how it is performed.

    In order to avoid Russian censorship, Finlandia had to be performed under alternative names at various musical concerts. Titles under which the piece masqueraded were numerous and often confusing—famous examples include Happy Feelings at the awakening of Finnish Spring, and A Scandinavian Choral March. According to Finland's tourism website, "While Finland was still a Grand Duchy under Russia performances within the empire had to take place under the covert title of 'Impromptu'." (Full article...)
  • Performance on period instruments is a key aspect of HIP, such as this baroque orchestra (Photo: Josetxu Obregón and the Spanish ensemble La Ritirata, 2013).

    Historically informed performance (also referred to as period performance, authentic performance, or HIP) is an approach to the performance of classical music, which aims to be faithful to the approach, manner and style of the musical era in which a work was originally conceived.

    It is based on two key aspects: the application of the stylistic and technical aspects of performance, known as performance practice; and the use of period instruments which may be reproductions of historical instruments that were in use at the time of the original composition, and which usually have different timbre and temperament from their modern equivalents. A further area of study, that of changing listener expectations, is increasingly under investigation. (Full article...)
  • Cover of a 1921 libretto for Giordano's Andrea Chénier

    A libretto (an English word derived from the Italian word libretto, lit. 'booklet') is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet.

    The Italian word libretto (pronounced [liˈbretto], plural libretti [liˈbretti]) is the diminutive of the word libro ("book"). Sometimes other-language equivalents are used for libretti in that language, livret for French works, Textbuch for German and libreto for Spanish. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some ballet historians also use the word libretto to refer to the 15- to 40-page books which were on sale to 19th century ballet audiences in Paris and contained a very detailed description of the ballet's story, scene by scene. (Full article...)

  • Early 19th-century engraving depicting Count Almaviva and Susanna in act 3

    The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] ⓘ), K. 492, is a commedia per musica (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"). It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.

    Considered one of the greatest operas ever written, it is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. In 2017, BBC News Magazine asked 172 opera singers to vote for the best operas ever written. The Marriage of Figaro came in first out of the 20 operas featured, with the magazine describing the work as being "one of the supreme masterpieces of operatic comedy, whose rich sense of humanity shines out of Mozart’s miraculous score". (Full article...)
  • A medieval depiction of Comtessa de Diá

    The trobairitz (Occitan pronunciation: [tɾuβajˈɾits]) were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. Trobairitz is both singular and plural.

    The word trobairitz is first attested in the 13th-century romance Flamenca. It comes from the Provençal word trobar, the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word trobairitz is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises or in the biographies (vidas) of the trobairitz or troubadours. It does occur in the treatise Doctrina d'acort by Terramagnino da Pisa, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same. (Full article...)
  • Gottfried Christoph Härtel


    Breitkopf & Härtel (German pronunciation: [ˈbraɪtkɔpf ʔʊnt ˈhɛrtəl]) is a German music publishing house. Founded in 1719 in Leipzig by Bernhard Christoph Breitkopf, it is the world's oldest music publisher. (Full article...)
  • The Royal Academy of Music (RAM) in London, England, is one of the oldest music schools in the UK, founded in 1822 by John Fane and Nicolas-Charles Bochsa. It received its royal charter in 1830 from King George IV with the support of the first Duke of Wellington.

    Famous academy alumni include Sir Simon Rattle, Sir Harrison Birtwistle, Sir Elton John and Annie Lennox. (Full article...)

  • Brahms in 1885

    The Piano Concerto No. 2 in B♭ major, Op. 83, by Johannes Brahms is separated by a gap of 22 years from his first piano concerto. Brahms began work on the piece in 1878 and completed it in 1881 while in Pressbaum near Vienna. It took him three years to work on this concerto, which indicates that he was always self-critical. He wrote to Clara Schumann: "I want to tell you that I have written a very small piano concerto with a very small and pretty scherzo." Ironically, he was describing a huge piece. This concerto is dedicated to his teacher, Eduard Marxsen. The public premiere of the concerto was given in Budapest on 9 November 1881, with Brahms as soloist and the Budapest Philharmonic Orchestra, and was an immediate success. He proceeded to perform the piece in many cities across Europe.

    The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, 4 horns (initially 2 in B♭ bass, 2 in F), 2 trumpets (B♭), timpani (B♭ and F, A and D in second movement) and strings. (The trumpets and timpani are used only in the first two movements, which is unusual.) (Full article...)

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Записи здесь состоят из хороших и избранных статей, которые соответствуют основному набору высоких редакционных стандартов.

  • Хачатурян в 1971 году.

    Арам Ильич Хачатурян ( / ˈ ær ə m ˌ k ɑː tʃ ə ˈ t ʊər i ə n / ; русский : Арам Ильич Хачатурян , IPA: [ɐˈram ɨˈlʲjitɕ xətɕɪtʊˈrʲan] ⓘ ;Армянский:Արամ Խաչատրյան, Арам Хачатрян ; 6 июня [OS24 мая] 1903 — 1 мая 1978) — советскийармянскийкомпозитор и дирижер. Его считают одним из ведущихсоветских композиторов.

    родился и вырос вТбилиси(ныне столицаГрузии), переехал в Москву в 1921 году после советизацииКавказа. Не имея предварительного музыкального образования, он поступил вМузыкальный институт имени Гнесиных, впоследствии учился вМосковской консерваториив классеНиколая Мясковского, среди других. Его первое крупное произведение,Фортепианный концерт(1936), популяризировало его имя в Советском Союзе и за его пределами. За ним последовалиКонцерт для скрипки(1940) иКонцерт для виолончели(1946). Среди других его значительных произведений - Маскарадная сюита (1941),Гимн Армянской ССР(1944), три симфонии (1935, 1943,1947) и около 25 партитур к фильмам. Хачатурян наиболее известен своими балетами — «Гаянэ» (1942) и «Спартак» (1954). Его самое популярное произведение, «Танец с саблями» из«Гаяне», широко использовалось в популярной культуре и исполнялось многими музыкантами по всему миру. Его стиль «характеризуется красочными гармониями, захватывающими ритмами, виртуозностью, импровизациями и чувственными мелодиями». ( Полная статья... )
  • Simplified chart of a sector of western Europe and southern England. A green arrowed line shows the party's outward journey from Salzburg to London via Mannheim, Cologne, Liege, Brussels and Paris. A red line indicates the return via the Netherlands, Paris, Lyons, Geneva and Zürich.
    Map showing the Grand Tour, 1763–66. Black line shows outward journey to London, 1763–64. Red line shows homeward journey to Salzburg, 1765–66. Occluded line shows travel in each direction.


    The Mozart family grand tour was a journey through western Europe, undertaken by Leopold Mozart, his wife Anna Maria, and their musically gifted children Maria Anna (Nannerl) and Wolfgang Theophilus (Wolferl) from 1763 to 1766. At the start of the tour the children were aged eleven and seven respectively. Their extraordinary skills had been demonstrated during a visit to Vienna in 1762, when they had played before the Empress Maria Theresa at the Imperial Court. Sensing the social and pecuniary opportunities that might accrue from a prolonged trip embracing the capitals and main cultural centres of Europe, Leopold obtained an extended leave of absence from his post as deputy Kapellmeister to the Prince-Archbishopric of Salzburg. Throughout the subsequent tour, the children's Wunderkind status was confirmed as their precocious performances consistently amazed and gratified their audiences.

    The first stage of the tour's itinerary took the family, via Munich and Frankfurt, to Brussels and then on to Paris where they stayed for five months. They then departed for London, where during a stay of more than a year Wolfgang made the acquaintance of some of the leading musicians of the day, heard much music, and composed his first symphonies. The family then moved on to the Netherlands, where the schedule of performances was interrupted by the illnesses of both children, although Wolfgang continued to compose prolifically. The homeward phase incorporated a second stop in Paris and a trip through Switzerland, before the family's return to Salzburg in November 1766. (Full article...)
  • First page of The Pilgrim: Grand Overture by Douglass


    John Thomas Douglass (1847–1886) was an American composer, virtuoso violinist, conductor and teacher. He is best known for composing Virginia's Ball (1868), which is generally regarded as the first opera written by a Black American composer. The work is now lost, and his only extant composition is The Pilgrim: Grand Overture (1878) for piano. His biography from James Monroe Trotter's Music and Some Highly Musical People (1878)—in which The Pilgrim survives—reports that he wrote many now lost pieces for piano, orchestra and particularly guitar, which he was known to play.

    A highly regarded violinist, Douglass's violin playing received high praise during his lifetime. In addition to his solo career, he traveled with various groups throughout the 1870s, including the Hyers Sisters. He settled in New York by the 1880s and conducted both a music studio and string ensemble. Later in life he led a teaching studio, and among his students was David Mannes who became the concertmaster of the New York Symphony Orchestra. Nearly 30 years after Douglass's death at age 38–39, Mannes founded the Colored Music Settlement School in the memory of his teacher. (Full article...)

  • Jean Sibelius (/sɪˈbeɪliəs/ sib-AY-lee-əs; Finland Swedish: [ˈjɑːn siˈbeːliʉs, ˈʃɑːn -] ⓘ; born Johan Julius Christian Sibelius; 8 December 1865 – 20 September 1957) was a Finnish composer of the late Romantic and early-modern periods. He is widely regarded as his country's greatest composer, and his music is often credited with having helped Finland develop a stronger national identity when his country was struggling from several attempts of Russification in the late 19th century.

    The core of his oeuvre is his set of seven symphonies, which, like his other major works, are regularly performed and recorded in Finland and countries around the world. His other best-known compositions are Finlandia, the Karelia Suite, Valse triste, the Violin Concerto, the choral symphony Kullervo, and The Swan of Tuonela (from the Lemminkäinen Suite). His other works include pieces inspired by nature, Nordic mythology, and the Finnish national epic, the Kalevala; over a hundred songs for voice and piano; incidental music for numerous plays; the one-act opera The Maiden in the Tower; chamber music, piano music, Masonic ritual music, and 21 publications of choral music. (Full article...)
  • Poulenc in the early 1920s

    Francis Jean Marcel Poulenc (French: [fʁɑ̃sis ʒɑ̃ maʁsɛl pulɛ̃k]; 7 January 1899 – 30 January 1963) was a French composer and pianist. His compositions include songs, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpétuels (1919), the ballet Les biches (1923), the Concert champêtre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmélites (1957), and the Gloria (1959) for soprano, choir, and orchestra.

    As the only son of a prosperous manufacturer, Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. He studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc also made the acquaintance of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works. (Full article...)
  • Middle-aged man, seated, facing towards the left but head turned towards the right. He has a high forehead, rimless glasses and is wearing a dark, crumpled suit
    Gustav Mahler, photographed in 1907 by Moritz Nähr at the end of his period as director of the Vienna Hofoper


    Gustav Mahler (German: [ˈɡʊstaf ˈmaːlɐ]; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.

    Born in Bohemia (then part of the Austrian Empire) to Jewish parents of humble origins, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic. (Full article...)
  • Bizet photographed by Étienne Carjat (1875)



    Georges Bizet (né Alexandre César Léopold Bizet; 25 October 1838 – 3 June 1875) was a French composer of the Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire.

    During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful. (Full article...)
  • profile head and shoulders of clean-shaven man in middle age
    Portrait by Herbert Lambert, c. 1922

    Sir Arnold Edward Trevor Bax KCVO (8 November 1883 – 3 October 1953) was an English composer, poet, and author. His prolific output includes songs, choral music, chamber pieces, and solo piano works, but he is best known for his orchestral music. In addition to a series of symphonic poems, he wrote seven symphonies and was for a time widely regarded as the leading British symphonist.

    Bax was born in the London suburb of Streatham to a prosperous family. He was encouraged by his parents to pursue a career in music, and his private income enabled him to follow his own path as a composer without regard for fashion or orthodoxy. Consequently, he came to be regarded in musical circles as an important but isolated figure. While still a student at the Royal Academy of Music Bax became fascinated with Ireland and Celtic culture, which became a strong influence on his early development. In the years before the First World War he lived in Ireland and became a member of Dublin literary circles, writing fiction and verse under the pseudonym Dermot O'Byrne. Later, he developed an affinity with Nordic culture, which for a time superseded his Celtic influences in the years after the First World War. (Full article...)
  • Zhou Bangyan (Chinese: 周邦彥; 1056–1121) was a Chinese musician, poet, and politician of the Northern Song Dynasty. He was from Qiantang (in modern Hangzhou). His courtesy name was Meicheng (Chinese: 美成; pinyin: Měichéng), and his art name was Qingzhen Jushi (Chinese: 清真居士; pinyin: Qīngzhēn Jūshì). He left a two-volume poetry anthology called either the Qingzhen-ji or the Pianyu-ci. (Full article...)
  • Detail of Barbad playing the barbat for Khosrow II. Imaginary painting by Muhammad-Mukim, 1664


    Barbad (Persian: باربد; fl. late 6th – early 7th century CE) was a Persian poet-musician, lutenist, music theorist and composer of Sasanian music. He served as chief minstrel-poet under the Shahanshah Khosrow II (r. 590–628). A barbat player, he was the most distinguished Persian musician of his time and is regarded among the major figures in the history of Persian music.

    Despite scarce biographical information, Barbad's historicity is generally secure. He was highly regarded in the court of Khosrow, and interacted with other musicians, such as Sarkash. Although he is traditionally credited with numerous innovations in Persian music theory and practice, the attributions remain tentative since they are ascribed centuries after his death. Practically all Barbad's music or poetry is lost, except a single poem fragment and the titles of a few compositions. (Full article...)

  • Lutosławski in 1992

    Witold Roman Lutosławski (Polish: [ˈvitɔld lutɔˈswafski] ⓘ; 25 January 1913 – 7 February 1994) was a Polish composer and conductor. Among the major composers of 20th-century classical music, he is "generally regarded as the most significant Polish composer since Szymanowski, and possibly the greatest Polish composer since Chopin". His compositions—of which he was a notable conductor—include representatives of most traditional genres, aside from opera: symphonies, concertos, orchestral song cycles, other orchestral works, and chamber works. Among his best known works are his four symphonies, the Variations on a Theme by Paganini (1941), the Concerto for Orchestra (1954), and his cello concerto (1970).

    During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music and demonstrated a wide range of rich atmospheric textures. His folk-inspired music includes the Concerto for Orchestra (1954)—which first brought him international renown—and Dance Preludes (1955), which he described as a "farewell to folklore". From the late 1950s he began developing new, characteristic composition techniques. He introduced limited aleatoric elements, while retaining tight control of his music's material, architecture, and performance. He also evolved his practice of building harmonies from small groups of musical intervals. (Full article...)
  • A l’arme A l’arme by Grimace, verso 55 from the Chantilly Codex


    Grimace (fl. mid-to-late 14th century; French: [ɡʁi.mas]; also Grymace, Grimache or Magister Grimache) was a French composer-poet in the ars nova style of late medieval music. Virtually nothing is known about Grimace's life other than speculative information based on the circumstances and content of his five surviving compositions of formes fixes; three ballades, a virelai and rondeau. His best known and most often performed work in modern-times is the virelai and proto-battaglia: A l’arme A l’arme.

    He is thought to have been a younger contemporary of Guillaume de Machaut and based in southern France. Three of his works were included in the Chantilly Codex, which is an important source of ars subtilior music. However, along with P. des Molins, Jehan Vaillant and F. Andrieu, Grimace was one of the post-Machaut generation whose music shows few distinctly ars subtilior features, leading scholars to recognize Grimace's work as closer to the ars nova style of Machaut. (Full article...)
  • Sir John Stainer

    Sir John Stainer (6 June 1840 – 31 March 1901) was an English composer and organist whose music, though seldom performed today (with the exception of The Crucifixion, still heard at Passiontide in some churches of the Anglican Communion), was very popular during his lifetime. His work as choir trainer and organist set standards for Anglican church music that are still influential. He was also active as an academic, becoming Heather Professor of Music at Oxford.

    Stainer was born in Southwark, London, in 1840, the son of a schoolmaster. He became a chorister at St Paul's Cathedral when aged ten and was appointed to the position of organist at St Michael's College, Tenbury at the age of sixteen. He later became organist at Magdalen College, Oxford, and subsequently organist at St Paul's Cathedral. When he retired owing to his poor eyesight and deteriorating health, he returned to Oxford to become Professor of Music at the university. He died unexpectedly while on holiday in Italy in 1901. (Full article...)
  • Offenbach in the 1860s

    Jacques Offenbach (/ˈɒfənbɑːx/, also US: /ˈɔːf-/, French: [ʒak ɔfɛnbak], German: [ˈʔɔfn̩bax] ⓘ; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario of the Romantic period. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Johann Strauss Jr. and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory.

    Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire but found academic study unfulfilling and left after a year. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris' Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There he presented a series of his own small-scale pieces, many of which became popular. (Full article...)
  • slender, middle-aged man, clean-shaven with full head of hair, seen in profile
    Ravel in 1925


    Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.

    Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of modernism, baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of development. Renowned for his abilities in orchestration, Ravel made some orchestral arrangements of other composers' piano music, of which his 1922 version of Mussorgsky's Pictures at an Exhibition is the best known. (Full article...)

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