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Author: Hans Werner Henze
Publisher:
ISBN: 9780691006833
Category : Biography & Autobiography
Languages : en
Pages : 512
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Book Description
Hans Werner Henze is one of the world's leading composers. His autobiography is frank, impassioned, and alive with memorable images and characters and graphic accounts of the creative process and performances of his music. Henze's unhappy childhood during the onset of Fascism found release in music, which, in spite of the disruption of the war, became the center of his life. He studied composition but began to make a career as a ballet conductor, until his creativity found expression in music that, by the early 1950s, had begun to distance itself from the fashionable but dogmatic rules of serialism in favor of his own individualistic conception of beauty. In both the political and sexual spheres, Hans Werner Henze is an outsider whose utopian dreams of a humane communism have always had to contend with reality. In musical and cultural matters, however, he is one of the best-connected and most influential figures of the postwar era and his autobiography brims with personal stories and observations of such luminaries as Igor Stravinsky, W. H. Auden, Benjamin Britten, Ingeborg Bachmann, Luchino Visconti, and Hans Magnus Enzensberg. A true cosmopolitan, he is happiest living in Italy, where his innate lyricism has found a natural home. "Bohemian fifths" are intervals that were played by Bohemian horn players, and which, according to Baroque and Classical rules, were proscribed. Henze's writing protests the lack of freedom that such a prohibition implies, both in music and in life.
Author: Hans Werner Henze
Publisher:
ISBN: 9780691006833
Category : Biography & Autobiography
Languages : en
Pages : 512
Get Book Here
Book Description
Hans Werner Henze is one of the world's leading composers. His autobiography is frank, impassioned, and alive with memorable images and characters and graphic accounts of the creative process and performances of his music. Henze's unhappy childhood during the onset of Fascism found release in music, which, in spite of the disruption of the war, became the center of his life. He studied composition but began to make a career as a ballet conductor, until his creativity found expression in music that, by the early 1950s, had begun to distance itself from the fashionable but dogmatic rules of serialism in favor of his own individualistic conception of beauty. In both the political and sexual spheres, Hans Werner Henze is an outsider whose utopian dreams of a humane communism have always had to contend with reality. In musical and cultural matters, however, he is one of the best-connected and most influential figures of the postwar era and his autobiography brims with personal stories and observations of such luminaries as Igor Stravinsky, W. H. Auden, Benjamin Britten, Ingeborg Bachmann, Luchino Visconti, and Hans Magnus Enzensberg. A true cosmopolitan, he is happiest living in Italy, where his innate lyricism has found a natural home. "Bohemian fifths" are intervals that were played by Bohemian horn players, and which, according to Baroque and Classical rules, were proscribed. Henze's writing protests the lack of freedom that such a prohibition implies, both in music and in life.
Author: Stephen C. Downes
Publisher: Ashgate Publishing, Ltd.
ISBN: 9780754666554
Category : Music
Languages : en
Pages : 164
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Book Description
CD-ROM contains a performance of Tristan.
Author: Hans Werner Henze
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 304
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Book Description
Author: Bálint András Varga
Publisher: University Rochester Press
ISBN: 1580463797
Category : Music
Languages : en
Pages : 356
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Book Description
Do today's composers draw inspiration from life experiences? What has influenced recent composers? How essential is it for a composer to develop a personal style? This book reveals the spontaneous thoughts of some of the most famous composers from around the world about their own development as composers and their reactions to the outside world.
Author: Hans Werner Henze
Publisher: Dance Books Limited
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 88
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Book Description
In 1957 the English choreographer Frederick Ashton and the German composer Hans Werner Henze began to collaborate on a new ballet, Ondine. During the creation of the work Henze kept a diary of its progress and his thoughts on the choreography and the music. Here translated into English for the first time, the diary gives a major insight into the workings of the creators' minds during the composition of one of the twentieth century's major works of art.
Author: Mark Berry
Publisher: Boydell & Brewer Ltd
ISBN: 1843839687
Category : Music
Languages : en
Pages : 327
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Book Description
This book is both a telling of operatic histories 'after' Richard Wagner, and a philosophical reflection upon the writing of those histories. Historical musicology reckons with intellectual and cultural history, and vice versa. The 'after' of the title denotes chronology, but also harmony and antagonism within a Wagnerian tradition. Parsifal, in which Wagner attempted to go beyond his achievement in the Ring, to write 'after' himself, is followed by two apparent antipodes: the strenuously modernist Arnold Schoenberg and the stheticist Richard Strauss. Discussion of Strauss's Capriccio, partly in the light of Schoenberg's Moses und Aron, reveals a more 'political' work than either first acquaintance or the composer's 'intention' might suggest. Then come three composers from subsequent generations: Luigi Dallapiccola, Luigi Nono, and Hans Werner Henze. Geographical context is extended to take in Wagner's Italian successors; the problem of political emancipation in and through music drama takes another turn here, confronting challenges and opportunities in more avowedly 'politically engaged' art. A final section explores the world of staging opera, of so-called Regietheater, as initiated by Wagner himself. Stefan Herheim's celebrated Bayreuth production of Parsifal, and various performances of Lohengrin are discussed, before looking back to Mozart (Don Giovanni) and forward to Alban Berg's Lulu and Nono's Al gran sole carico d'amore. Throughout, the book invites us to consider how we might perceive the sthetic and political integrity of the operatic work 'after Wagner'. After Wagner will be invaluable to anyone interested in twentieth-century music drama and its intersection with politics and cultural history. It will also appeal to those interested in Richard Wagner's cultural impact on succeeding generations of composers. MARK BERRY is Senior Lecturer in Music at Royal Holloway, University of London.
Author: Alfred Smudits
Publisher: Springer
ISBN: 3658222794
Category : Social Science
Languages : en
Pages : 161
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Book Description
Music sociology occupies a special position in the social and cultural sciences. The terminology alone – in German it is ‘Musiksoziologie’ and not ‘Soziologie der Musik’ – indicates many possible approaches: Is ‘music sociology’ a subdiscipline within sociology or musicology? Or is it a discipline on its own, espousing significant differences from sociology and musicology alike? On the occasion of its 50th anniversary, the Department of Music Sociology at the mdw – University of Music and Performing Arts Vienna – probably the only one in the world to bear the name as a separate department – decided to clarify the state of music sociology. Some of the world’s most prominent representatives of the discipline were invited to participate in this project and present their own viewpoints on the various approaches to music sociology. Their contributions address the particular research objects of music sociology (institutions of musical life; production, distribution and consumption of music; music-making; ‘works’, genres and repertoires; etc.) as well as the different methods of research (stock-taking, surveys, interviews, music analysis, biographical research, etc.).
Author: Emily Richmond Pollock
Publisher: Oxford University Press, USA
ISBN: 0190063734
Category : Music
Languages : en
Pages : 313
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Book Description
'Opera After the Zero Hour' argues that newly composed opera in West Germany after World War II was a site for the renegotiation of musical traditions during an era in which tradition had become politically fraught.
Author: Wystan Hugh Auden
Publisher:
ISBN:
Category : Drama
Languages : en
Pages : 808
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Book Description
W. H. Auden called opera the "last refuge of the High Style," and considered it the one art in which the grand manner survived the ironic levelings of modernity. He began writing libretti soon after he arrived in America in 1939 and abandoned his earlier attempts to write public, political drama. Opera gave him the opportunity to rise to the high style in public, not in an attempt to elevate his own status as a poet, but in service of the heroic voice of the singers. These works present their mythical actions with a direct intensity unlike anything in even his greatest poems. In this volume of Auden and Chester Kallman's libretti, extensive historical and textual notes trace the history of the production and revision of the works and provide full texts of early scenarios, as well as abandoned and rewritten scenes. Almost all the works included here were previously published in incomplete and often inaccessible editions--or were never published at all. The book prints for the first time the full text of Paul Bunyan, Auden's first libretto, which he wrote for music by Benjamin Britten. It also includes Auden and Kallman's The Rake's Progress, written for Igor Stravinsky, and Delia, written for Stravinsky but never set to music. The book continues with Auden and Kallman's two libretti written for music by Hans Werner Henze, Elegy for Young Lovers and The Bassarids, and their adaptation of Love's Labour's Lost, composed by Nicolas Nabokov. It also contains their translation of The Magic Flute, with its scenes reordered for greater dramatic coherence and added dialogue for sharper mythical significance, and their antimasque, The Entertainment of the Senses, for music by John Gardner. The book contains two radio plays--The Dark Valley, a monologue written by Auden alone, and The Rocking Horse Winner, written with James Stern and based on a story by D. H. Lawrence. Also included are the unpublished masque that Auden wrote for Kallman's twenty-second birthday, the unpublished versions of The Dutchess of Malfi that Auden prepared with Bertolt Brecht, scenarios for a film script and a libretto that were never completed, Auden's narrative for the medieval Play of Daniel, two narratives for documentary films, and his song lyrics written for Man of La Mancha before the producer decided to use a different lyricist.
Author: Stephen C. Downes
Publisher:
ISBN: 9781107472884
Category : Music
Languages : en
Pages : 276
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Book Description
Stephen Downes examines the work of Britten, Weill and Henze to explore the significance of Gustav Mahler for twentieth-century music.
