As a young symphonist, Mahler was fond of quoting himself and reusing material.
|
|
Is Anton Bruckner, an earlier-generation Austrian composer who also wound up in Vienna, edging out Mahler as the symphonist with which to show your stuff?
|
|
CORINNA da FONSECA-WOLLHEIM Bruckner Orchester Linz; Dennis Russell Davies, conductor (Orange Mountain) To my ear, Mr. Glass has been most consistently rewarding over the past decade as a symphonist.
|
|
Kirchheimer, an experimental documentarian and a city symphonist of New York, is perhaps best known for 1981's "Stations of the Elevated," which finds rhythm and poetry in graffiti-covered subway cars.
|
|
Bennett, Clive, "Clementi as Symphonist," The Musical Times 120 (March 1979), pp. 207, 209–10.
|
|
John Kinsella (born 8 April 1932) is an Irish composer, and Ireland's most prolific symphonist in the twentieth century.
|
|
Survey article in Tempo, new series, nos. 55–56 (Autumn–Winter): 19–26, 31–33 (titled "Martinu the Symphonist") by Peter Evans, citation on page 30.
|
|
"Dernier sommeil de la Vierge", WorldCat, retrieved 10 August 2014 A Parisian critic, after seeing La grand' tante, declared that Massenet was a symphonist rather than a theatre composer. At the time of the British premiere of Manon in 1885, the critic in The Manchester Guardian, reviewing the work enthusiastically, nevertheless echoed his French confrère's view that the composer was really a symphonist, whose music was at its best when purely orchestral."Manon Lescaut", The Manchester Guardian, 8 May 1885, p. 8 Massenet took a wholly opposite view of his talents.
|
|
Luka Sorkočević Count Luka Sorkočević (; January 13, 1734 - September 11, 1789) was composer from the Republic of Ragusa. His music has been preserved, like other Sorkočević family possessions, in the archives of the Dubrovnik Franciscan convent. He is known as the first Croatian symphonist.
|
|
Jānis Ivanovs (9 October 1906 in Babri, Preiļi - 27 March 1983 in Riga) was a Latvian and Soviet classical music composer. In 1931, he graduated from the Latvian State Conservatory in Riga. In 1944, he joined the conservatory's faculty, becoming a full professor in 1955. He is regarded as being the most distinguished Latvian symphonist.
|
|
Christopher Headington calls the work "exuberant and uncomplicated music, scored with clarity and vigour [that] fits well into Britten's oeuvre." David Matthews calls it "a brilliant educational exercise." Unlike his English predecessors such as Elgar and Vaughan Williams, and composers from mainland Europe whom he admired, including Mahler and Shostakovich, Britten was not a classical symphonist.
|
|
113 Rachmaninoff still lacked confidence in his writing. He was very unhappy with the first draft of his Second Symphony but after months of revision he finished the work and conducted the premiere in 1908 to great applause. The work earned him another Glinka Award ten months later. The triumph restored Rachmaninoff's sense of self-worth as a symphonist.
|
|
It is as a symphonist that Vaughan Williams is best known. The composer and academic Elliott Schwartz wrote (1964), "It may be said with truth that Vaughan Williams, Sibelius and Prokofieff are the symphonists of this century".Schwartz, p. 201 Although Vaughan Williams did not complete the first of them until he was thirty-eight years old, the nine symphonies span nearly half a century of his creative life.
|
|
Much of his time in later life was spent giving free advice and lessons to students. His friends included Deryck Cooke, Anthony Scott, Adrian Stokes, the painter and critic, the harpsichordist Michael Thomas, Sir Eugene Goossens, and Myer Fredman, the conductor. In an obituary, The Musical Times wrote of him as "a song writer of genuine lyrical impulse [who] set words by Byron, Keats and Shelley; he was also a symphonist, in a conservative vein."The Musical Times, Vol.
|
|
69 Marie told him, "For us you are one of the family, and we mention your name ceaselessly here."Nectoux and Jones (1989), p. 68 Henry VIII at the Paris Opéra, 1883 In the 1880s Saint-Saëns continued to seek success in the opera house, an undertaking made the more difficult by an entrenched belief among influential members of the musical establishment that it was unthinkable that a pianist, organist and symphonist could write a good opera.Macdonald, Hugh.
|
|
Demonstrators march to the Winter Palace The symphony has four movements played without break, and lasts approximately one hour. The Eleventh is sometimes dubbed "a film score without the film". Indeed, the musical images have an immediacy and simplicity unusual even for Shostakovich the epic symphonist, and an additional thread is provided by the nine revolutionary songs that appear during the work. Some of these songs date back to the 19th century, others to the year 1905.
|
|
Several of the operas were Haydn's own work (see List of operas by Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works, which helped him continue his career as a symphonist during this hectic decade. Joseph Haydn Playing Quartets In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of "pure" music.
|
|
Symphony No. 3 in F major, Im Walde (In the Forest), was composed by Joachim Raff in Wiesbaden in 1869 and was premiered in 1870 in Weimar. Along with his Fifth Symphony, it was one of his most successful and frequently performed works during his lifetime and it earned him a reputation as a symphonist. An American critic named it "the best symphony of modern times" while Hans von Bülow described the symphony's success as "colossal". It was published in 1871 by Kistner of Leipzig.
|
|
At the beginning of the Communist régime, Dimitrie Cuclin was condemned for political reasons to serve two years (1950-1952) in a labour camp at the Danube-Black Sea Canal. The event that fired up the regime’s reaction was Cuclin’s attendance at a musical soirée at the Goethe-Institute in Bucharest. He was thus imprisoned for being “idealist” and “reactionary”. After this sinister episode, Cuclin was able to create again, and in fact it is in this period that he commenced his career as a symphonist.
|
|
Leevi Madetoja, Sibelius's most notable pupil and, as a critic, a defender of his works Star on Musik Meile Vienna Sibelius exerted considerable influence on symphonic composers and musical life, at least in English-speaking and Nordic countries. The Finnish symphonist Leevi Madetoja was a pupil of Sibelius (for more on their relationship, see Relationship with Sibelius). In Britain, Vaughan Williams and Arnold Bax both dedicated their fifth symphonies to Sibelius. Furthermore, Tapiola is prominently echoed in both Bax's Sixth Symphony and Moeran's Symphony in G Minor.
|
|
He was unable to gain entrance to either of the major conservatories in Russia, but was nevertheless able to study composition privately with Nikolai Rimsky-Korsakov and Anatoly Liadov. Kopylov gained a reputation as a symphonist and composer of songs. Through his friendship with Rimsky-Korsakov, he became interested in chamber music, writing four string quartets. Wilhelm Altmann, the chamber music scholar and critic, writes in his Handbuch für Streichquartettspieler: > Kopylov's four carefully written string quartets show an outstanding command > of proper quartet style.
|
|
This forced many of them formally to graduate from the Conservatory. However, at least four seminarians of the Leningrad Seminar of the holder of the mid 1970s became a notable musicians without a Diploma of the Conservatory. There are bard Evgeny Kliachkin, folklorist Alexander Sledin,Magazine "Bohemian Petersburg", "Alexander Sledin" symphonist and physicist Vladimir Anisimoff,Vladimir Anisimoff songwriter Evgeny Kalinin, and others. : J. Admoni, J. Pustylnik, A. Mnatsakanian, and other professors from the Leningrad state Conservatory taught in the Leningrad Seminar of Amateur composers.
|
|
At the end of the 1940s two major biographies of Nielsen appeared in Danish, dominating opinion of the composer's life and work for several decades. Robert Simpson's book Carl Nielsen, Symphonist (first edition 1952) was the earliest large- scale study in English. An international breakthrough came in 1962 when Leonard Bernstein recorded the Fifth Symphony with the New York Philharmonic Orchestra for CBS. The recording helped Nielsen's music to achieve appreciation beyond his home country and is considered one of the finest recorded accounts of the symphony.
|
|
It was during this time that Rachmaninoff wrote not only his Second Symphony, but also the tone poem Isle of the Dead. Rachmaninoff was not altogether convinced that he was a gifted symphonist. At its 1897 premiere, his Symphony No. 1 (conducted by Alexander Glazunov) was considered an utter disaster; criticism of it was so harsh that it sent the young composer into a bout of depression. Even after the success of his Piano Concerto No. 2 (which won the Glinka Award and 500 rubles in 1904),Harrison, p.
|
|
With the "complete failure,Matthews, p. 29." as he described it to Clara, of his first large-scale orchestral work, the First Piano Concerto, the Handel Variations became an important landmark in the developing career of Brahms. Another seven years passed before his reputation was firmly established by A German Requiem in Bremen in 1868, and it took a full fifteen years before he made his mark as a symphonist with his first symphony (1876). During what was probably the first meeting of Brahms and Richard Wagner in January 1863, Brahms performed his Handel Variations.
|
|
Simpson's other great passions were astronomy (he was a member of the British Astronomical Association and – unusually for an amateur – was made a Fellow of the Royal Astronomical Society) and pacifism, specifically addressed in the title of his Tenth String Quartet, For Peace. He was awarded many honours, including the Carl Nielsen Gold Medal, 1956 (for his book Carl Nielsen, Symphonist, published in 1952), and the Medal of Honor of the Bruckner Society of America, 1962. He refused appointment as a Commander of the Order of the British Empire in 1980.
|
|
He was important as a symphonist in France and composed flute duets and trios and Dutch songs as well. He flourished in France, composing in a classical style and he died there in 1785 at the age of 65.Nikki Carr, Mahaut [Mahault, Mahoti, Mahout], Antoine [Anton, Antonio] on Grove Music Online Mahaut's work enjoyed a lot of publications during the composers life. Aside of musical works, he also wrote a flute method titled Nouvelle méthode pour apprendre en peu de temps а jouer la flute traversière:Nieuwe manier om binnen korten tijd op de dwarsfluit te leeren spelen.
|
|
His opera overtures are also cast in three movements and were frequently performed as independent instrumental pieces. In the 1770s, he was the finest symphonist resident in Italy, and the esteem he enjoyed is reflected in the issuance of a set of symphonies (originally opera overtures) published by Ranieri del Vivo in Florence that was the first anthology of symphonies ever printed in Italy. Mysliveček's compositions evoke a gracious, diatonic style typical of Italian classicism in music. His best works are characterized by melodic inventiveness, logical continuity, and a certain emotional intensity that may be attributable to his dynamic personality.
|
|
Andante International Record Review 2002 Review of EMI British Composers CDZ5 74781-2, Britten and Rubbra Piano Concerti. According to the composer, Abram also gave the first English and US performances of Arthur Benjamin's 1949 Concerto quasi una Fantasia; in Benjamin's words, "Jacques Abram, the American pianist, gave it its first English performance at the Cheltenham Festival in 1952 and the first American performance in San Antonio in 1953."MusicWeb-International Barnett, Rob, "Benjamin - Australian Symphonist" accessed March 13, 2008 In 1955, he married Christine Dorsey, and was the father of Jonathan, Gregory and Nell Abram.
|
|
Hildesheimer, p. 29 However, these advantages had been gained at a price; Grimm, in Paris, noting the stress and strain on Wolfgang in particular, had feared that "so premature a fruit might fall before maturing". However, Hildesheimer, while also expressing concerns, concludes that if Mozart's death at the age of 35 was caused by the exertions of his childhood, the intervening decades would not have been so productive, and obvious symptoms of decline would have manifested themselves. Salzburg Cathedral, where Mozart made his home town debut as a symphonist in December 1766 Of Wolfgang's music composed during the tour, around thirty pieces survive.
|
|
He was undoubtedly the leading Portuguese symphonist of the 20th century, and perhaps of all time. Apart from an innate sense of orchestration, his musical language is based on a strong musical architecture as well as drama, with long melodic phrases and a natural instinct for structural development. In his own words, he wanted “to contribute toward a Latin symphonism and to react against the predominant tendency, of the generation that preceded me, to reject monumentalism in music”. In his first works, the composer showed a modal tendency motivated by the desire to establish a connection between contemporary music and the golden age of Portuguese music: the Renaissance.
|
|
He is best known for his analytical publications on early twentieth-century music, especially that of Debussy and the Estonian symphonist, Eduard Tubin, though his unpublished Ph. D. dissertation remains a respected work among Froberger researchers. As a composer, Sõmer participated in Karlheinz Stockhausen's composition studio at the Darmstädter Internationale Ferienkurse für Neue Musik in 1967, contributing the oboe part to Ensemble . He says this was a "significant moment" for him, but "mainly in a negative sense," because it made him realize he did not wish to continue with avant-garde music. Instead, he adopted a style close to that of the late works of Béla Bartók, with just a glimpse of the string quartets of Elliott Carter .
|
|
In addition to scores of articles, Downes published two books on the subject of Sibelius. The first, Sibelius (1945), was published in Finnish only: a collection of Downes's articles on the subject translated by Paul Sjöblom.Goss, p. 397 The other, Sibelius the Symphonist (1956), was Downes's last book, published posthumously. In addition to his campaigning for Sibelius, Downes, according to Baker's Biographical Dictionary of Musicians, did much to advance the cause of other 20th-century composers, including Richard Strauss, Prokofiev, and Shostakovich in the U.S. Grove's Dictionary of Music and Musicians says of Downes that his reviews "strongly influenced contemporary popular musical opinion in the USA" although "the taste defined in them has dated".
|
|
Mykola Ovsianiko-Kulikovsky (Russian: Николай Овсянико-Куликовский, 1768-1846) was the purported author of a famous musical hoax Symphony No. 21 (Ovsianiko- Kulikovsky), perpetrated by composer and violinist Mikhail Goldstein. In 1948, Goldstein announced that he had discovered the manuscript of a symphony by Ovsianiko-Kulikovsky in the archives of the theater in Odessa. The G minor work, numbered 21, was said to have been written in 1809; it bore the inscription "for the dedication of the Odessa Theater". The discovery caused a great deal of excitement in Soviet musical circles, for it was seen as proof that Russia had been able to produce a symphonist of comparable stature to Joseph Haydn.
|
|
The piece was written on the Mozart family's Grand Tour of Europe in London when they had to move to Chelsea during the summer of 1764 due to Mozart's father Leopold's illness (throat infection).Sadie, Stanley, Mozart: The Early Years 1756–1781, p 64–65, Oxford University (2006), The house at 180 Ebury Street, now in the borough of Westminster, where this symphony was written, is marked with a plaque. The symphony was first performed on 21 February 1765. The work shows the influence of several composers, including his father and the sons of Johann Sebastian Bach, especially Johann Christian Bach, an important early symphonist working in London whom Mozart had met during his time there.
|
|
Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance.
|
|
The impact of A Sea Symphony manifests itself not only in the life of the composer (his first symphony and first work of such an immense scale), but also in the newfound support and appreciation of the English symphony and 20th century English music in general. Hugh Ottaway's book, Vaughan Williams Symphonies presents the following observation in its introduction: :“The English symphony is almost entirely a twentieth-century creation. When in 1903 Vaughan Williams began to sketch the songs for chorus and orchestra that became A Sea Symphony, Elgar had not yet emerged as a symphonist. And, extraordinary though it may seem, Elgar's First (1908) is the earliest symphony by an English composer in the permanent repertory. . .
|
|
He also conducted the Bradford Festival Choral Society, the Bradford Permanent Orchestra, the Scottish Orchestra (now known as the Royal Scottish National Orchestra) and the Handel Festivals at The Crystal Palace for some years, as well as being a regular attendee at many British music festivals, both as conductor and composer. Cowen's career, both as composer and conductor, is now almost forgotten. Although he regarded himself primarily as a symphonist, he was most successful in lighter orchestral pieces when treating fantastic or fairy subjects, where his gifts for graceful melody and colourful orchestration are shown to best advantage. Whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his pretty overture, The Butterfly's Ball (1901), he succeeds in finding graceful expression for the poetical idea.
|
|
613-21 (summary of Köchel catalogue) Mozart's career as a symphonist began in London where, in addition to the direct influences of Abel and J.C. Bach, he would have heard symphonies from leading London composers including Thomas Arne, William Boyce and Giuseppe Sammartini--"a nearly ideal introduction to the genre", according to Zaslaw. The earliest symphonies, Zaslaw points out, while not in the same class as the later Mozart masterpieces, are comparable in length, complexity and originality to those written at the same time by the acknowledged symphonic masters of the day.Zaslaw, p. 35 Indeed, Abel's Symphony No. 6 in E Flat was similar enough in style and technique to be mistaken as Mozart's, and is listed as such (Symphony No. 3, K. 18) in the original Köchel catalogue.
|
|
Though Sinfonietta Stravagante (1964), performed by the Netherlands Philharmonic Orchestra and conductor Hubert Soudant, and Sinfonia Concertante (1966), performed by the Northern Sinfonia and conductor Bryden Thomson, followed in rapid succession, Whettam did not continue to have the success of his youth; several of his works were premiered/published some time after their composition (cf. below), and some of his later works (such as the Promethean Symphony and the Symphony No. 5) still wait for a world premiere. Regarded as "a natural symphonist" by the Sunday Times, the dozen symphonies he composed between his mid-twenties and death form the core of Whettam's output. However, he also contributed some large-scale concertos, several shorter orchestral (both symphonic and concertante) works, numerous chamber and instrumental works (such as four string quartets and three solo violin sonatas), as well as vocal and choral works.
|
|
He then lived in his home in Yvelines and half of his time in Paris where he gave private concerts. Davaux's first publications date from 1768, two ariettes, Les charmes de la liberté and Le portrait de Climène (both lost), followed by two opéras comiques presented in 1785 and 1786: Théodore, ou Le bonheur inattendu, libretto by B.-J. Marsollier des Vivetières, after a comedy by Hugh Kelly (False Delicacy), now lost, and Cécilia, ou Les trois tuteurs based on a novel by Fanny Burney, of which some extracts remain. Considering himself an "amateur", he was recognized by both the public and critics and considered the most esteemed French symphonist of French composers, except Gossec (three symphonies published). Between 1773 and 1788, the Concert Spirituel often presented his works and virtuosos such as Capron, Devienne, Pierre Leduc and Giornovichi played them.
|
|
Wirén's path to becoming a professional symphonist was a torturous one, filled with self-doubt. In 1932, while studying orchestration in Paris under Russian composer Leonid Sabaneyev, Wirén had begun his first attempt in the form, the Symphony No. 1, Op. 3\. Despite receiving a catalog number, this piece never progressed beyond sketches (now housed in the archives of ) and was rejected by the composer as an "immature, radical experiment" undeserving of performance. From 1933–34, Wirén tackled a new attempt at a symphony, producing a four-movement piece—but, before it could be premiered, he revised and divided it into two smaller works: the Sinfonietta, Op. 7a, in which Wirén paired the original two outer movements with a newly-composed Andante; and Two Orchestral Pieces, Op. 7b, consisting of the two withdrawn inner movements, a Gavotte–Musette and a Scherzo.
|
|
While most Kern musicals have largely been forgotten, except for their songs, Show Boat remains well-remembered and frequently seen. It is a staple of stock productions and has been revived numerous times on Broadway and in London. A 1946 revival integrated choreography into the show, in the manner of a Rodgers and Hammerstein production, as did the 1994 Harold Prince–Susan Stroman revival, which was nominated for ten Tony Awards, winning five, including best revival. It was the first musical to enter a major opera company's repertory (New York City Opera, 1954), and the rediscovery of the 1927 score with Robert Russell Bennett's original orchestrations led to a large-scale EMI recording in 1987 and several opera-house productions. In 1941, the conductor Artur Rodziński wished to commission a symphonic suite from the score, but Kern considered himself a songwriter and not a symphonist.
|
|
Despite the ongoing hostilities of World War I, Madetoja traveled to Russia in September 1914 to take up the conductorship of the Viipuri Orchestra (1914–16). Madetoja found the orchestra in a state of relative devastation: he was able to piece together 19 musicians, a reality that forced him to spend much of his time finding and arranging material for such an undersized ensemble. And yet, he somehow found the time to begin the biggest project of his young career: a symphony. During the composition process, which Madetoja's conducting duties repeatedly disturbed (for example, he completed the finale just before the scheduled premiere), Madetoja received a letter of encouragement from Jean Sibelius, Finland's greatest symphonist (as well as Madetoja's former teacher): Madetoja officially joined the ranks of symphonic composers on 10 February 1916; the Helsinki Philharmonic Orchestra premiered the new work under the composer's own baton (Robert Kajanus, the founder and chief conductor of the orchestra, was the dedicatee).
|
|
The same period showed a quickening of interest in 'progressive tonality' as displayed in the music of Carl Nielsen, in which it plays a particularly significant role. In Nielsen's Fourth Symphony, for example, the initial tonal focus of D minor (clashing with C) issues at the end of the work in a firm E major. In the two- movement Fifth Symphony, more radical in this regard, the first movement begins in F and rises by fifths to a conclusion in G, while the second begins on B, with an opposing pull to F, and while tending towards A major works round instead, by a similar tritone opposition, to a triumphant close in E flat. The tonal workings of these symphonies were analysed with particular clarity by the British composer and writer Robert Simpson in his book Carl Nielsen, Symphonist (first edition 1952), which gave the whole conception of 'progressive tonality' something like popular currency in the English-speaking world; and similar principles, partly derived from Nielsen, infuse the tonal workings of Simpson's own early symphonies and quartets.
|
|
The Armenian Orchestra of Adana, 1902-1906s Armenian classical composers of Ottoman classical music include Kemani Tatyos Ekserciyan (1858-1913), music theorist Hampartsoum Limondjian (1768-1839) who developed the influential "Hamparsum" notation system, and Bimen Şen Der Ghazarian (1873-1913). Alexander Spendiarov (1871–1928), Armen Tigranian (1879–1950), and Haro Stepanian are best known for their Armenian operas. Sargis Barkhudaryan (1887–1973) and Garo Zakarian (1895–1967) are representative composers of the pre- and early Soviet Armenian era. The most famous, however, was Aram Khatchaturian (1903–1978), internationally well- known especially for his music for various ballets and the immortal Sabre Dance from his composition for the ballet Gayane. Gevorg Armenyan (1920–2005), Anahit Tsitsikian (1926–1999), Arno Babajanian (1921–1983), Barseg Kanatchian (1885–1967), Edward Mirzoyan (1921–2012), Boris Parsadanian (1925–1997), Ashot Zohrabyan (1945– ), Aram Satian (1947– ), and Vartan Adjemian (1956– ) represent other Soviet-era Armenian composers. Iosif Andriasov's (1933–2000) was an influential composer-symphonist, a moral philosopher, and a teacher. Alexander Arutiunian (1920–2012) is best known for his Trumpet Concerto in A-flat major. Alexander Dolukhanian (1910–1968) composed or arranged numerous Armenian songs, including the well-known "Swallow". Alexander Adjemian (1925–1987), Ashot Satian (1906–1958) and Vagarshak Kotoyan (1921–1992) are known for their contributions to Armenian choral and vocal music.
|
|