1.
Order of Franz Joseph
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The Imperial Austrian Franz Joseph Order was founded by the Emperor Franz Joseph I of Austria on December 2,1849, on the first anniversary of his accession to the imperial throne. The order was awarded in three classes, Grand Cross, Commanders Cross, and Knights Cross. In 1869, the class of Commander with Star was added, the Officers Cross, which ranked between Commander and Knight, was introduced on February 1,1901. The order ceased to exist with the dissolution of the Austro-Hungarian Empire in 1918 and it was not re-established with the foundation of the Republic of Austria. Knights wore the decoration suspended from a ribbon on the left breast. Officers wore it on the left breast without a ribbon, Commanders wore the decoration at the neck, as did Commander with Star, who in addition also wore a breast star. The Grand Cross was worn suspended from the shoulder and also came with a breast star, the ribbon of all classes of the order was plain red. However, if soldiers were honoured, it was usually for distinguished service as opposed to gallantry in the face of the enemy, anton Bruckner Philipp Sarlay Carl von In der Maur Émile Baudot, Abraham Salomon Camondo. Consul General Oskar Stross. and Adoph Stross, benjamin Thomas Brandreth-Gibbs Media related to Imperial Order of Franz Joseph at Wikimedia Commons
2.
Austria
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Austria, officially the Republic of Austria, is a federal republic and a landlocked country of over 8.7 million people in Central Europe. It is bordered by the Czech Republic and Germany to the north, Hungary and Slovakia to the east, Slovenia and Italy to the south, the territory of Austria covers 83,879 km2. The terrain is mountainous, lying within the Alps, only 32% of the country is below 500 m. The majority of the population speaks local Bavarian dialects of German as their native language, other local official languages are Hungarian, Burgenland Croatian, and Slovene. The origins of modern-day Austria date back to the time of the Habsburg dynasty, from the time of the Reformation, many northern German princes, resenting the authority of the Emperor, used Protestantism as a flag of rebellion. Following Napoleons defeat, Prussia emerged as Austrias chief competitor for rule of a greater Germany, Austrias defeat by Prussia at the Battle of Königgrätz, during the Austro-Prussian War of 1866, cleared the way for Prussia to assert control over the rest of Germany. In 1867, the empire was reformed into Austria-Hungary, Austria was thus the first to go to war in the July Crisis, which would ultimately escalate into World War I. The First Austrian Republic was established in 1919, in 1938 Nazi Germany annexed Austria in the Anschluss. This lasted until the end of World War II in 1945, after which Germany was occupied by the Allies, in 1955, the Austrian State Treaty re-established Austria as a sovereign state, ending the occupation. In the same year, the Austrian Parliament created the Declaration of Neutrality which declared that the Second Austrian Republic would become permanently neutral, today, Austria is a parliamentary representative democracy comprising nine federal states. The capital and largest city, with a population exceeding 1.7 million, is Vienna, other major urban areas of Austria include Graz, Linz, Salzburg and Innsbruck. Austria is one of the richest countries in the world, with a nominal per capita GDP of $43,724, the country has developed a high standard of living and in 2014 was ranked 21st in the world for its Human Development Index. Austria has been a member of the United Nations since 1955, joined the European Union in 1995, Austria also signed the Schengen Agreement in 1995, and adopted the euro currency in 1999. The German name for Austria, Österreich, meant eastern realm in Old High German, and is cognate with the word Ostarrîchi and this word is probably a translation of Medieval Latin Marchia orientalis into a local dialect. Austria was a prefecture of Bavaria created in 976, the word Austria is a Latinisation of the German name and was first recorded in the 12th century. Accordingly, Norig would essentially mean the same as Ostarrîchi and Österreich, the Celtic name was eventually Latinised to Noricum after the Romans conquered the area that encloses most of modern-day Austria, around 15 BC. Noricum later became a Roman province in the mid-first century AD, heers hypothesis is not accepted by linguists. Settled in ancient times, the Central European land that is now Austria was occupied in pre-Roman times by various Celtic tribes, the Celtic kingdom of Noricum was later claimed by the Roman Empire and made a province
3.
Te Deum (Bruckner)
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The Te Deum in C major, WAB45 is a setting of the Te Deum hymn, composed by Anton Bruckner for SATB choir and soloists, orchestra, and organ ad libitum. Bruckner started work on his Te Deum from 3 to 17 May 1881, after finishing his next Symphony No. 7, Bruckner resumed work on his Te Deum on 28 September 1883, the vocal and orchestral score was completed on 7 March 1884. The ad lib. organ part was added on a score on 16 March 1884. The composer dedicated the piece A. M. D. G. in gratitude for having brought me through so much anguish in Vienna. Hans Richter conducted the first performance with orchestra on 10 January 1886 in the Großer Musikvereinssaal of Vienna. Thereafter, there were almost thirty more performances within Bruckners lifetime, the last performance, which Bruckner attended, was conducted by Richard von Perger at the suggestion of Johannes Brahms. On his copy of the score, Gustav Mahler crossed out für Chor, Soli und Orchester, Orgel ad libitum and wrote für Engelzungen, Gottsucher, the composer himself called the work the pride of his life. The first performance in the United States occurred at the Cincinnati May Festival on 26 May 1892, theodore Thomas conducted the Chicago Symphony Orchestra, the Cincinnati May Festival Chorus and the soloists Corinne Moore-Lawson, Marie Ritter-Goetze, Edward Lloyd and George Ellsworth Holmes. The draft version of 1881 and the first sketch of 1883 are stored in the archive of the Kremsmünster Abbey, the voice and orchestral score, and the ad lib. organ score of 1884 are stored in the archive of the Österreichische Nationalbibliothek. Draft version of 1881 The draft version of 1881, the manuscript of which is stored in the archive of the Kremsmünster Abbey, includes the vocal scores and it is shorter than the final version. In particular, the Aeterna fac is different and much shorter, another important difference with Bruckners other first publications is that there are few differences between it and the original manuscript. The most important being the absence of the trombone and double-bass tuba chords at bars 275 and 283 of the Salvum fac section. At bar 26 the second clarinet has a different note, with no recomposition from the Schalk brothers. The work is set for SATB choir and soloists, orchestra, the setting is in five sections. The first section opens in blazing C major by the choir in unison, propelled by a powerful open-fifth pedal point by the organ, thereafter, the soloists and the choir enter as the music moves through distinctly Brucknerian processes and modulations. The second section in F minor is serene and imploring in nature, featuring a tenor solo. The third section, in Bruckners favoured key of D minor, is almost apocalyptic in its fury, propelled by a rhythmic device, it draws on the full resources of the choir and orchestra before coming to an abrupt unresolved cadence
4.
Romantic music
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Romantic music is an era of Western classical music that began in the late 18th or early 19th century. In the Romantic period, music became more expressive and emotional, expanding to encompass literary, artistic, famous early Romantic composers include Beethoven, Schubert, Schumann, Chopin, Mendelssohn, Bellini, and Berlioz. The late 19th century saw an expansion in the size of the orchestra and in the dynamic range. Also, public concerts became a key part of middle class society, in contrast to earlier periods. Famous composers from the half of the century include Johann Strauss II, Brahms, Liszt, Tchaikovsky, Verdi. A prominent mark of late 19th century music is its nationalistic fervor, as exemplified by such figures as Dvořák, Sibelius, other prominent late-century figures include Saint-Saëns, Fauré, Rachmaninoff and Franck. The Romantic movement was an artistic, literary, and intellectual movement that originated in the half of the 18th century in Europe. In part, it was a revolt against social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography and education. One of the first significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, in the first of these essays Hoffmann traced the beginnings of musical Romanticism to the later works of Haydn and Mozart. It was also through the writings of Hoffmann and other German authors that German music was brought to the centre of musical Romanticism, the attributes have also been criticized for being too vague. For example, features of the ghostly and supernatural could apply equally to Mozarts Don Giovanni from 1787, events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and historical events always affect music. For example, the Industrial Revolution was in effect by the late 18th century. This event had a profound effect on music, there were major improvements in the mechanical valves. The new and innovative instruments could be played with greater ease, another development that had an effect on music was the rise of the middle class. Composers before this period lived on the patronage of the aristocracy, many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music. The Romantic composers, on the hand, often wrote for public concerts and festivals, with large audiences of paying customers. Composers of the Romantic Era, like Elgar, showed the world that there should be no segregation of musical tastes, during the Romantic period, music often took on a much more nationalistic purpose
5.
Polyphony
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Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. In all cases the conception was probably what Margaret Bent calls dyadic counterpoint, with part being written generally against one other part. The term polyphony is also used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony, traditional polyphony has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in sub-Saharan Africa, Europe and it is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music. Currently there are two approaches to the problem of the origins of vocal polyphony, the Cultural Model. Although the exact origins of polyphony in the Western church traditions are unknown,900, are usually considered the oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, rather than being fixed works, they indicated ways of improvising polyphony during performance. 1000, is the oldest extant example of notated polyphony for chant performance, European polyphony rose out of melismatic organum, the earliest harmonization of the chant. Twelfth-century composers, such as Léonin and Pérotin developed the organum that was introduced centuries earlier, the lyrics of love poems might be sung above sacred texts in the form of a trope, or the sacred text might be placed within a familiar secular melody. The oldest surviving piece of music is the English rota Sumer is icumen in. These musical innovations appeared in a context of societal change. After the first millennium, European monks decided to start translating the works of Greek philosophers into the vernacular, Western Europeans were aware of Plato, Socrates, and Hippocrates during the Middle Ages. However they had largely lost touch with the content of their surviving works because the use of Greek as a language was restricted to the lands of the Eastern Roman Empire. Once these ancient works started being translated thus becoming accessible, the philosophies had a impact on the mind of Western Europe. This sparked a number of innovations in medicine, science, art, European polyphony rose prior to, and during the period of the Western Schism. Avignon, the seat of the antipopes, was a center of secular music-making
6.
Consonance and dissonance
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In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion, a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the forms a gradation. Consonance is associated with sweetness, pleasantness and acceptability and dissonance with harshness, unpleasantness, as Hindemith stressed, The two concepts have never been completely explained, and for a thousand years the definitions have varied. The opposition can be made in different contexts, In acoustics or psychophysiology, in modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds. In music, even if the opposition often is founded on the preceding, objective distinction, it often is subjective, conventional, cultural. A major second would be considered dissonant if it occurred in a J. S, Bach prelude from the 1700s, however, the same interval may sound consonant in the context of a Claude Debussy piece from the early 1900s or an atonal contemporary piece. For this reason, consonance and dissonance have been considered particularly in the case of Western polyphonic music, most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of dissonance and of noise and these include, Frequency ratios, with ratios of lower simple numbers being more consonant than those that are higher. Many of these definitions do not require exact integer tunings, only approximation, coincidence of partials, with consonance being a greater coincidence of partials. By this definition, consonance is dependent not only on the width of the interval between two notes, but also on the spectral distribution and thus sound quality of the notes. Thus, a note and the note one octave higher are highly consonant because the partials of the note are also partials of the lower note. Although Helmholtzs work focused almost exclusively on harmonic timbres and also the tunings, subsequent work has generalized his findings to embrace non-harmonic tunings, fusion, perception of unity or tonal fusion between two notes. A stable tone combination is a consonance, consonances are points of arrival, rest, an unstable tone combination is a dissonance, its tension demands an onward motion to a stable chord. Thus dissonant chords are active, traditionally they have been considered harsh and have expressed pain, grief, in Western music, dissonance is the quality of sounds that seems unstable and has an aural need to resolve to a stable consonance. Both consonance and dissonance are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Nevertheless, the ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony. Dissonance being the complement of consonance it may be defined, as above, as non-coincidence of partials, lack of fusion or pattern matching, or as complexity. For many musicians and composers, the ideas of dissonance
7.
Modulation (music)
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In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature, modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization, Modulation is the essential part of the art. Without it there is music, for a piece derives its true beauty not from the large number of fixed modes which it embraces. The modulating dominant is the dominant of the quasi-tonic, the pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V-V/V-V could be a chord, modulating dominant. For example, G major and D major share 4 chords in common, G, B minor and this can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G major—a G major chord—is also the IV chord in D major, so I in G major, any chord with the same root note and chord quality can be used as the pivot chord. However, chords that are not generally found in the style of the piece are not likely to be chosen as the pivot chord. The most common chords are the predominant chords in the new key. In analysis of a piece that uses this style of modulation, an enharmonic modulation takes place when one treats a chord as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. There are two types of enharmonic modulations, dominant seventh/augmented sixth, and diminished seventh. A diminished seventh chord meanwhile, can be respelled in multiple ways to form a diminished seventh chord in a key a minor third. C♯-E-G-B♭, A-C♯-E-G, D-F♯-A takes us to the key of D major - a parallel modulation, enharmonically, C♯-E-G-B♭, A-C♯-E-G = A-C♯-E-G, C♯-E-G♯ modulates to C# minor - a major seventh modulation/half-step descending. C♯-E-G-B♭, C♯-E♭-G-B♭ = E♭-G-B♭-D♭, A♭-C-E♭ leads to A♭ major - a minor third AND relative modulation, in short, lowering any note of a diminished seventh chord a half tone leads to a dominant seventh chord, the lowered note being the root of the new chord. Raising any note of a seventh chord a half tone leads to a half-diminished seventh chord. This means that any diminished chord can be modulated to eight different chords by simply lowering or raising any of its notes and this type of modulation is particularly common in Romantic music, in which chromaticism rose to prominence. Other types of enharmonic modulation include the augmented triad and French sixth, augmented triad modulation occurs in the same fashion as the diminished seventh, that is, to modulate to another augmented triad in a key, a major third or minor sixth away
8.
Harmony
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
9.
Richard Wagner
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Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works and he described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen and his advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music, Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, until his final years, Wagners life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century, his influence spread beyond composition into conducting, philosophy, literature, Richard Wagner was born to an ethnic German family in Leipzig, where his family lived at No. 3, the Brühl in the Jewish quarter and he was baptized at St. Thomas Church. He was the child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine. Wagners father Carl died of typhus six months after Richards birth, afterwards his mother Johanna lived with Carls friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has found in the Leipzig church registers. She and her family moved to Geyers residence in Dresden, until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly thought that Geyer was his biological father, Geyers love of the theatre came to be shared by his stepson, and Wagner took part in his performances. In his autobiography Mein Leben Wagner recalled once playing the part of an angel, in late 1820, Wagner was enrolled at Pastor Wetzels school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher. He struggled to play a scale at the keyboard and preferred playing theatre overtures by ear. Following Geyers death in 1821, Richard was sent to the Kreuzschule, at the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Webers opera Der Freischütz, which he saw Weber conduct. At this period Wagner entertained ambitions as a playwright and his first creative effort, listed in the Wagner-Werk-Verzeichnis as WWV1, was a tragedy called Leubald. Begun when he was in school in 1826, the play was influenced by Shakespeare
10.
Hugo Wolf
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Hugo Philipp Jacob Wolf was an Austrian composer of Slovene origin, particularly noted for his art songs, or Lieder. Hugo Wolf was born in Windischgrätz in the Duchy of Styria, from his maternal side, he was related to Herbert von Karajan. He spent most of his life in Vienna, becoming a representative of New German trend in Lieder, a trend which followed from the expressive, chromatic and dramatic musical innovations of Richard Wagner. A child prodigy, Wolf was taught piano and violin by his father beginning at the age of four, from there, he went to the Vienna Conservatory much to the disappointment of his father, who had hoped his son would not try to make his living from music. Once again, however, he was dismissed for breach of discipline, after eight months with his family, he returned to Vienna to teach music. Though his fiery temperament was not ideally suited to teaching, Wolfs musical gifts, as well as his charm, earned him attention. During their relationship, hints of his style would become evident in his Lieder. Wolf was prone to depression and wide mood swings, which would affect him all through his life, when Franck left him just before his 21st birthday, he was despondent. He returned home, although his family relationships were also strained, Wagners death in February 1883 was another deeply moving event in the life of the young composer. The song Zur Ruh, zur Ruh was composed shortly afterward and is considered to be the best of his early works, it is speculated that it was intended as an elegy for Wagner. Wolf often despaired of his own future in the years, in a world from which his idol had departed, leaving tremendous footsteps to follow. This left him often extremely temperamental, alienating friends and patrons and his activities as a critic began to pick up. He was merciless in his criticism of the works he saw taking over the musical atmosphere of the time. But he was as fervent in his support of Liszt, Schubert and Chopin, known as Wild Wolf for the intensity and expressive strength of his convictions, his vitriol made him some enemies. Shortly thereafter, he completed the terse, witty one-movement Italian Serenade for string quartet which is regarded as one of the finest examples of his mature compositional style. Only a week later his father died, leaving him devastated,1888 and 1889 proved to be amazingly productive years for Wolf, and a turning point in his career. Here he composed the Mörike-Lieder at a frenzied pace, a short break, and a change of house, this time to the vacation home of more longtime friends, the Ecksteins, and the Eichendorff-Lieder followed, then the 51 Goethe-Lieder, spilling into 1889. Wolf himself saw the merit of these compositions immediately, raving to friends that they were the best things he had yet composed and it was now that the world outside Vienna would recognize Wolf as well
11.
Eduard Hanslick
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Eduard Hanslick was a German Bohemian music critic. At the age of eighteen Hanslick went to music with Václav Tomášek. In 1854 he published his influential book On the Beautiful in Music, by this time his interest in Wagner had begun to cool, he had written a disparaging review of the first Vienna production of Lohengrin. It is sometimes claimed that Wagner caricatured Hanslick in his opera Die Meistersinger von Nürnberg as the carping critic Beckmesser, Hanslicks unpaid lectureship at the University of Vienna led in 1870 to a full professorship in history and aesthetic of music and later to a doctorate honoris causa. Hanslick often served on juries for musical competitions and held a post at the Austrian Ministry of Culture and he retired after writing his memoirs, but still wrote articles on the most important premieres of the day, up to his death in 1904 in Baden. Hanslicks tastes were conservative, in his memoirs he said that for him musical history really began with Mozart and culminated in Beethoven, Schumann and Brahms. He is best remembered today for his advocacy of Brahms as against the school of Wagner. The critic Richard Pohl, of the Neue Zeitschrift für Musik, being a close friend of Brahms from 1862, Hanslick possibly had some influence on Brahmss composing, often getting to hear new music before it was published. On the other hand, he referred to extra-musicality when he asked, When you play Chopins mazurkas, do you not feel the mournful, other targets for Hanslicks heavy criticism were Anton Bruckner and Hugo Wolf. Hanslick is noted as one of the first widely influential music critics, while his aesthetics and his criticism are typically considered separately, they are importantly connected. Hanslick was an opponent of the music of Liszt and Wagner. His opposition to the music of the future is congruent with his aesthetics of music and it is along these lines that Hanslick became one of Brahms’s champions and often pitted him against Wagner. For this reason, Brahms is often positioned as being anti-Wagnerian himself. First published in 1854, The Beautiful in Music is often referred to as the foundation of modern musical aesthetics, as such claims are typically overstated, it is probably best to consider it the codification of such notions of musical autonomy and organicism. It is also interesting to note that these ideas proliferated in academia, in which he was the first professor of music history, importantly, while this text certainly lays the theoretical groundwork for musical formalism, formal analysis is something that Hanslick himself never did. Chapter 1, Aesthetics as Founded on Feelings This chapter critiques the standing aesthetics of music as Hanslick sees it, which he refers to as the “aesthetics of feeling. ”He also asserts the autonomy of music, writing, “The beautiful is and remains beautiful though it arouse no emotion whatever, and though there be no one to look at it. In other words, although the beautiful exists for the gratification of an observer, it is independent of him. ”He cites the following authors to demonstrate “how deeply these doctrines have taken root, ” Mattheson, Neidthardt, J. N. Kirnberger, Pierer, G. Schilling, Koch, A. André, Sulzer, J. W. Boehm, Gottfried Weber, F. Hand, Amadeus Autodidaktus, Fermo Bellini, Friedrich Thiersch, A. v. Dommer, and Richard Wagner
12.
Johannes Brahms
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Johannes Brahms was a German composer and pianist of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his life in Vienna. Brahms composed for orchestra, chamber ensembles, piano, organ. A virtuoso pianist, he premiered many of his own works and he worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the concert repertoire. An uncompromising perfectionist, Brahms destroyed some of his works and left others unpublished, Brahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is rooted in the structures and compositional techniques of the Classical masters. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg, the diligent, highly constructed nature of Brahmss works was a starting point and an inspiration for a generation of composers. Embedded within his meticulous structures, however, are deeply romantic motifs, Brahmss father, Johann Jakob Brahms, was from the town of Heide in Holstein. The family name was sometimes spelt Brahmst or Brams, and derives from Bram. Against the familys will, Johann Jakob pursued a career in music, arriving in Hamburg in 1826, where he work as a jobbing musician. In 1830, he married Johanna Henrika Christiane Nissen, a seamstress 17 years older than he was, in the same year he was appointed as a horn player in the Hamburg militia. Eventually he became a player in the Hamburg Stadttheater and the Hamburg Philharmonic Society. As Johann Jakob prospered, the family moved over the years to better accommodation in Hamburg. Johannes Brahms was born in 1833, his sister Elisabeth had been born in 1831, Fritz also became a pianist, overshadowed by his brother he emigrated to Caracas in 1867, and later returned to Hamburg as a teacher. Johann Jakob gave his son his first musical training, Johannes also learnt to play the violin, from 1840 he studied piano with Otto Friedrich Willibald Cossel. Cossel complained in 1842 that Brahms could be such a good player, at the age of 10, Brahms made his debut as a performer in a private concert including Beethovens quintet for piano and winds Op.16 and a piano quartet by Mozart. He also played as a solo work an étude of Henri Herz, by 1845 he had written a piano sonata in G minor
13.
Gustav Mahler
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Gustav Mahler was an Austrian late-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, born in Bohemia as a German-speaking Jew of humble circumstances, Mahler displayed his musical gifts at an early age. During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the regular opposition. Late in his life he was director of New Yorks Metropolitan Opera. Mahlers œuvre is relatively limited, for much of his composing was necessarily a part-time activity while he earned his living as a conductor. Some of Mahlers immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg, dmitri Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955 to honour the composers life, the Mahler family came from eastern Bohemia and were of humble circumstances, the composers grandmother had been a street pedlar. Bohemia was then part of the Austrian Empire, the Mahler family belonged to a German-speaking minority among Bohemians, from this background the future composer developed early on a permanent sense of exile, always an intruder, never welcomed. Bernhard Mahler, the son and the composers father, elevated himself to the ranks of the petite bourgeoisie by becoming a coachman. He bought a modest house in the village of Kalischt, halfway between Prague in Bohemia and Brno in Moravia, in the center of todays Czech Republic. Bernhards wife, Marie, gave birth to the first of the couples 14 children, a son Isidor, two years later, on 7 July 1860, their second son, Gustav, was born. In December 1860, Bernhard Mahler moved with his wife and infant son, Gustav, to the town of Iglau,25 km to the south-east, the family grew rapidly, but of the 12 children born to the family in Iglau only six survived infancy. All of these elements would later contribute to his musical vocabulary. When he was four years old, Gustav discovered his grandparents piano and he developed his performing skills sufficiently to be considered a local Wunderkind and gave his first public performance at the town theatre when he was ten years old. Although Gustav loved making music, his reports from the Iglau Gymnasium portrayed him as absent-minded. In 1871, in the hope of improving the results, his father sent him to the New Town Gymnasium in Prague. In 1874 he suffered a personal loss when his younger brother Ernst died after a long illness. Mahler sought to express his feelings in music, with the help of a friend, Josef Steiner, he work on an opera
14.
Ansfelden
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Ansfelden is a town in the Austrian state of Upper Austria. The rivers Traun and Krems run through the municipality, the town is perhaps best known for being the birthplace of the composer and organist Anton Bruckner. Ansfelden has two museums, the Anton Bruckner Museum and a museum of musical instruments, between 1945 and 1964 the DP Camp Haid was located in the district Haid
15.
Linz
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Linz is the third-largest city of Austria and capital of the state of Upper Austria. It is located in the centre of Austria, approximately 30 kilometres south of the Czech border. The population of the city is 200,839, and that of the Greater Linz conurbation is about 271,000, in 2009 Linz, together with the Lithuanian capital Vilnius, was chosen as the European Capital of Culture. Since 1 December 2014 Linz is a member of the UNESCO Creative Cities network as a City of Media Arts, Cities receive this title for enriching the urban lifestyle through the sponsorship and successful integration of media art and involving society in these electronic art forms. Linz is well known for the Linzer torte, which is said to be the oldest cake in the world, Linz is located in the centre of Europe, lying on the Paris–Budapest west–east axis and the Malmö–Trieste north–south axis. The Danube is the tourism and transport connection that runs through the city. Approximately 29. 27% of the city’s 96 km2 wide area are grassland, further 17. 95% are covered with forest. All the rest areas fall on water, traffic areas and land, since January 2014 the city is divided into 16 statistical districts, Before 2014 Linz was divided into 9 districts and 36 statistical quarters. Magdalena, St. Magdalena, Katzbach, Elmberg St, the name Linz was first recorded in AD799. Being the city where the Habsburg Emperor Friedrich III spent his last years, it was, for a period of time. It lost its status to Vienna and Prague after the death of the Emperor in 1493, one important inhabitant of the city was Johannes Kepler, who spent several years of his life in the city teaching mathematics. He discovered, on 15 May 1618, the distance-cubed-over-time-squared — or third — law of planetary motion, the local public university, Johannes Kepler University, is named after him. Another famous citizen was Anton Bruckner, who spent the years between 1855 and 1868 working as a composer and organist in the Old Cathedral, Linz. The Brucknerhaus is named after him, Adolf Hitler was born in the border town of Braunau am Inn but moved to Linz in his childhood. Hitler spent most of his youth in the Linz area, from 1898 until 1907, the family lived first in the village of Leonding on the outskirts of town, and then on the Humboldtstrasse in Linz. After elementary education in Leonding, Hitler was enrolled in the Realschule in Linz, notorious Holocaust architect Adolf Eichmann also spent his youth in Linz. To the end of his life, Hitler considered Linz to be his home town, in order to make the city economically vibrant, Hitler initiated a major industrialisation of Linz shortly before, and during, the Second World War. In addition to a depot, Linz has a benzol plant which was bombed during the Oil Campaign on 16 October 1944
16.
Confirmation
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In Christianity, Confirmation is seen as the sealing of the covenant created in Holy Baptism. In some denominations, Confirmation also bestows full membership in a local congregation upon the recipient, Roman Catholics, Eastern Orthodox, Oriental Orthodox Churches, and many Anglicans view Confirmation as a sacrament. In the East it is conferred immediately after baptism, among those Catholics who practice teen-aged Confirmation, the practice may be perceived, secondarily, as a coming of age rite. In Protestant churches, the rite tends to be rather as a mature statement of faith by an already baptized person. It is also required by most Protestant denominations for membership in the church, in particular for traditional Protestant churches. Confirmation is not practiced in Baptist, Anabaptist and other groups that teach believers baptism, thus, the sacrament is administered to converts from non-Christian religions, those aforementioned groups, and nontrinitarian churches. There is a ceremony also called Confirmation in the Jewish religion. The age instituted was older than that of Bar Mitzvah because some of these topics were considered too complicated for 13-year-old minds to grasp. Nowadays, Confirmation has gained widespread adherence among congregations affiliated with the Reform movement, then they laid hands on them and they received the holy Spirit. Also, in the Gospel of John, Chapter 14, Christ speaks of the coming of the Holy Spirit on the Apostles, later, after his Resurrection, Jesus breathed upon them and they received the Holy Spirit, a process completed on the day of Pentecost. After this point, the New Testament records the apostles bestowing the Holy Spirit upon others through the laying on of hands. From this fact, Confirmation brings an increase and deepening of baptismal grace, it roots us more deeply in the divine filiation which makes us cry, Abba. God the Father has marked you with his sign, Christ the Lord has confirmed you and has placed his pledge, in the Latin Catholic Church, the sacrament is customarily conferred only on persons old enough to understand it, and the ordinary minister of Confirmation is a bishop. According to the ancient practice maintained in the Roman liturgy, an adult is not to be baptized unless he receives Confirmation immediately afterward, provided no serious obstacles exist. Priests who, in virtue of an office which they lawfully hold, in Eastern Catholic Churches, the usual minister of this sacrament is the parish priest, using olive oil consecrated by a bishop, and administering the sacrament immediately after baptism. This corresponds exactly to the practice of the early Church, when at first those receiving baptism were mainly adults, the practice of the Eastern Churches gives greater emphasis to the unity of Christian initiation. The main reason why the West separated the sacrament of Confirmation from that of Baptism was to direct contact between the person being initiated with the bishops. In the Early Church, the bishop administered all three sacraments of initiation, assisted by the priests and deacons and, where they existed, the post-baptismal Chrismation in particular was reserved to the Bishop
17.
Pange lingua, WAB 31
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Pange lingua, WAB31, is a sacred motet composed by Anton Bruckner in c. 1835. It is a setting of the first strophe of the Latin hymn Pange lingua for the celebration of Corpus Christi, Bruckner composed the motet in c. 1835 when, as eleven-year-old boy, he was studying by Johann Baptist Weiß in Hörsching. It is not known whether it was performed at that time, in 1891, towards the end of his life, Bruckner restored this beloved very first composition. The first version of the work, the manuscript of which is lost, was found as a transcription by Franz Bayer. The transcription of the first version and the manuscript of the 1891 version are stored in the archive of the Österreichische Nationalbibliothek, the second version of the motet was first published as a facsimile in 1927 by Max Auer in his book Anton Bruckner as Kirchenmusiker. The first version was first published in band II/1, p.228 of the Göllerich/Auer biography, the two versions are put in Band XXI/1 and 39 of the Gesamtausgabe. The work is a setting of 28 bars in C major of the first verse of the Pange lingua for mixed choir a cappella, on 19 April 1891 Bruckner made some restoration of the work. The differences between the two versions are small, mainly a different articulation in bars 15 and 22, and a reharmonisation of bars 25-27, bosse, Regensburg,1927 August Göllerich, Anton Bruckner. Ein Lebens- und Schaffens-Bild, c. 1922 – posthumous edited by Max Auer by G. Ein Handbuch, cornelis van Zwol, Anton Bruckner 1824–1896 – Leven en werken, uitg
18.
St. Florian Monastery
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St. Florian Monastery is an Augustinian monastery in the town of Sankt Florian, Austria. The monastery is dedicated to Saint Florian, whose fourth century grave lies beneath the monastery, stephan Zainkgraben, officiated 1382–1407 Jodok I. Seisenecker, officiated 1417–1436 Lukas Fridensteiner von Maur, officiated1436–1459, bekam 1458 von Papst Pius II, das Recht der Pontifikalien Johann II. Sieghartner, officiated 1481–1483 Leonhard Riesenschmied, officiated 1483–1508 Peter III, maurer, officiated 1508–1545, resigned Florian Muth, officiated 1545–1553 Siegmund Pfaffenhofer, officiated 1553–1572 Georg I. Freuter, officiated 1573–1598 Vitus Widmann, officiated 1599–1612, died 20 January 1612 Leopold I, födermayr, officiated 1716–1732 Johann Georg II. Wiesmayr, born 4 April 1695, officiated 1732–1755 Engelbert II, ziegler, born 22 February 1744, officiated 1793–1823, died 5 May 1823 in St. Florian Michael II. January 1771, amtierte als Propst 1823–1854, died 24 March 1854 in St. Florian Friedrich Mayer, born 4 October 1793 in Stockheim, officiated 1854–1858, died 29 December 1858 in Rom Jodok II. Since 1071 it has housed a community of Augustinian Canons, and is thus is one of the oldest operational monasteries in the following the Rule of St. Augustine. Between 1686 and 1708 the monastery complex was reconstructed in Baroque style by Carlo Antonio Carlone, after his death, Jakob Prandtauer continued the work. The result is the biggest Baroque monastery in Upper Austria, construction of the library wing began in 1744, under Johann Gotthard Hayberger. The library comprises about 130,000 items, including many manuscripts, the gallery contains numerous works of the 16th and 17th centuries, but also some late medieval works of the Danube School, particularly by Albrecht Altdorfer. In 1827, Polish librarian Father Josef Chmel found one of the oldest Polish literary artifacts, because of the site of discovery, it has been named the Sankt Florian Psalter, and now resides in the National Library of Poland. In January 1941, the Gestapo seized the facility and expelled the monks, from 1942, the Reichsrundfunkgesellschaft, under general director Heinrich Glasmeier, operated from here. The canons returned after the end of the war, the premises now also house the Upper Austrian Fire Brigade Museum. The canons church was elevated to a minor in 1999. It is dedicated to Saint Florian and Saint Augustine, St. Florians Priory possesses two organs, the larger one of which is known as the Bruckner organ and contains four manuals,103 stops and 7,343 pipes. It was played by composer and organist Anton Bruckner, previously a choir boy at the monastery and he is buried beneath the organ inside the church. St. Florian is also known for the St. Florian Boys Choir and this choir has been a traditional part of the monastic worship from its foundation
19.
Augustinians
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The term Augustinians, named after Augustine of Hippo, applies to two distinct types of Catholic religious orders and some Anglican religious orders. Within Anglicanism the Rule of St Augustine is followed only by women, Augustine, a brief document providing guidelines for living in a religious community. The largest and most familiar, originally known as the Hermits of Saint Augustine, two other Orders, the Order of Augustinian Recollects and the Discalced Augustinians, were once part of the Augustinian Order under a single Prior General. The Recollect friars, founded in 1588 as a movement of the Augustinian friars in Spain, became autonomous in 1612 with their first Prior General. The Discalced friars became an independent congregation with their own Prior General in 1592 and they generally form one large community, which might serve parishes in the vicinity, and are organized into autonomous congregation, which normally are distinct by region. In a religious community, charism is the contribution that each religious order, congregation or family. The teaching and writing of Augustine, the Augustinian Rule, and it does not unduly single out the exceptional, especially favour the gifted, nor exclude the poor or marginalised. Love is not earned through human merit, but received and given freely by Gods free gift of grace and these same imperatives of affection and fairness have driven the order in its international missionary outreach. This balanced pursuit of love and learning has energised the various branches of the order into building communities founded on mutual affection, Augustine spoke passionately of Gods beauty so ancient and so new, and his fascination with beauty extended to music. He taught that to sing once is to pray twice and music is also a key part of the Augustinian ethos, the Canons Regular follow the more ancient form of religious life which developed toward the end of the first millennium and thus predates the founding of the friars. They represent a clerical adaptation of life, as it grew out of an attempt to organize communities of clerics to a more dedicated way of life. Historically it paralleled the lay movement of monasticism or the life from which the friars were later to develop. In their tradition, the added the commitment of religious vows to their primary vocation of pastoral care. As the canons became independent of the structures, they came to form their own monastic communities. The official name of the Order is the Canons Regular of St. Augustine, like the Order of Saint Benedict, it is not one legal body, but a union of various independent congregations. Though they also follow the Rule of St. Augustine, they differ from the friars in not committing themselves to corporate poverty, which is a defining element of the mendicant orders. Unlike the friars and like monks, the canon are generally organized as one community to which they are attached for life with a vow of stability. Their houses are given the title of an abbey, from which the canons then serve various surrounding towns, the religious superior of their major houses is titled an abbot
20.
Sankt Florian
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Sankt Florian is a town in the Austrian state of Upper Austria. It is 10 miles from Linz, Sankt Florian is the home of St Florians Priory, a community of Canons Regular named after Saint Florian and one of the oldest operational monasteries in the world following the Rule of St Augustine. Composer Anton Bruckner, who was a choirboy and later organist in the town, is buried beneath the organ inside the monastic church, the town is also known for its boys choir, founded in 1071. The choir has been a part of the monasterys worship from its beginning and has contributed significantly to the identity of the town. It has particular responsibility for providing excellence in sacred music for the religious community, St Florianer Sängerknaben, Ars Antiqua Austria - CD, Pan Classics PC10264,2014 Sankt Florian has a firefighting museum, a hunting museum and a museum of farming and local history. Basilica of SS Florian and Augustine, the ceiling of the nave St Florians Priory
21.
Prelate
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A prelate is a high-ranking member of the clergy who is an ordinary or who ranks in precedence with ordinaries. The word derives from the Latin prælatus, the past participle of præferre, which means carry before, be set above or over or prefer, hence, the archetypal prelate is a bishop, whose prelature is his particular church. All other prelates, including the regular prelates such as abbots and it equally applies to Cardinals and certain Superior Prelates of the Offices of the Roman Curia who are not bishops, such as the auditors of the Holy Roman Rota and Protonotaries Apostolic. All these enjoy the title of monsignor. ”, at present, the only Personal Prelature in the Catholic Church is that of Opus Dei, founded by St. Josemaria Escriva de Balaguer in 1928 and raised to the status of a personal prelature in 1982. In the Armenian Apostolic Church, prelate refers to a diocesan bishop, a territorial prelature is, in Roman Catholic usage, a prelate whose geographic jurisdiction, called territorial prelature, does not belong to any diocese. As of 2013, there were 44 territorial prelatures, all in the Latin Church, the term also is used in a generic sense, in which case it may equally refer to an apostolic prefecture, an apostolic vicariate or a territorial abbacy. The institution was later reaffirmed in the 1983 Code of Canon Law, such a prelature is an institution having clergy and lay members which would carry out specific pastoral activities. Personal prelatures are fundamentally secular organizations operating in the world, whereas religious institutes are religious organizations operating out of the world, the first personal prelature is Opus Dei, which was elevated to a personal prelature by Pope John Paul II in 1982 through the Apostolic constitution Ut sit. Catholic Church hierarchy § Equivalents of diocesan bishops in law Ordinariate for the faithful of eastern rite Personal ordinariate
22.
Enns (river)
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The Enns is a southern tributary of the Danube River, joining northward at Enns, Austria. The Enns River spans 254 kilometres, in a flat-J-shape, the Enns has its source in the Radstädter Tauern mountains in the Austrian state of Salzburg. Between Admont and Hieflau, it takes a turn to the North and passes through the Gesäuse, a gorge of a length of 15 km, flowing to the north from there on, it reaches the state of Upper Austria at the mouth of the Laußabach. North of Steyr, it forms the border between Upper Austria and Lower Austria, finally, it meets the Danube at Mauthausen and the city of Enns. The Enns is a wild water river and draws its water from an area of more than 6,000 square kilometres. The average outflow at its mouth is 201 cubic metres per second, the Anisian Age in the Triassic Period of geological time is named from Anisus, the Latin name of the river Enns. In the middle of the 19th century, canals began to be built along the 70 km between Weißenbach and the Gesäuse, in order to use of the water for agriculture. In total, ten power plants, with a generative power of 345 megawatts, have been built by the Ennskraftwerke AG. Radstadt Schladming Gröbming Liezen Selzthal Admont Großraming Ternberg Garsten Steyr Enns Currently, the power stations are listed beginning at the headwaters, The most important inflows are the Palten, the Salza and the Steyr. A major transit route connecting Germany and Slovenia through Austria runs through the Enns valley, the so-called Eisenstraße runs along the river between Hieflau and Enns, along which iron ore has been transported from the Styrian Erzberg to the steel mill in Linz
23.
Leopold von Zenetti
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Joseph Leopold von Zenetti was an Austrian composer. He was the organist and choirmaster of the church in Enns in Upper Austria for 63 years. Biographers of Anton Bruckner recently revived interest in one of his masters, Zenetti was born in the sexton’s house in Enns. His youth was marked by the French occupation and by the turbulent events in Upper Austria at the time, during his studies in Linz, he played in the orchestra of the Gesellschaft der Musikfreunde in Linz. He later became the organist and sacristan in Enns, where he lived at Kirchenplatz Nr.5, Zenetti was actively involved in the liturgical and musical life of his home town. Anton Bruckner was born near Enns and worked in Kronstorf and St Florian, between 1843 and 1845, he was the pupil of Leopold von Zenetti in Enns. He visited his master up to three times a week to study Figured Bass using The Well-Tempered Clavier by Johann Sebastian Bach, Bruckner continued to work with Zenetti until 1855. Zenettis music library was of considerable interest to Bruckner, Zenetti taught him the music of the First Viennese School as well as that of the emerging Romantic style. Even after he became Professor of harmony and counterpoint at the University of Music in Vienna, the student-teacher relationship had become a lasting friendship, and every time Bruckner was in Upper Austria he came to Enns to visit, to speak cordially with his master during a few hours. Late attention to Zenetti also explains the fate of his work, however, many unsigned manuscripts can be attributed to Zenetti, orchestral scores, vocal music, songs, masses, Vespers, Requiems and instrumental music. The bulk of his library is lost or is scattered in various collections. This corpus, which is limited to isolated parts, gives a good view of the work of this composer, teacher, organist. Paul-Gilbert Langevin, Anton Bruckner - apogée de la symphonie, lAge dHomme, Lausanne,1977 – ISBN 2-8251-0880-4 Elisabeth Maier, Franz Zamazal, Anton Bruckner und Leopold von Zenetti, Akad
24.
Enns (town)
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Enns is a town in the Austrian state of Upper Austria on the river Enns, which forms the border with the state of Lower Austria. Enns was one of the first places in Austria to receive town privileges, the town charter dates to 22 April 1212, the document is displayed at the local museum. The date is depicted on the Town Tower, the landmark of Enns. Enns extends for 7.5 km from north to south and 8.6 km from west to east and its total area is 34.3 km², of which 12. 8% are covered with forest, and 64. 1% are used for agriculture. The first settlements in the area of the mouth of the Enns river to the Danube date back to 4,000 years ago, celts settled the land around 400 BC. Their kingdom of Noricum was incorporated into the Roman Empire in AD15 and was designated as a Roman province under the reign of Emperor Claudius in AD45. In the second and third century, the Roman camp of Lauriacum, the adjacent settlement received the privileges of a municipium in 212 from Emperor Caracalla. At that time about 30,000 people lived here, during the Diocletian Persecution of Christians, a commander of the Roman army, Saint Florian, died as a martyr at Lauriacum on 4 May 304, when he was drowned in the Enns river. Only nine years later, the Emperor Constantine I proclaimed religious tolerance with the Edict of Milan, about 370, an Early Christian basilica was built on the remains of a Jupiter temple and Lauriacum was the see of a bishop until 488. The surrounding settlement prospered from the 12th century onwards, when Ottokar II, Margrave of Styria established a market here. In 1186 the Georgenberg Pact was signed, a contract between Ottokar IV, Duke of Styria, who lacked a male heir, and the Babenberg duke of Austria, Leopold V. Thus. As Leopold VI, Duke of Austria, endowed Enns with town privileges in 1212, the landmark of Enns, the belfry on the Main Square, was erected between 1564 and 1568 as a bell tower, watch and clock tower during the reign of emperor Maximilian II. The municipal council consists of 37 members, in 1991, Enns had 10,192 inhabitants according to the census. The number grew to 10,639 in the census of 2001
25.
Asperges me, WAB 4
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Asperges me, WAB4, is a sacred motet composed by Anton Bruckner. It is a setting of the Latin Asperges me, the used for the celebration of Asperges. In 1843/1844, Bruckner composed this first setting of Aperges me during his stay in Kronstorf and it is not known when it was performed at that time. The work, the manuscript of which is lost, exists as a transcription by Arthur Bauer. The motet was first published in band III/II, pp. 140-141 of the Göllerich/Auer biography and it is put in Band XXI/4 of the Gesamtausgabe. The work is a setting of 32 bars in F major of the Asperges me for mixed choir a cappella, according to the Catholic practice, the incipit is not composed and has to be intoned by the priest in Gregorian mode before the choir begins. The score is in two sections, section 1 begins with Domine, hysopo and ends with dealbabor. Section 2 begins with the remaining of the text, and is followed by the doxology, thereafter the incipit is repeated by the choir in unison, concluded by a da capo of section 1. The second section contains audacious modulations, similar to the contemporaneous Kronstorfer Messe, ein Lebens- und Schaffens-Bild, c. 1922 – posthumous edited by Max Auer by G. Bosse, Regensburg,1932 Hansjürgen Schäfer, Anton Bruckner. Ein Führer durch Leben und Werk, ISBN 978-90-6868-590-9 Uwe Harten, Anton Bruckner. Asperges me, WAB4, Scores at the International Music Score Library Project Asperges F-Dur, WAB4 Critical discography by Hans Roelofs
26.
Michael Haydn
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Johann Michael Haydn was an Austrian composer of the Classical period, the younger brother of Joseph Haydn. Michael Haydn was born in 1737 in the Austrian village of Rohrau and his father was Mathias Haydn, a wheelwright who also served as Marktrichter, an office akin to village mayor. Haydns mother Maria, née Koller, had worked as a cook in the palace of Count Harrach. Mathias was a folk musician, who during the journeyman period of his career had taught himself to play the harp. By Michaels 12th birthday he was earning money as a substitute organist at the cathedral and had, reportedly. The father saw himself freed of a burden by this offer, consented to it, and some five years after dedicated Josephs brothers Michael. Both were taken on as choirboys, and, to Josephs unending joy, the same source indicates that Michael was a brighter student than Joseph, and that it was Michaels singing that was the more admired. About 1753, he left the school because of the break of his voice. From their mutual sojourn in Salzburg, Haydn was acquainted with Mozart, on 17 August 1768 he married singer Maria Magdalena Lipp, their only child, a daughter died just short of her first birthday, on 27 January 1771. Leopold Mozart criticized Haydns heavy drinking, in Salzburg Haydn taught young Carl Maria von Weber and Anton Diabelli. Michael remained close to Joseph all of his life, Joseph regarded his brothers music highly, to the point of feeling Michaels religious works were superior to his own. He died in Salzburg at the age of 68, musicologist Karl Geiringer has claimed that Michael Haydn has not received the recognition he deserves from posterity. Michael Haydn never compiled a catalog of his works, nor did he ever supervise the making of one. The earliest catalog was compiled in 1808 by Nikolaus Lang for his Biographische Skizze, numbers to many of Haydns instrumental works. And in 1915 Anton Maria Klafsky undertook a work regarding Michaels sacred vocal music. In 1982, Charles H. Sherman, who has edited scores of many of his symphonies for Doblinger, later, in 1991, Sherman joined forces with T. Further important amendments to the Sherman/Thomas catalogue have been made by Dwight Blazin, the task of cataloging Michaels music is facilitated by the fact that he almost always entered the date of completion on his manuscripts. Guesswork was necessary only where autograph manuscripts did not survive, Haydns sacred choral works are generally regarded as his most important, his musical taste and skill showed themselves best in his church compositions and were already in his lifetime old-fashioned
27.
Johann Georg Albrechtsberger
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Johann Georg Albrechtsberger was an Austrian musician and composer. Albrechtsberger was born at Klosterneuburg, near Vienna and he originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna and became one of the most learned and skillful contrapuntists of his age. Albrechtsbergers earliest classmates included Michael Haydn and Franz Joseph Aumann, after being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna and his fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. See, List of music students by teacher, A to B#Johann Georg Albrechtsberger, Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony, on completion of his studies, the young student noted, Patience, diligence, persistence, and sincerity will lead to success, which reflects upon Albrechtsbergers own compositional philosophy. When Beethoven was finished studying with Albrechtsberger he decided to get a few more tips and pointers, so to speak, from there Beethoven possibly studied with Antonio Salieri, but this is unknown as a fact. It is also possible that Beethoven went off on his own to make a living. Albrechtsberger died in Vienna, his grave is in St. Marx cemetery and they are in the library of the Vienna Gesellschaft der Musikfreunde. Around 1765, he wrote at least seven concerti for jaw harp and they are pleasant, well written works in the galant style. One of his most notable works is his Concerto for Alto Trombone, as the trombone has few works dating back to the classical period, his concerto is often highlighted by the trombone community. He also wrote a Concerto for the Mandola, Op.27, written positively about in the 1914 book The Guitar, probably the most valuable service he rendered to music was in his theoretical works. In 1790 he published at Leipzig a treatise on composition, of which an edition appeared in 1821. A collection of his writings on harmony, in three volumes, was published under the care of his pupil Ignaz von Seyfried in 1826, an English version of this was published by Novello in 1855. His compositional style derives from Johann Joseph Fuxs counterpoint, who was Kapellmeister at St Stephens Cathedral 1713-1741 and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Albrechtsberger, Johann Georg
28.
Simon Sechter
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Simon Sechter was an Austrian music theorist, teacher, organist, conductor and composer. He may have been the most prolific composer who ever lived, Sechter was born in Friedberg, Bohemia, then part of the Austrian Empire, and moved to Vienna in 1804, succeeding Jan Václav Voříšek as court organist there in 1824. In 1810 he began teaching piano and voice at an academy for blind students, in 1828 the ailing Franz Schubert had one counterpoint lesson with him. In 1851 Sechter was appointed professor of composition at the Vienna Conservatory and he was succeeded at the Conservatory by Anton Bruckner, a former student whose teaching methods were based on Sechters. For instance, he forbade Bruckner to write any original compositions while studying counterpoint with him, the scholar Robert Simpson believes that Sechter unknowingly brought about Bruckners originality by insisting that it be suppressed until it could no longer be contained. Sechter taught Bruckner by mail from 1855 to 1861 and considered Bruckner his most dedicated pupil, upon Bruckners graduation, Sechter wrote a fugue dedicated to his student. In the three-volume treatise on the principles of composition, Die Grundsätze der musikalischen Komposition, Sechter was an advocate of just intonation over well-tempered tuning. Sechter was also a composer, and in that capacity he is remembered for writing about 5,000 fugues. In addition he wrote five operas Das Testament des Magiers, Ezzeline, die unglückliche Gegangene aus Deli-Katesse, Ali Hitsch-Hatsch, Melusine, in 1823–24, he was one of the 51 composers who composed a variation on a waltz by Anton Diabelli for Vaterländischer Künstlerverein
29.
Missa solemnis (Bruckner)
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The Missa solemnis WAB29, by Anton Bruckner is a setting of the mass ordinary for vocal soloists, chorus, orchestra and organ. Following the death of Michael Arneth, Friedrich Mayer was appointed abbot of St. Florian, the Missa solemnis was premiered in the St. Florian Priory on September 14,1854, the day of Mayers elevation. Bruckners Missa Solemnis is a summa of the first thirty years of his life. Robert Führer saw the score and suggested to Bruckner to study with Simon Sechter, Bruckner showed Sechter the mass and Sechter accepted him as a pupil. The Missa solemnis was the last major work Bruckner wrote before concluding his studies with Sechter, the quartet of vocal soloists consists of a soprano, an alto, a tenor, and a bass, while the choir consists of sopranos, altos, tenors, and basses. The orchestra consists of 2 oboes,2 bassoons,2 horns,2 trumpets, alto, tenor and bass trombones, timpani, and strings. On the contrary to Bruckners earlier Choral-Messen, the Gloria and the Credo of the Missa solemnis contain the text usually associated with these sections of the Mass. The setting is divided into six parts, Kyrie – Andante. – Allegro, G minor veering to B-flat major Qui tollis peccata mundi, – Andante, G minor, with solo oboe Quoniam tu solus sanctus. – Allegro, B-flat major Credo Patrem omnipotentem, – Allegro moderato, B-flat major Et incarnatus est. – Adagio, F major Et ressurrexit tertia die, – Allegro, moderato, B-flat major Et vitam venturi saeculi. – Allegro moderato, B-flat major Sanctus – Moderato, B-flat major Benedictus – Moderato, – Adagio, B-flat major Dona nobis pacem. – Allegro, B-flat major Total duration, about 31 minutes, the Quoniam quotes from Joseph Haydns Missa sancti Bernardi von Offida. This rising chromatic figure is repeated before the Et expecto resurrectionem mortuorum, Robert Simpson finds nothing mediocre or tentative about this strong and clear work. The music is often of excellent quality, the work, though not perfect, is admirable. Several passages of the Missa solemnis, that one could call Mass No,0, particularly the Qui tollis of the Gloria and the central part of the Credo, are prefiguring the next Mass No.1 in D minor. Both the Gloria and the Credo are ending by a fugue, the edition by Robert Haas for the Gesamtausgabe was based on the copy given to Mayer. During the years 1930 Ferdinand Habel brought some changes to the text of the Kyrie, leopold Nowak rejected these changes in his edition and took further advantage of phrasing marks in some violin parts which were not available to Haas
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Four Orchestral Pieces (Bruckner)
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The Four Orchestral Pieces are four short orchestral pieces, which Anton Bruckner composed in the fall of 1862 during his tuition with Otto Kitzler. During the summer of 1862, when studying with Otto Kitzler in Linz, Bruckner composed his first instrumental work, thereafter, Kitzler asked him to orchestrate the opening of the first movement of Beethovens Sonate pathétique. In the fall of the year, Bruckner tried his hand at own orchestral compositions. These first arms resulted in four small pieces, the Marsch in D minor. These scores are stored in the archive of the Stadt- und Landesbibliothek of Vienna, the Four Orchestral Pieces were performed first by Franz Moißl on 12 October 1924 in Klosterneuburg. A piano transcription of the March by Max Auer was put in Band III/2, the orchestral score of the Three Orchestral Pieces was put in Band III/2, pp. 34-60 of the Göllerich/Auer biography. The Four Orchestral Pieces are edited in Band XII/4 of the current Bruckners Gesamtausgabe, the March in D minor used the orchestral setting of Mozarts late symphonies, and three trombones. The March is in three parts, March,26 bars, with repetition, Trio in B-flat major,16 bars, with internal repetition, Reprise of the March. The Three Pieces for orchestra are charming, melodious little movements, scored for an orchestral setting. Moderato in E-flat major,36 bars, Andante in E minor,48 bars, the March and the central section of the final piece have some slight indications of the Bruckner to come. It is interesting to note that the March already contains a passage which will much later in the Eighth Symphony. The Four Orchestral Pieces have been recorded about ten times, mainly as addendum to the recording of a symphony, the first recording occurred in c. 1937 by Ludwig K. Mayer with the Berlin City Orchestra. Some of the recordings can be downloaded from John Berky’s site, Ein Lebens- und Schaffens-Bild, c. 1922 – posthumous edited by Max Auer by G. Ein Handbuch. Cornelis van Zwol, Anton Bruckner 1824–1896 – Leven en werken, uitg
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Overture (Bruckner)
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Anton Bruckner composed the Overture in G minor, WAB98 in 1862–63, during his tuition by Otto Kitzler. In the fall of 1862, when studying with Otto Kitzler in Linz, Bruckner composed his first orchestral compositions and his next orchestral composition was an Overture in G minor, WAB98. A sketch of the Overture, which was started in November 1862, is found in the Kizler-Studienbuch pp. 287-301, a first version of the Overture was fulfilled on 24 December 1862. On 6 January 1863 Bruckner started with the composition of a new coda, the original manuscript, of which sheet No.7 is missing, is stored in the archive of the Kremsmünster Abbey. A copy of the score of the Overture was given by Bruckner to his friend Cyrill Hynais, together with that of Four Orchestral Pieces. These scores are stored in the archive of the Stadt- und Landesbibliothek of Vienna, the work was first published by Alfred Orel in Unbekannte Frühwerke A. Bruckners, Vienna,1921. The Overture was first performed by Franz Moißl on 8 September 1921 in Klosterneuburg, the Ouvertüre in g-Moll, as well as its 1862 coda, are edited in Band XII/5 of the current Bruckners Gesamtausgabe. The orchestral setting is the same as that of the earlier March in D minor, the first version of the Overture in G minor, which is 301-bar long, had a different coda on bars 233–288. This was replaced—and approved by Kitzler—with a new coda in the version of 1863. The final version is 8 bars shorter, the coda of the coda is the same in both versions. After an introduction in Adagio, the work in Allegro non troppo is further in sonata form, in contrast with the earlier Four Orchestral Pieces and the next Symphony in F minor, the Overture appears a much more mature work. The first recording occurred in 1937 by Sir Henry Wood with the Queens Hall Orchestra, a digitalisation of this recording can be heard on John Berkys website. There is a recording of the 1862 version of the Overture, Shunsaki Tsutsumi. A sample of this recording can be downloaded from John Berky’s site, the 1863 version of the Overture has been recorded about twenty times, mainly as addendum to the recording of a Bruckners symphony. Five of theses recordings can be downloaded from John Berky’s site, cornelis van Zwol, Anton Bruckner 1824–1896 – Leven en werken, uitg. ISBN 978-90-6868-590-9 Overture, Scores at the International Music Score Library Project Discography of the Overture by John Berky
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Symphony No. 7 (Bruckner)
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Anton Bruckners Symphony No.7 in E major is one of his best-known symphonies. It was written between 1881 and 1883 and was revised in 1885 and it is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the house at Leipzig on 30 December 1884. The symphony is sometimes referred to as the Lyric, though the appellation is not the composers own, the symphony has four movements, Allegro moderato. Starts with tremolo strings and the cellos presenting a complete, divinely given melodic whole. Bruckner declared he heard it in a dream, played on a viola, and wrote it down on awakening and this movement was composed between January and April 1883. Bruckner began writing it in anticipation of Wagners death and funeral, the movement features four Wagner tubas, which was their first appearance in a symphony. It also features a contrabass tuba, legend has it that Bruckner wrote the cymbal clash at the climax of this movement upon hearing the news that Wagner had died. A scherzo in A minor, with a trio in F major, in the recapitulation, the subject groups are reversed in order. This was the performed at the works premiere. Unfortunately it survives only in one copy which includes later changes by Bruckner and others. Some changes were made after the 1884 premiere but before the first publication by Gutmann in 1885 and these changes mostly affect tempo and orchestration. Robert Haas attempted to remove the influence of Nikisch, Schalk, Haas used some material from the 1883 autograph but because this autograph also includes later changes much of his work was the product of conjecture. Leopold Nowak kept most of the changes in the 1885 Gutmann edition and he reprinted the tempo modifications from Gutmann but placed them in brackets. Some performances of this edition omit the cymbal clash at the climax of the slow movement, the Society folded before the arrangement could be performed, and it was not premiered until more than 60 years later. If Wagner tubas are not available, they are substituted with euphoniums. 2Except the third movement where the use of timpani figures prominently, a timpani roll enters at the coda of the first movement. In some performance editions, the timpani re-enters along with cymbals, in the last movement, the timpani rolls in brief climaxes before crescendoing with orchestral tutti in the final bars
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Franz Liszt
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Franz Liszt was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the nineteenth century for his prodigious virtuosic skill as a pianist. As a composer, Liszt was one of the most prominent representatives of the New German School and he left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated many 20th-century ideas and trends. Franz Liszt was born to Anna Liszt and Adam Liszt on October 22,1811, in the village of Doborján in Sopron County, in the Kingdom of Hungary, Liszts father played the piano, violin, cello and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn, Hummel, at age six, Franz began listening attentively to his fathers piano playing and showed an interest in both sacred and Romani music. Adam began teaching him the piano at age seven, and Franz began composing in an elementary manner when he was eight and he appeared in concerts at Sopron and Pressburg in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franzs musical education in Vienna, There Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Antonio Salieri, then director of the Viennese court. Liszts public debut in Vienna on December 1,1822, at a concert at the Landständischer Saal, was a great success and he was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert. In spring 1823, when his one-year leave of absence came to an end, Adam Liszt therefore took his leave of the Princes services. At the end of April 1823, the returned to Hungary for the last time. At the end of May 1823, the family went to Vienna again, towards the end of 1823 or early 1824, Liszts first composition to be published, his Variation on a Waltz by Diabelli, appeared as Variation 24 in Part II of Vaterländischer Künstlerverein. Liszts inclusion in the Diabelli project—he was described in it as an 11 year old boy, born in Hungary—was almost certainly at the instigation of Czerny, his teacher, Liszt was the only child composer in the anthology. After his fathers death in 1827, Liszt moved to Paris, to earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to long distances. Because of this, he kept uncertain hours and also took up smoking, the following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles Xs minister of commerce, Pierre de Saint-Cricq. Her father, however, insisted that the affair be broken off, Liszt fell very ill, to the extent that an obituary notice was printed in a Paris newspaper, and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother and he had many discussions with the Abbé de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists
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Ave Maria (Bruckner)
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Ave Maria, WAB6, is a sacred motet by Anton Bruckner, a setting of the Latin prayer Ave Maria. He composed it in Linz in 1861 and scored the work in F major for seven unaccompanied voices. The piece, sometimes named an Offertorium, was published in Vienna in 1867, before, Bruckner composed the same prayer in 1856 for soprano, alto, a four-part mixed choir, organ and cello, WAB5. Later, he set the text in 1882 for a voice and keyboard. Bruckner composed the motet, also known as Ave Maria, in 1861 and he did this after completing five years of studies with Simon Sechter. The motet was first performed on 12 May 1861 as Offertorium of a mass in the Linz Cathedral, Bruckner was their organist and was also from 1860 director of the Liedertafel Frohsinn who performed the motet to celebrate the anniversary of its founding. Bruckner wrote in a letter about the reception in a letter dated 3 October 1861, I was, in the end, the piece, sometimes named an Offertorium, was published together with Tota pulchra es by Emil Wetzler in Vienna in 1867. It is put in Band XXI/20 of the Gesamtausgabe, Bruckner set the prayer in F major and scored it for seven unaccompanied voices SAATTBB. It takes about 4 minutes to perform, the first section of the 51-bar long Ave Maria is based on the Annunciation, the greeting of Gabriel the Archangel to Mary and on the Visitation, when Elisabeth paraphrased the greeting. The upper voices begin, while the lower voices respond with et benedictus, all voices united proclaim the name Jesus three times in growing intensity. The second part is for all voices and it begins in canon on Sancta Maria, and evolves diminuendo with a point dorgue on bar 30, when Mary is asked to pray for us sinners. Bruckner applies his understanding of older styles to express his personal faith with simplicity, james Liu notes about Bruckners motets in general, They express his devout Roman Catholic beliefs, using the modal chords and long, Gregorian chant-like lines of the Renaissance masters. But the harmonic shifts and compositional techniques display a clearly Romantic sensibility, and the blocks of contrasting sound display Bruckners roots as an organ improviser
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Mass No. 1 (Bruckner)
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Mass No.1 in D minor, WAB26 by Anton Bruckner, is a setting of the Mass ordinary for soloists, mixed choir and orchestra, and organ ad libitum. He completed the work on 29 September 1864, the premiere of the Mass in the old Linz Cathedral on 20 November 1864 was successful. A laudatory review in the Linzer Zeitung described Bruckners potential as a symphonic composer, Bruckner revised the work in 1876 and again in 1881–1882. The differences between the versions concern mainly annotations about tempo, etc, for the original organ intermezzo of the Credo Bruckner composed an alternative with woodwind instruments, so that the conductor could choose between these two options. First version 1864, slightly revised in 1876 and 1881–82, wagners influence is evident as the orchestra plays a major role setting the stage, developing material and intensifying the drama. Might be the death and resurrection section of the Credo, however, there is a continuity with previous works. Moreover, the string pianissimo in the bars of the Kyrie was also foreshadowed in the opening bars of Psalm 146. The Qui cum Patre et Filio in the Credo is quoting the foregoing Afferentur regi, Bruckner used also this ascending scale, as a stairway to heaven in i. a. the Adagio of several symphonies and his Te Deum. Bruckner used a citation of the Miserere nobis from the Gloria in the transition to the development of the first movement of his Third Symphony. At the end of his life he made again a citation of it, as a kind of supplication, before the climax of the Adagio of his Ninth Symphony. As Nowak wrote Perhaps the best indication of the regard in which Bruckner held this mass is his use of the miserere-motif from the Gloria in the Adagio of the Ninth Symphony. He could think of no more fitting music for his farewell to life itself than the humbly pleading six-four chord sequences of his days in Linz, the discography of Mass No.1 is less abundant than that of the following Masses No.2 and No.3. Except for a partial recording performed by Pius Kalt in around 1925, in this recording, which used Gross first edition, the Miserere nobis from the Gloria is sung by the bass soloist instead of by the choir. The intermezzo of the Credo is performed by the woodwind instruments, about twenty years later, in 1972, Eugen Jochum recorded the Mass on LP. It was reissued in a LP-box together the two other Masses, Psalm 150 and several motets, the box has been later transferred to CD. According to Hans Roelofs this recording with organ intermezzo in the Credo remains the reference, Eugen Jochum, Chor und Sinfonieorchester des Bayerischen Rundfunks, Elmar Schloter. LP, DG2530314,1972 – CD, DG423 127-2 Matthew Best, Corydon Singers & Orchestra, CD, Hyperion CDA66650,1993 Helmuth Froschauer, WDR Rundfunkchor and Rundfunkorchester, Cologne. CD, Crystal Classics N67085,2010 F. Charles Adler, Choir of the Wiener Rundfunk and Wiener Symphoniker, LP, SPA72, Lumen AMS7,1954
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Music theory
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Music theory is the study of the practices and possibilities of music. The term is used in three ways in music, though all three are interrelated. The first is what is otherwise called rudiments, currently taught as the elements of notation, of key signatures, of time signatures, of rhythmic notation, Theory in this sense is treated as the necessary preliminary to the study of harmony, counterpoint, and form. The second is the study of writings about music from ancient times onwards, Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. However, this medieval discipline became the basis for tuning systems in later centuries, Music theory as a practical discipline encompasses the methods and concepts composers and other musicians use in creating music. The development, preservation, and transmission of music theory in this sense may be found in oral and written music-making traditions, musical instruments, and other artifacts. In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia and ancient China, have also considered music theory in more formal ways such as written treatises, in modern academia, music theory is a subfield of musicology, the wider study of musical cultures and history. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a person who researches, teaches, or writes articles about music theory is a music theorist. University study, typically to the M. A. or Ph. D level, is required to teach as a music theorist in a US or Canadian university. Methods of analysis include mathematics, graphic analysis, and especially analysis enabled by Western music notation, comparative, descriptive, statistical, and other methods are also used. See for instance Paleolithic flutes, Gǔdí, and Anasazi flute, several surviving Sumerian and Akkadian clay tablets include musical information of a theoretical nature, mainly lists of intervals and tunings. The scholar Sam Mirelman reports that the earliest of these dates from before 1500 BCE. Further, All the Mesopotamian texts are united by the use of a terminology for music that, much of Chinese music history and theory remains unclear. The earliest texts about Chinese music theory are inscribed on the stone and they include more than 2800 words describing theories and practices of music pitches of the time. The bells produce two intertwined pentatonic scales three tones apart with additional pitches completing the chromatic scale, Chinese theory starts from numbers, the main musical numbers being twelve, five and eight. Twelve refers to the number of pitches on which the scales can be constructed, the Lüshi chunqiu from about 239 BCE recalls the legend of Ling Lun. On order of the Yellow Emperor, Ling Lun collected twelve bamboo lengths with thick, blowing on one of these like a pipe, he found its sound agreeable and named it huangzhong, the Yellow Bell
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University of Music and Performing Arts Vienna
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The University of Music and Performing Arts, Vienna is an Austrian university located in Vienna, established in 1817. Today, with a student body of three thousand, it is the largest institution of its kind in Austria, and one of the largest in the world. In 1817, it was established by the Society for the Friends of Music and it has had several names, Vienna Conservatory, Vienna Academy and in 1909 it was nationalized as the Imperial Academy of Music and the Performing Arts. In 1998, the university assumed its current name to reflect its university status, with a student body of more than 3000, the Universität für Musik und Darstellende Kunst Wien is one of the largest arts universities in the world. The University consists of 24 departments including the Max Reinhardt Seminar, Vienna Film Academy, MDW facilities include the Schönbrunn Palace Theater, Antonio Vivaldi Room, Salesian Convent, St. Ursula Church, Lothringerstrasse and the Anton Von Webern Platz. Modern film studios were completed on the university campus in 2004, the University organizes around 10 competitions, including the International Beethoven Piano Competition. It also presents an acclaimed film festival every two years. The MDW may be considered an institution to all major orchestras in Austria. Calls for a conservatory in Vienna started in 1808. In 1811 an outline for an education institution for Vienna was published. A year later the Society for the Friends of Music was formed, the Vienna Conservatory was founded in 1817. It was meant to be modeled on the Paris Conservatory, but, due to a lack of funds, Antonio Salieri was the Conservatorys first director. In 1819, it hired violinist Joseph Böhm, and by 1827 offered courses in most orchestral instruments, the conservatorys finances were very unstable. Tuition fees were introduced in 1829, but by 1837 the institution was bankrupt, the state eventually funded the conservatory from 1841 to 1844 and from 1846 to 1848. In 1848 political unrest caused the state to discontinue funding, with support from the state and the city, finances again stabilized after 1851. Despite growing state subsidy, The Society for the Friends of Music, however, by a January 1,1909 imperial resolution the school was nationalized and became the Imperial Academy of Music and the Performing Arts. Joseph Hellmesberger, Sr. was director from 1851 to 1893, from 1907 Wilhelm Bopp had been the director of Conservatory. The Conservatory was still dominated by the aging Robert Fuchs and Hermann Grädener, in 1912, attempting to rejuvenate the conservatory Bopp offered teaching positions to Franz Schreker and Arnold Schoenberg
listen); 4 September 1824 – 11 October 1896) was an Austrian composer and organist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length.[1] Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.
Tovey, Donald Francis (1911). "Bruckner, Anton". In Chisholm, Hugh. Encyclopædia Britannica (11th ed.). Cambridge University Press.
