symphonische - Synonyms for symphonische | Synonyms Of symphonische

Examples of "symphonische"
Symphonische Dichtungen aus Persien (Symphonic Poems from Persia) is the name of 3 gramophone records recorded with Nuremberg Symphony Orchestra in 1980 conducted by Ali Rahbari. Including works of the Persian (Iranian) contemporary composers:
Hans Münch (9 March 1893 - 7 September 1983) was a Swiss conductor, composer, cellist, pianist, organist, and music educator of Alsatian birth. His compositional output includes one symphony (premiered 1951), "Symphonische Improvisationen" (1971), and a number of cantatas.
The only released work of Ostovar is "Suite Iranienne" (Persian Suite) which was performed in 1980 by Nuremberg Symphony Orchestra, conducted by Ali Rahbari in the LP "Symphonische Dichtungen aus Persien" (Symphonic Poems from Persia).
Until 1950, Hartmann used several titles for "Miserae", including 'Symphonische Dichtung', Symphony No. 1 and "Symphonie Miserae", until he withdrew it. Before then, it had rarely been performed owing to Hartmann's ambivalent attitude towards the relevance of his pre-war works. What had been an earlier Cantata for alto and orchestra ultimately became his First Symphony in 1955.
The first collection of Persian symphonic music works titled "Symphonic Poems From Persia" ("Symphonische Dichtungen aus Persien") was performed by the Nuremberg Symphony Orchestra under Ali Rahbari in 1980. In late 1990s Manouchehr Sahbai recorded three CDs of Persian symphonic music pieces in Bulgaria and Austria.
A symphonic poem or tone poem is a piece of orchestral music, usually in a single continuous movement, which illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-musical) source. The German term "Tondichtung (tone poem)" appears to have been first used by the composer Carl Loewe in 1828. The Hungarian composer Franz Liszt first applied the term "Symphonische Dichtung" to his 13 works in this vein.
While the influence of Brahms is evoked in Zemlinsky's early works (prompting encouragement from Brahms himself), an original voice is present from the first works on, handling dissonances in a much freer manner than Brahms. Later works adopt the kind of extended harmonies that Wagner had introduced and also reflect the influence of Mahler. In contrast to his friend Schoenberg, he never wrote atonal music, and never used the twelve-tone technique. However, some of his late works such as the "Symphonische Gesänge", Sinfonietta and the third and fourth string quartets move away from post-Romanticism towards a leaner, harder-edged idiom that incorporates elements of Neue Sachlichkeit, Neoclassicism, and even jazz.
In 1977 he emigrated to Europe. In the same year he won the first prize of the International Besançon Competition for Young Conductors (France) and in 1978 received the silver medal at the Geneva International Conducting Competition. In this year he recorded three LPs entitled "Symphonische Dichtungen aus Persien" [Symphonic Poems from Persia] with Nürnberg Symphony Orchestra in Germany, including 6 works by some of the greatest 20th century Iranian composers: "Bijan & Manijeh" by Hossein Dehlavi, "Dance", "Ballet-Immpressionen" and "Rhapsodie" by Ahmad Pejman, "Sheherazade" by Aminollah (Andre) Hossein, "Iranian Suite" by Houshang Ostovar, "Persian Mysticism in G" (his own composition) and "Mouvement Symphonic" by Mohammad-Taghi Massoudieh.
With the first performance of the work a new genre was introduced. "Les préludes" is the earliest example for an orchestral work that was performed as "symphonic poem". In a letter to Franz Brendel of February 20, 1854, Liszt simply called it "a new orchestral work of mine ("Les préludes")". Two days later, in the announcement in the "Weimarische Zeitung" of February 22, 1854, of the concert on February 23, it was called "Les preludes— symphonische Dichtung". The term "symphonic poem" was thus invented.
Although by its thematic material it belongs squarely in the European tradition, it was composed with the virtuosity of American symphony orchestras in mind, and was titled originally in English (Schubert 2001). Other hands later translated it variously into German as "Symphonische Metamorphose von [über/nach/zu] Themen Carl Maria von Webers"; two German editions mistakenly give the title in the plural, "Sinfonische Metamorphosen nach Themen von Carl Maria von Weber", and "Sinfonische Metamorphosen Carl Maria von Weber’scher Themen", though none of these German titles were sanctioned by Hindemith . They nevertheless have sometimes been back-translated into English as "Metamorphoses on Themes by ...". The work is also sometimes known in English as "Symphonic Variations on" (or "of") "Themes by Carl Maria von Weber" but, despite the title's reference to "themes", the work incorporates material more broadly from whole works by Weber .
Masters of recent years had proved to Brendel by their achievements that he had not been in error. Brendel mentioned by name only Wagner, who had wonderfully realized the ideal of the pure German opera, but he also mentioned two others. While Brendel did not explicitly cite their names, from the context it is clear that Berlioz and Liszt were intended. According to Brendel in his essay "F. Liszt's symphonische Dichtungen" of 1858, it was his conviction that Liszt's Symphonic Poems were the most perfect ideal of instrumental music of that time. They were what had to come if progress was to be gained. In contrast to this, the Symphonies of Schubert, Mendelssohn and Schumann, however magnificent and beautiful they were, could only be regarded as the works of epigones {i.e. after Beethoven].
In several cases, however, Berlioz' critical points were aimed not at Wagner's own claims but at Brendel's claims in the "Neue Zeitschrift für Musik". In his essay "F. Liszt's symphonische Dichtungen" and his speech "Zur Anbahnung einer Verständigung", Brendel had explained that there was a difference between the beautiful and the characteristic. Strict rules being appropriate for the beautiful were only partly valid for the characteristic. Berlioz characterised this as saying that the composer had in principle to offend against the rules, had to avoid consonant harmonies as well as natural modulations, and had to take care that his music was by no means pleasing. Instead, listeners had to become acquainted with richness of dissonances, horrible modulations and a rhythmical chaos of the middle voices. (Of course, neither Liszt nor Wagner had in their writings claimed anything of the kind)
Despite these conditions, Berg worked steadily on the score of "Lulu", in seclusion at his lodge, the "Waldhaus", in Carinthia. In the spring of 1934 he learned from Wilhelm Furtwängler that production of "Lulu" in Berlin, would now be impossible under the current cultural and political situation. It was at this point that he set aside the work on the opera to prepare a concert suite, in case the opera could never be performed, and also considered expanding it into a "Lulu" Symphony. This was his "Symphonische Stücke aus der Oper "Lulu"" ("Lulu Suite") for soprano and orchestra. Subsequently Erich Kleiber performed the piece at the Berlin State Opera on 30 November, and despite an enthusiastic reception by some sections of the audience, the subsequent condemnation by the authorities prompted Kleiber's resignation four days later and subsequent departure from Germany. In particular the reaction of periodicals such as "Die Musik" and "Zeitschrift für Musik" was exceptionally hostile. A few days later, on 7 December, Goebbels made a speech equating atonality with "the Jewish intellectual infection", while the January 1935 issue of "Die Musik" suggested that any reviewer who had written anything favourable about the suite should be dismissed.
He started to study music with his father, Carles Casals i Ribes. Then, he became a disciple of Rafael Gálvez. Afterwards, he went to Brussels in order to improve his violin and composition skills, with Mathieu Crickboom and Joseph Jongen; and in 1918 he moved to Prague, where he was a pupil of František Suchý. He established the String Quartet "Enric Casals" in 1921, with which he toured Europe, offering concerts in France, Belgium, England, Switzerland and Spain. He played as the solo violinist of the Barcelona Symphony Orchestra (1910 - 1912), the Kurot Symphonische Orchester in Saint Petersburg (1912 - 1914), the Pau Casals Orchester (1920 - 1936) and the one of the Gran Teatre del Liceu (1924 - 1935). He was sub-conductor of the Pau Casals Orchester (1920 - 1936), conductor of the Orquestra Ibèrica de Concerts (1940 - 1942) and the Orquestra Professional de Cambra de Barcelona, with which he conducted almost a hundred concerts. Besides he occasionally conducted other important orchestras around the world, such as the national orchestras of Portugal, Mexico, Hungary, Greece, and the Lamoureux Orchestra of Paris. He was founder and director of the Musical Institute Casals and responsible of the famous Prades Festivals (especially between 1955 and 1983).
His compositions of more than 50 opus-numbers have included the cantata "Trauermusik" (1935), "Apfelkantate" (1939), "Symphonie in d" (1954), "Suite Concertante" (1969), "Psalmen-Triptychon" (1972), a collection of motets "Die Botschaft" (1973), and concertos for trumpet, horn, piano and violin. His cantata "Jesus Christus herrscht als König" for choir, brass and timpani was published as well as a piano concerto, "Konzertante Musik für Flöte, Oboe und Horn", "Symphonische Musik für Streichorchester" (music for string orchestra), and the cantata "Von der Eitelkeit der Welt" (Of the vanity of the world). In 1964 he wrote as his op. 44 an oratorio for Pentecost "Veni, sancte spiritus" (Come, Holy Spirit) on the sequence "Veni sancte spiritus". The "Oratorium nach Worten der Heiligen Schrift" (oratorio after Bible words) for mixed choir, two solo voices and orchestra was first performed on 16 May 1971. It was published by the Carus-Verlag under the title "Veni Sancte Spiritus". The music for string orchestra was premiered by the Württembergisches Kammerorchester Heilbronn on 31 January 1968. His "Suite Concertante" for high trumpet, string orchestra and percussion op. 48 was recorded right after its premiere on 23 September 1971 with Maurice André and the same chamber orchestra. His "Trumpet and Organ Duo" op. 53 was recorded several times, for example with Michael Feldner and Petra Morath-Pusinelli or with Malte Burba and Johannes von Erdmann.