Search results
Results From The WOW.Com Content Network
A rare, extended use of the Lydian mode in the Classical repertoire is Simon Sechter's 1822 Messe in der lydischen Tonart (Mass in the Lydian Mode). [5] A more famous example from around the same time is the third movement of Ludwig van Beethoven's String Quartet No. 15 in A minor, Op. 132 (1825), titled by the composer "Heiliger Dankgesang ...
Schmidt, August [in German] (14 May 1844). "Revue: im Stich erschienener Musikalien. Gebirgs-Bleameln , sechs Lieder in österreichischer Mundart für eine oder zwei Singstimmen mit Begleitung des Pianoforte, nach National-Melodien gedichtet und herausgegeben von Alexander Baumann.
Liederkreis, Op. 39, is a song cycle composed by Robert Schumann.Its poetry is taken from Joseph von Eichendorff's collection entitled Intermezzo.Schumann wrote two cycles of this name – the other being his Opus 24, to texts by Heinrich Heine – so this work is also known as the Eichendorff Liederkreis.
The tune begins with an unusual motif of three upward whole tone intervals, the first half of a whole tone scale and also the first three notes of the diatonic Lydian mode. [ 8 ] [ 3 ] [ 4 ] [ 9 ] The interval from the first to the fourth note is a tritone , sometimes called diabolus in musica (devil in music). [ 7 ]
This changes to an A Lydian context which, in bars 15–21, transitions, through the addition of G natural, to the whole tone context of a new motive at bar 21. This A Lydian context serves to transition from the whole tone mode on A to the A major context, inflected by occasional Lydian D ♯ s, of the second theme at bar 67.
The original work of 18 July 1879, a 69-bar gradual, is scored in Lydian mode for choir a cappella. On two occasions (bars 9–13 and 51–56) the choir is divided into eight voices. The second part on "Et lingua ejus" (bars 16–42) is a fugato without any alteration. [13]
"Muss i denn" (German for "must I, then") is a German folk-style song in the Swabian German dialect that has passed into tradition. The present form dates back to 1827, when it was written and made public by Friedrich Silcher.
The song depicts Low-Dive Jenny (German: Spelunken-Jenny), a character borrowed from John Gay's The Beggar's Opera, and he in turn based that character on the historical person of Jenny Diver (1700–1741). [1] Low-Dive Jenny is a lowly maid at a "crummy old hotel", imagining avenging herself for the contempt she endures from the townspeople.