50-515: Neo-Baroque may refer to: Neo-Baroque music Neo-Baroque painting , a painting style used by Christo Coetzee and others Baroque Revival architecture Neo-Baroque film the Organ reform movement Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Neo-Baroque . If an internal link led you here, you may wish to change
100-587: A genius.)" The documentary Max Reger – Music as a perpetual state, by Andreas Pichler and Ewald Kontschieder, Miramonte Film, was released in 2002. It was the first factually based film documentation about Max Reger. It was produced in cooperation with the Max-Reger-Institute . Max Reger: The Last Giant , a documentary film about the life and works of Max Reger, is included on a 6 DVD set entitled Maximum Reger released in December 2016 to mark
150-548: A music career. In late summer of that year, Reger wrote his first major composition, the Overture in B minor, an unpublished work for orchestra with 120 pages. Lindner sent the score to Hugo Riemann , who replied positively but warned him against Wagner's influence and to write melodies instead of motifs. Reger finished the preparatory school in June 1889. Also that year, he composed a Scherzo for string quartet and flute in G minor,
200-579: A revival of antique forms within the framework of a "return to order", but an attempt to revive an approach to composition that would allow the composer to free himself from the constraints of the sonata form and of the over-exploited mechanisms of thematic development. Igor Stravinsky's first foray into the style began in 1919/20 when he composed the ballet Pulcinella , using themes which he believed to be by Giovanni Battista Pergolesi (it later came out that many of them were not, though they were by contemporaries). American Composer Edward T. Cone describes
250-597: A setting of Psalm 100 for mixed choir and orchestra, for the 350th anniversary of Jena University . Part I was premiered on 31 July that year. Reger completed the composition in 1909, premiered in 1910 simultaneously in Chemnitz and Breslau . In 1911 Reger was appointed Hofkapellmeister (music director) at the court of Duke Georg II of Saxe-Meiningen , also taking charge of music at the Meiningen Court Theatre . He continued with his master class at
300-570: A setting of a poem by Friedrich Hebbel , which Reger dedicated to the soldiers of World War I. He composed music to texts by poets such as Gabriele D'Annunzio , Otto Julius Bierbaum , Adelbert von Chamisso , Joseph von Eichendorff , Emanuel Geibel , Friedrich Hebbel , Nikolaus Lenau , Detlev von Liliencron , Friedrich Rückert and Ludwig Uhland . Reger assigned opus numbers to major works himself. His works could be considered retrospective as they followed classical and baroque compositional techniques such as fugue and continuo . The influence of
350-870: A three movement string quartet in D minor, and a Largo for violin and piano. At his father's request, he sent the latter two works to composer Josef Rheinberger , a professor at the University of Music and Performing Arts Munich , who recognized his talents. Reger eventually sought a career in music despite his father's concerns. In 1890, Reger began studying music theory with Riemann in Sondershausen , then piano and theory in Wiesbaden . The first compositions to which he assigned opus numbers were chamber music and Lieder . A concert pianist himself, he composed works for both piano and organ. His first work for choir and piano to which he assigned an opus number
400-421: A twentieth-century trend, particularly current in the interwar period , in which composers sought to return to aesthetic precepts associated with the broadly defined concept of " classicism ", namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late Romanticism , as well as a "call to order" after
450-733: The Welte Philharmonic organ , including excerpts from 52 Chorale Preludes, Op. 67 . He also composed various secular organ works, including the Introduction, Passacaglia and Fugue , Op. 127. It was dedicated to Straube, who gave its first performance in 1913 to inaugurate the Wilhelm Sauer organ at the opening of the Breslau Centennial Hall . Reger was particularly attracted to the fugal form and created music in almost every genre, save for opera and
500-499: The motif . However, his 1935 orchestration of the six-part ricercar from Bach's Musical Offering is not regarded as neoclassical because of its concentration on the fragmentation of instrumental colours. Some composers below may have only written music in a neoclassical style during a portion of their careers. https://en.wikipedia.org/wiki/Ulysses_Kay#Operas Footnotes Max Reger Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916)
550-424: The symphony (he did, however, compose a Sinfonietta , his Op. 90). A similarly firm supporter of absolute music , he saw himself as being part of the tradition of Beethoven and Brahms . His work often combined the classical structures of these composers with the extended harmonies of Liszt and Wagner , to which he added the complex counterpoint of Bach . Reger's organ music, though also influenced by Liszt,
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#1732764862072600-486: The "Chilean Hindemith". In Cuba, José Ardévol initiated a neoclassical school, though he himself moved on to a modernistic national style later in his career. Even the atonal school, represented for example by Arnold Schoenberg, showed the influence of neoclassical ideas. After his early style of 'Late Romanticism' (exemplified by his string sextet Verklärte Nacht ) had been supplanted by his Atonal period , and immediately before he embraced twelve-tone serialism,
650-446: The 1920s "becoming the basic line of his music". Richard Strauss also introduced neoclassical elements into his music, most notably in his orchestral suite Le bourgeois gentilhomme Op. 60, written in an early version in 1911 and its final version in 1917. Ottorino Respighi was also one of the precursors of neoclassicism with his Ancient Airs and Dances Suite No. 1, composed in 1917. Instead of looking at musical forms of
700-480: The 1924 chamber cantata Psyché and incidental music for Pedro Calderón de la Barca 's, El gran teatro del mundo , written in 1927. In the late 1920s and early 1930s, Roberto Gerhard composed in the neoclassical style, including his Concertino for Strings, the Wind Quintet, the cantata L'alta naixença del rei en Jaume , and the ballet Ariel . Other important Spanish neoclassical composers are found amongst
750-624: The 1950s (e.g., Piano Sonata No. 1 and the Variaciones concertantes ) before moving on to a style dominated by atonal and serial techniques. Roberto Caamaño, professor of Gregorian chant at the Institute of Sacred Music in Buenos Aires, employed a dissonant neoclassical style in some works and a serialist style in others. Although the well-known Bachianas Brasileiras of Heitor Villa-Lobos (composed between 1930 and 1947) are cast in
800-455: The Baroque concerto grosso form in his works. Pulcinella , as a subcategory of rearrangement of existing Baroque compositions, spawned a number of similar works, including Alfredo Casella 's Scarlattiana (1927), Poulenc's Suite Française , Ottorino Respighi's Ancient Airs and Dances and Gli uccelli , and Richard Strauss's Dance Suite from Keyboard Pieces by François Couperin and
850-799: The Latin Requiem but abandoned the work as a fragment. He composed eight motets as his Acht geistliche Gesänge für gemischten Chor (Eight Sacred Songs, Op. 138), embodying "a new simplicity". In 1915 he moved to Jena , commuting once a week to teach in Leipzig. In Jena he composed the Hebbel Requiem for soloist, choir and orchestra. Reger died of a heart attack while staying at a hotel in Leipzig on 11 May 1916. The proofs of Acht geistliche Gesänge , including " Der Mensch lebt und bestehet nur eine kleine Zeit ", were found next to his bed. Six years after Reger's death, his funeral urn
900-460: The Leipzig conservatory. In 1913 he composed four tone poems on paintings by Arnold Böcklin ( Vier Tongedichte nach Arnold Böcklin ), including Die Toteninsel ( Isle of the Dead ), as his Op. 128 . He gave up the court position in 1914 for health reasons. In response to World War I , already in 1914 he was planning to compose a choral work, commemorating those lost in the war. He began to set
950-459: The Old Style (1897) and Max Reger 's Concerto in the Old Style (1912), composers "dressed up their music in old clothes in order to create a smiling or pensive evocation of the past". Sergei Prokofiev 's Symphony No. 1 ( 1917 ) is sometimes cited as a precursor of neoclassicism. Prokofiev himself thought that his composition was a "passing phase" whereas Stravinsky's neoclassicism was by
1000-528: The Serenade, op. 24, and the Suite for piano, op. 25. Schoenberg's pupil Alban Berg actually came to neoclassicism before his teacher, in his Three Pieces for Orchestra , op. 6 (1913–14), and the opera Wozzeck , which uses closed forms such as suite, passacaglia, and rondo as organizing principles within each scene. Anton Webern also achieved a sort of neoclassical style through an intense concentration on
1050-947: The artist towards works. Busoni wrote in a letter to Paul Bekker , "By 'Young Classicalism' I mean the mastery, the sifting and the turning to account of all the gains of previous experiments and their inclusion in strong and beautiful forms". Neoclassicism found a welcome audience in Europe and America, as the school of Nadia Boulanger promulgated ideas about music based on her understanding of Stravinsky's music. Boulanger taught and influenced many notable composers, including Grażyna Bacewicz , Lennox Berkeley , Elliott Carter , Francis Chagrin , Aaron Copland , David Diamond , Irving Fine , Harold Shapero , Jean Françaix , Roy Harris , Igor Markevitch , Darius Milhaud, Astor Piazzolla , Walter Piston , Ned Rorem , and Virgil Thomson . In Spain, Manuel de Falla 's neoclassical Concerto for Harpsichord, Flute, Oboe, Clarinet, Violin, and Cello of 1926
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#17327648620721100-660: The ballet "[Stravinsky] confronts the evoked historical manner at every point with his own version of contemporary language; the result is a complete reinterpretation and transformation of the earlier style". Later examples are the Octet for winds, the "Dumbarton Oaks" Concerto , the Concerto in D , the Symphony of Psalms , Symphony in C , and Symphony in Three Movements , as well as the opera-oratorio Oedipus Rex and
1150-483: The ballets Apollo and Orpheus , in which the neoclassicism took on an explicitly "classical Grecian" aura. Stravinsky's neoclassicism culminated in his opera The Rake's Progress , with a libretto by W. H. Auden . Stravinskian neoclassicism was a decisive influence on the French composers Darius Milhaud , Francis Poulenc , Arthur Honegger and Germaine Tailleferre , as well as on Bohuslav Martinů , who revived
1200-739: The dedications of his piano pieces Aquarellen , Op. 25 , and Cinq Pièces pittoresques , Op. 34 . Reger had an acrimonious relationship with Rudolf Louis , the music critic of the Münchener Neueste Nachrichten , who usually had negative opinions of his compositions. After the first performance of the Sinfonietta in A major, Op. 90 , on 2 February 1906, Louis wrote a typically negative review on 7 February. Reger wrote back to him: " Ich sitze in dem kleinsten Zimmer in meinem Hause. Ich habe Ihre Kritik vor mir. Im nächsten Augenblick wird sie hinter mir sein! " ("I am sitting in
1250-422: The eighteenth century, Respighi, who, in addition to being a renowned composer and conductor, was also a notable musicologist, reached back to Italian music of the sixteenth and seventeenth centuries. His fellow contemporary composer Gian Francesco Malipiero , also a musicologist, compiled a complete edition of the works of Claudio Monteverdi . Malipiero's relation with ancient Italian music was not simply aiming at
1300-539: The eighteenth century, though the inspiring canon belonged as frequently to the Baroque (and even earlier periods) as to the Classical period —for this reason, music which draws inspiration specifically from the Baroque is sometimes termed neo-Baroque music. Neoclassicism had two distinct national lines of development, French (proceeding partly from the influence of Erik Satie and represented by Igor Stravinsky , who
1350-443: The experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music . In form and thematic technique, neoclassical music often drew inspiration from music of
1400-547: The form of Baroque suites, usually beginning with a prelude and ending with a fugal or toccata-like movement and employing neoclassical devices such as ostinato figures and long pedal notes, they were not intended so much as stylized recollections of the style of Bach as a free adaptation of Baroque harmonic and contrapuntal procedures to music in a Brazilian style. Brazilian composers of the generation after Villa-Lobos more particularly associated with neoclassicism include Radamés Gnattali (in his later works), Edino Krieger , and
1450-422: The forms of Schoenberg's works after 1920, beginning with opp. 23, 24, and 25 (all composed at the same time), have been described as "openly neoclassical", and represent an effort to integrate the advances of 1908 to 1913 with the inheritance of the eighteenth and nineteenth centuries. Schoenberg attempted in those works to offer listeners structural points of reference with which they could identify, beginning with
1500-420: The latter can be heard in his chamber works which are deeply reflective and unconventional. In 1898 Caesar Hochstetter , an arranger, composer and critic, published an article entitled "Noch einmal Max Reger" ("Max Reger once again") in a music magazine ( Die redenden Künste 5 no. 49, pp. 943 f). Caesar recommended Reger as "a highly talented young composer" to the publishers. Reger thanked Hochstetter with
1550-399: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Neo-Baroque&oldid=1257148205 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Neo-Baroque music Neoclassicism in music was
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1600-681: The members of the Generación de la República (also known as the Generación del 27 ), including Julián Bautista , Fernando Remacha , Salvador Bacarisse , and Jesús Bal y Gay . A neoclassical aesthetic was promoted in Italy by Alfredo Casella, who had been educated in Paris and continued to live there until 1915, when he returned to Italy to teach and organize concerts, introducing modernist composers such as Stravinsky and Arnold Schoenberg to
1650-589: The most popular being the Benedictus from the collection Op. 59 and his Fantasy and Fugue on BACH , Op. 46 . While a student under Hugo Riemann in Wiesbaden , Reger had already met the German organist, Karl Straube ; their association as colleagues and friends began in 1898, with Straube premiering many of Reger's organ works, such as the Three chorale fantasias, Op. 52 . Reger recorded some of his works on
1700-555: The parish church of the city. In 1886, Reger entered into the Royal Preparatory School according to his parents' wishes to prepare for a teaching profession. In 1888, Reger was invited by his uncle Johann Baptist Ulrich to visit the Bayreuth Festival , where he heard Richard Wagner 's operas Die Meistersinger von Nürnberg and Parsifal . This left a deep impression and made Reger decide to pursue
1750-847: The popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915). Born in Brand, Bavaria , Reger was the first child of Josef Reger, a school teacher and amateur musician, and his wife Katharina Philomena. The devout Catholic family moved to Weiden in 1874. Max had only one sister, Emma, after three other siblings died in childhood. When he turned five, Reger learned organ, violin and cello from his father and piano from his mother. From 1884 to 1889, Reger took piano and organ lessons from Adalbert Lindner, one of his father's students. During this time, he frequently acted as substitute organist for Lindner in
1800-566: The prolific Camargo Guarnieri , who had contact with but did not study under Nadia Boulanger when he visited Paris in the 1920s. Neoclassical traits figure in Guarnieri's music starting with the second movement of the Piano Sonatina of 1928, and are particularly notable in his five piano concertos. The Chilean composer Domingo Santa Cruz Wilson was so strongly influenced by the German variety of neoclassicism that he became known as
1850-450: The provincially minded Italian public. His neoclassical compositions were perhaps less important than his organizing activities, but especially representative examples include Scarlattiana of 1926, using motifs from Domenico Scarlatti 's keyboard sonatas, and the Concerto romano of the same year. Casella's colleague Mario Castelnuovo-Tedesco wrote neoclassically inflected works which hark back to early Italian music and classical models:
1900-475: The related Divertimento after Keyboard Pieces by Couperin , Op. 86 (1923 and 1943, respectively). Starting around 1926 Béla Bartók 's music shows a marked increase in neoclassical traits, and a year or two later acknowledged Stravinsky's "revolutionary" accomplishment in creating novel music by reviving old musical elements while at the same time naming his colleague Zoltán Kodály as another Hungarian adherent of neoclassicism. A German strain of neoclassicism
1950-471: The smallest room of my house. I have your review before me. In a moment it will be behind me!"). Another source has the German composer Sigfrid Karg-Elert as the targeted critic of this letter. Arnold Schoenberg was an admirer of Reger's. A letter he sent to Alexander von Zemlinsky in 1922 states: "Reger...must in my view be done often; 1, because he has written a lot; 2, because he is already dead and people are still not clear about him. (I consider him
2000-501: The themes of his Concerto italiano in G minor of 1924 for violin and orchestra echo Vivaldi as well as sixteenth- and seventeenth-century Italian folksongs, while his highly successful Guitar Concerto No. 1 in D of 1939 consciously follows Mozart 's concerto style. Portuguese representatives of neoclassicism include two members of the "Grupo de Quatro", Armando José Fernandes and Jorge Croner de Vasconcellos, both of whom studied with Nadia Boulanger. In South America, neoclassicism
2050-806: Was Drei Chöre (1892). Reger returned to his parental home in Weiden due to illness in 1898, where he composed his first work for choir and orchestra, Hymne an den Gesang (Hymn to singing), Op. 21 . From 1899, he courted Elsa von Bercken who at first rejected him. He composed many songs including the love poems Sechs Lieder , Op. 35 . Reger moved to Munich in September 1901, where he obtained concert offers and where his rapid rise to fame began. During his first Munich season, Reger appeared in ten concerts as an organist, chamber pianist and accompanist. Income from publishers, concerts and private teaching enabled him to marry in 1902. Because his wife Elsa
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2100-639: Was a divorced Protestant , he was excommunicated from the Catholic Church. He continued to compose without interruption, for example Gesang der Verklärten , Op. 71 . In 1907, Reger was appointed musical director at the Leipzig University Church , a position he held until 1908, and professor at the Royal Conservatory in Leipzig . In 1908 he began to compose Der 100. Psalm (The 100th Psalm), Op. 106,
2150-440: Was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church , a professor at the Royal Conservatory in Leipzig , and a music director at the court of George II, Duke of Saxe-Meiningen . Reger first composed mainly Lieder , chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as
2200-400: Was developed by Paul Hindemith, who produced chamber music, orchestral works, and operas in a heavily contrapuntal, chromatically inflected style, best exemplified by Mathis der Maler . Roman Vlad contrasts the "classicism" of Stravinsky, which consists in the external forms and patterns of his works, with the "classicality" of Busoni, which represents an internal disposition and attitude of
2250-683: Was in fact Russian-born) and German (proceeding from the " New Objectivity " of Ferruccio Busoni , who was actually Italian, and represented by Paul Hindemith ). Neoclassicism was an aesthetic trend rather than an organized movement; even many composers not usually thought of as "neoclassicists" absorbed elements of the style. Although the term "neoclassicism" refers to a twentieth-century movement, there were important nineteenth-century precursors. In pieces such as Franz Liszt 's À la Chapelle Sixtine (1862), Edvard Grieg 's Holberg Suite (1884), Pyotr Ilyich Tchaikovsky 's divertissement from The Queen of Spades (1890), George Enescu 's Piano Suite in
2300-602: Was of particular importance in Argentina, where it differed from its European model in that it did not seek to redress recent stylistic upheavals which had simply not occurred in Latin America. Argentine composers associated with neoclassicism include Jacobo Ficher , José María Castro [ es ] , Luis Gianneo , and Juan José Castro . The most important twentieth-century Argentine composer, Alberto Ginastera , turned from nationalistic to neoclassical forms in
2350-532: Was perceived as an expression of "universalism" ( universalismo ), broadly linked to an international, modernist aesthetic. In the first movement of the concerto, Falla quotes fragments of the fifteenth-century villancico "De los álamos, vengo madre". He had similarly incorporated quotations from seventeenth-century music when he first embraced neoclassicism in the puppet-theatre piece El retablo de maese Pedro (1919–23), an adaptation from Cervantes's Don Quixote . Later neoclassical compositions by Falla include
2400-639: Was provoked by that tradition. Some of the works for solo string instruments turn up often on recordings, though less regularly in recitals. His solo piano and two-piano music places him as a successor to Brahms in the central German tradition. He pursued intensively Brahms's continuous development and free modulation , whilst being rooted in Bach-influenced polyphony. Reger was a prolific writer of vocal works, Lieder , works for mixed chorus, men's chorus and female chorus, and extended choral works with orchestra such as Der 100. Psalm and Requiem ,
2450-540: Was the cousin of Hans von Koessler . Reger produced an enormous output in just over 25 years, nearly always in abstract forms. His work was well known in Germany during his lifetime. Many of his works are fugues or in variation form , including the Variations and Fugue on a Theme by Mozart based on the opening theme of Mozart 's Piano Sonata in A major, K. 331 . Reger wrote a large amount of music for organ ,
2500-603: Was transferred from his home in Jena to a cemetery in Weimar. In 1930, on the wishes of Reger's widow Elsa, his remains were moved to a grave of honour in Munich Waldfriedhof . Reger had also been active internationally as a conductor and pianist. Among his students were Joseph Haas , Sándor Jemnitz , Jaroslav Kvapil , Ruben Liljefors , Aarre Merikanto , Sofie Rohnstock , George Szell and Cristòfor Taltabull . He
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