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Words near each other
・ Nacer Chadli
・ Nacer Hammami
・ Nacer Khemir
・ Nacerasa
・ Nacerdine Drid
・ Nacereddine Bacha
・ Nacereddine Khoualed
・ Naceri
・ Nacesławice
・ Naceur El Gharbi
・ Naceur Ktari
・ NACEVI
・ NACF
・ NACFC
・ NACGN
Nach Bach
・ Nach Baliye
・ Nach dem Goldrausch
・ Nach dir, Herr, verlanget mich, BWV 150
・ Nach Nach
・ Nach to the Groove
・ NACHA
・ Nacha
・ Nacha Guevara
・ Nacha Pop
・ Nacha Regules
・ Nachaba
・ Nachaba auritalis
・ Nachaba congrualis
・ Nachaba diplagialis


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Nach Bach : ウィキペディア英語版
Nach Bach

''Nach Bach'' (German for "After Bach", subtitled ''Fantasia for harpsichord''), is a composition for harpsichord or piano by American composer George Rochberg, written in 1966 and dedicated to his friend Igor Kipnis, who premièred the work in Annenberg Auditorium at the University of Pennsylvania on 27 January 1967 (; ).
== History ==

Rochberg composed this piece while still serving as chairman of the music department at the University of Pennsylvania. He had just abandoned serialism three years previously in 1963 , the year before his father died, in the spring, and in November of the same year his teenage son, Paul, died because of brain tumor . The composer said it was after his son died that He also said he had found serialism to be a style incapable of expressing "serenity, tranquility, grace, wit, energy and perhaps most importantly, joy" . His last serial work was the Trio for violin, cello, and piano, written in 1963 .
Rochberg composed the work at Tanglewood in the summer of 1966, on a commission from the harpsichordist Igor Kipnis. At the time, Rochberg knew virtually nothing about the technical problems of the harpsichord, so be fore setting to work had a long discussion with Kipnis who demonstrated the use of pedals, the attack and timbral characteristics of the instrument, which enabled the composer to incorporate every possible color combination available on Kipnis's custom-built instrument into the structure of the piece . The manuscript score is dated July 6, 1966, and at that point was designated only for the harpsichord . The score was revised for publication, to include registration markings for the harpsichord added by the dedicatee, Igor Kipnis, and accommodations for performance on the piano, including dynamic markings, indications for pedaling, and ossia passages (on pages 4.1, 4.2, and 8.2) in which some notes are to be played an octave higher on the piano than in the version for harpsichord (;).

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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