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・ Symphony No. 63
・ Symphony No. 63 (Haydn)
・ Symphony No. 63 (Hovhaness)
・ Symphony No. 64 (Haydn)
・ Symphony No. 65 (Haydn)
・ Symphony No. 66
・ Symphony No. 66 (Haydn)
・ Symphony No. 39 (Mozart)
・ Symphony No. 4
・ Symphony No. 4 (Arnold)
・ Symphony No. 4 (Bax)
・ Symphony No. 4 (Beethoven)
・ Symphony No. 4 (Brahms)
・ Symphony No. 4 (Bruckner)
・ Symphony No. 4 (Chávez)
Symphony No. 4 (Davies)
・ Symphony No. 4 (Dvořák)
・ Symphony No. 4 (Glass)
・ Symphony No. 4 (Glazunov)
・ Symphony No. 4 (Hanson)
・ Symphony No. 4 (Hartmann)
・ Symphony No. 4 (Haydn)
・ Symphony No. 4 (Honegger)
・ Symphony No. 4 (Ives)
・ Symphony No. 4 (Karetnikov)
・ Symphony No. 4 (Lutosławski)
・ Symphony No. 4 (MacMillan)
・ Symphony No. 4 (Mahler)
・ Symphony No. 4 (Martinů)
・ Symphony No. 4 (Mendelssohn)


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Symphony No. 4 (Davies) : ウィキペディア英語版
Symphony No. 4 (Davies)
The Symphony No. 4 by Peter Maxwell Davies was commissioned for the Scottish Chamber Orchestra by Christian Salvesen plc and composed in 1989. It is dedicated to the memory of the violinist John Tunnell, who had been leader of the orchestra, and was premiered at the Royal Albert Hall on a BBC Promenade Concert on 10 September 1989, with the composer conducting the Scottish Chamber Orchestra.
==Character and materials==

The Fourth Symphony differs from its predecessors in several respects, but particularly for combining the conventional four movements into a single unit, similar to Arnold Schoenberg's Chamber Symphony No. 1, op. 9, only on a larger scale . On the other hand, like Davies’s earlier symphonies, the symphony stems from a mixture of a plainchant source on the one hand, and a moment in the composer's personal experience on the other . The plainchant "Adorna thalamum tuum, Sion", for a Feast of the Purification of the Virgin Mary (a processional chant with candles) is transformed by the composer into different but related sets of seven, nine, and ten notes, which are used as the basic pitch materials of the symphony . Such transformational treatment of plainchant melodies has been a characteristic of Davies's music since the 1957 sextet ''Alma Redemptoris Mater'' . The second source was the haunting sight of a golden eagle taking flight at sunrise, which the composer did not attempt to portray literally .

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