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Death and Transfiguration (German: Tod und Verklärung), Op. 24, is a tone poem for orchestra by Richard Strauss. Strauss began composition in the late summer of 1888 and completed the work on 18 November 1889. The work is dedicated to the composer's friend Friedrich Rosch. The music depicts the death of an artist.
The Transfiguration is an oil on canvas altarpiece by Ludovico Carracci, from 1595. It is held in the Pinacoteca Nazionale di Bologna . An earlier version of the topic was painted between 1588 and 1590, and is housed in the Scottish National Gallery , in Edinburgh .
Richard Strauss in 1888. The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level.
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. The term comes from classical music and was first applied to jazz by ...
[1] Strauss finished orchestrating his tone poem Death and Transfiguration soon after his arrival, and on November 11 he premiered his Don Juan. He spent many of his evenings, mostly in the company of Eduard Lassen, at the Künstlerheim, which he depicted to his father as "a frivolous means of passing the time, with a charming bar in an old ...
The Ballade No. 2 in B minor, S. 171, is a piano composition by Franz Liszt, written in 1853.. Claudio Arrau, who studied under Liszt's disciple Martin Krause, maintained that the Ballade was based on the Greek myth of Hero and Leander, with the piece's chromatic ostinati representing the sea: "You really can perceive how the journey turns more and more difficult each time.
Polymodal, consisting of a blue-orange mode with a chordal ostinato and cascades of chords, and a violet-purple mode having a copper timbre. Note the pianistic writing, composed of triple notes, rapid passages in chords, canon in contrary motion, hand crossing, various staccatos, brassy louré, gem effects. 6 Cloches d'angoisses et larmes d'adieu
For example, Messiaen has written that "The 'Theme of Chords' is heard throughout, fragmented, concentrated, surrounded with resonances, combined with itself, modified in both rhythm and register, transformed, transmuted in all sorts of ways: it is a complex of sounds intended for perpetual variation, pre-existing in the abstract like a series ...