In his second opera he used whole tone scales which was a new harmonic idea. He also composed overtures and songs. He watched what was happening in Europe in terms of musical matters but he didn’t imitate it. He didn’t want to lose the national identity. A man who was called Alexander Sergeyevich Dargomijsky (1813-1869) played a big role in the history of Russian music.
In 1769 Wolfgang and his father set out on another tour of Italy. Here Wolfgang wrote a new opera, Mitridate ri de Ponto. He also wrote two more operas for Milan, Ascanio in Alba and Lucio Silla. Three years later in 1772 Wolfgang was appointed concertmaster to the archbishop of Salzburg, his home town. He composed many works while he was concertmaster.
When he was sixteen, the publication of his Octet in E-flat Major for strings and Overture to A Mid Summer Night’s Dream marked his full maturity. In 1829, he left his hometown and started his music tour to Italy, France and England. During this period of time, he published many significant compositions, which included the overture Die Hebriden (1829), the Reformation Symphony (1830) and the Italian Symphony (1832) etc. Besides composing, he also worked as a conductor in Düsseldorf (1833-35) and Leipzig (1835-40). And in 1843, he established a new conservatory in Leipzig.
He also took over some of the duties of harpsichordist, and early in 1705 he presided over the premiere in Hamburg of his first opera, Almira. Handel spent the years 1706-10 traveling in Italy, where he met many of the greatest Italian musicians of the day, including Arcangelo Corelli and Alessandro Scarlatti and his son Domenico. He composed many works in Italy, including two operas, numerous Italian solo... ... middle of paper ... ...eaty of Aix-la-Chapelle. Handel now began to experience trouble with his sight. He managed with great difficulty to finish the last of his oratorios, Jephtha, which was performed at Covent Garden Theatre, London, in 1752.
Mathilde's death that same year was a serious blow to Schoenberg, but in 1924 he met and married Gertrud Kolisch, the sister of an Austrian violinist. With the invitation in 1925 to teach composition at the Academy of Arts in Berlin, Schoenberg finally obtained a prestigious position, financial security, and a stable family life. In 1932, the year the couple's daughter was born, he completed the second act of his opera Moses und Aron (produced posthumously, 1957). Schoenberg and his family fled Nazi Germany to Paris in 1933. In 1934 they immigrated to the United States, and he accepted a teaching position in Boston.
3 Wagner’s first professional career was being a chorus master at a theatre in Wurzburg from 1833 to 1834. However upon return to Leipzig in 1834 he met Heinrich Laube, and became involved with the literary and political movement Junges Deutschland, and began to follow not only musical philosophies such as the rejection of the classicalism of Mozart but also a favoritism towards hedonism and sensuality, straying away from Catholic Morality. From there Wagner held many positions and traveled to many places, including musical director for a traveling theatre company where he met his future wife Christine Wilhelmine Planer, who was one of the lead singers of the company. Wagner’s life was very troubling during his career however, his wife almost abandoning him for a merchant and having racked up a significant debt Wagner had to be smuggled with his wife and dog from Riga to Paris on account of their passports being impounded. Yet it was his experiences during his career that inspired many of his essays and operas, such as Der fliegende Hollander which was inspired by his journey onboard the merchant ship Thetis while being smuggled to Paris.
Dvorak earned his first glance of success on March 9 of 1873 with the premiere of his patriotic cantata for male voices. (Doge) Boasting in the success Dvorak would then start to work on his opera, King and Charcoal Burner, with the Provisional Theatre. (Doge) This piece unfortunately did not get to premiere and was taken off the program because it exceeded the capabilities of the Czech orchestra. This event, however, is a pivotal point in the composition process of Dvorak as he began to critically assess his work and started to dive into new directions (Doge). This is where he starts to explore the ideas of music nationalism as his compositions deviated from the German influence and were influenced more by elements of Slavonic Folklore.
Handel became a proficient composer of oratorio in part to his early success in composing opera. To elaborate on the histological influences on Handel, his career and education path must be noted. Born in Halle, Germany in 1685, Handel began his career in music as an organist, studying under Friedrich Zachow, one of the most renowned organists of his time. In 1702, he began attending the University of Halle while taking on the position as Organist at Calvinist church, Domkirche. After only a year, he tired of this and decided to travel to Hamburg to study opera.
Although his first job, beginning just after his 17th birthday, was as church organist in Halle, Handel's musical tendencies lay elsewhere. Thus, in 1703 he traveled to Hamburg, the operatic center of Germany; here, in 1704, he composed his own first opera, Almira, which achieved great success the following year. Once again, however, Handel soon felt the urge to move on, and his instincts led him to Italy, the birthplace of operatic style. He stopped first at Florence in the autumn of 1706. In the spring and summer of 1707 and 1708 he traveled to Rome, enjoying the backing of both the nobility and the clergy, and in the late spring of 1707 he made an additional short trip to Naples.
In 1839 they slipped away from creditors in Riga, by ship to London and then to Paris, where he was befriended by Meyerbeer and did hack-work for publishers and theatres. He also worked on the text and music of an opera on the 'Flying Dutchman' legend; but in 1842 Rienzi, a large-scale opera with a political theme set in imperial Rome, was accepted for Dresden and Wagner went there for its highly successful premiere. Its theme reflects something of Wagner's own politics (he was involved in the semi-revolutionary, intellectual 'Young Germany' movement). Die fliegende Holländer ('The Flying Dutchman'), given the next year, was less well received, though a much tauter musical drama, beginning to move away from the 'number opera' tradition and strong in its evocation of atmosphere, especially the supernatural and the raging seas (inspired by the stormy trip from Riga). Wagner was now appointed joint Kapellmeister at the Dresden court.