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List of pieces that use serialism and twelve-tone: Wikis

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List of pieces which use serialism

Organized by composer:

Anthèmes, for violin solo (1991/94)
Anthèmes II, for violin and live electronics (1997)
Cummings ist der Dichter, for chorus and ensemble (1970/1986)
Dérive 1, for six instruments (1984)
Dérive 2, for eleven instruments (1988/2002/2006)
Domaines, for clarinet solo or for clarinet and six instrumental groups (1968)
Études (2), musique concrète (1951–52)
"...explosante-fixe..."
for flute, clarinet, and trumpet (1971-72)
for flute, clarinet, trumpet, harp, vibraphone, violin, viola, cello, and electronics (1973-74)
version for vibraphone and electronics (1986)
for solo MIDI flute, two "shadow" flutes, chamber orchestra, and electronics (1991–93)
version for vibraphone and electronics (1986)
Figures-doubles-prismes, for orchestra (1957–58/1964/1968)
Improvisé—pour le Dr. K, for flute, clarinet, piano, violin, and cello (1969; revised 2005)
Incises, for piano (1994/2001)
Livre, for string quartet (1948); two movements reworked for string orchestra (1968/1989)
Le marteau sans maître (1955–57)
Messagesquisse, for solo cello and six cellos (1976)
Notations
for piano (1945)
for orchestra (1978- )
Poésie pour pouvoir, for tape and 3 orchestras (1955/58, withdrawn)
Polyphonie X (1950–51)
Sonata No. 1, for piano (1946)
Sonata No. 2, for piano (1947–48)
Sonata No. 3, for piano (1958–63, unfinished)
Pli selon pli (1957–62)
Répons, for six soloists, chamber orchestra, and live electronics (1981–84)
Rituel in Memoriam Bruno Maderna, for large chamber ensemble in eight groups (1974–75)
Sonatine, for flute and piano (1946)
Structures, book I for two pianos (1952)
Structures, book II for two pianos (1961)
Sur incises, for 3 pianos, 3 harps, and 3 mallet percussion instruments (1996/1998)
First Construction (in Metal) for percussion ensemble (1939)
Orbes for orchestra[1]
Nummer 1, Sonata for two pianos (1951)
Nummer 2, for thirteen instruments (1951)
Nummer 3 met gestreken en geslagen tonen, for chamber ensemble (1952)
Nummer 4 met dode tonen, electronic music (1952)
Nummer 5 met zuivere tonen, electronic music (1953)
Nummer 6 met 180 klankvoorwerpen (1954)
Nummer 7 met convergerende en divergerende niveaus, electronic music (1955)
Zwei Klavierstücke, for piano solo (1957)
Quintet for Woodwinds, for flute, oboe, cor anglais, clarinet, and bassoon (1958–59)
String Quartet 1959 (1959)
Aura "Influenced deeply by serialism and the inspiration of Gil Evans, Mikkelborg composed a theme from ten notes based on the letters of Davis' first and last names. The notes yielded a chord, which led him through the work." (AMG)
Frequenzen, for orchestra (1957)
Mädchentotenlieder, for voice, alto flute, and chamber ensemble (1958)
Quantitäten. for piano (1957)
Zwanzig Gruppen, for piccolo, oboe, and clarinet (1958)
Zwei Stücke, for flute, bass clarinet, piano, and percussion (1956)
Canti per tredeci, 13 instruments, (1954–55)
Il canto sospeso (1955–56)
Cori di Didone, for chorus and percussion (1958)
Diario polacco: Composizione no. 2 (1958–59)
Due espressioni, for orchestra (1953)
Incontri, for 24 instruments (1955)
Polifonica—monodia—ritmica, for seven instrumentalists (1951)
Varianti, for violin, woodwinds, and strings (1957)
Apostrophe et six Réflexions for piano (1964–66)
Aquarius-Mémorial (in memoriam Karel Goeyvaerts)
I. Les Litanies d'Icare for piano (1994)
II. Danseurs Gnidiens cherchant la Perle clémentine for chamber orchestra (1998)
III. Les Fouilles de Jéruzona for orchestra (1995)
IV. Icare au Jardin du Verseau for piano and chamber orchestra (1999)
La Guirlande de Pierre for soprano, baritone and piano (1997)
At Moonlight, Dowland's Shadow passes along Ginkaku-Ji for shakuhachi, shamisen, and koto (1989)
Ballade berlinoise for piano solo (1977)
Canines for voice and piano (1980)
Caractères for piano (1961)
Chroniques berlinoises for piano and string quartet with baritone ad lib. (1975)
Chroniques canines for two pianos with soprano ad lib (1984)
Chroniques illustrées for large orchestra with baritone ad lib. (1976)
Couleurs croisées for large orchestra (1967)
Crosses of Crossed Colors for vocal soloist, two to five pianos, six tape-recorder operators, two turntablists, and two radio operators (1970)
Déclarations d'Orage for reciter, soprano, baritone, three improvising instruments (alto saxophone, tuba, synthesizer), large orchestra and tape (1988–89)
Dichterliebesreigentraum for soprano, baritone, two solo pianos, choir and orchestra (1992–93)
Les Éphémérides d'Icare 2 for a soloist, three-part concertino, and four instrumental quartets (1970)
Die Erprobung des Petrus Hebraïcus chamber opera in three acts, libretto by Léo Wintgens after Michel Butor (1974). Several "satellite" works are related to this opera:
Flexions IV for viola solo (1980)
Humeurs du Futur quotidien for two reciters and chamber orchestra (1978)
Les Icare africains for solo voices, ad lib. choir, and orchestra (2002)
Leçons d'Enfer music theatre for 2 actors, 3 singers, 7 instruments, tape, and live electronics; texts by Arthur Rimbaud and Michel Butor (1990–91)
Madrigal I for clarinet (1958)
Madrigal II for 4 early instruments (flute, violin, viola da gamba, harpsichord) (1961)
Madrigal III for clarinet, violin, cello, 2 percussionists, and piano (1962)
Mnémosyne monody solo voice or instrument, or unison choir (1968)
Mnémosyne II for variable media (1969)
Mobile for two pianos (1957–58)
Navigations for harp (2000)
Ode for string quartet (1960–61)
La Paganania for solo violin (1982)
La Paganania seconda for solo cello (1982)
Paraboles-Mix electronic music (1972)
Pédigrée for female voice and seven instruments (1980)
Phonèmes pour Cathy for mezzo-soprano solo (1966)
Prospection for three pianos tuned in sixths of a tone (1952–53)
Quintette à la memoire d'Anton Webern for clarinet, bass clarinet, violin, cello, and piano (1955)
Rimes pour différentes sources sonores for orchestra and tape (1958)
Scambi electronic music (1957)
Séismogrammes electronic music (1954)
Seize Paysages planétaires ethno-electroacoustical music (2000)
Sept Versets des Psaumes de la Pénitence for four vocal soloists or mixed choir (1950)
Symphonies à 15 Solistes (1954–55)
Tales and Songs from the Bible of Hell four singers with real-time electronic transformation and pre-recorded 4 track tape (1979)
Trois Visages à Liège electronic music (1961)
Votre Faust (1961–68), opera for five actors, four singers, thirteen instruments, and electronic music, libretto by Michel Butor. Plus related "satellite" works:
Miroir de Votre Faust (Caractères II) for solo piano and (optional) soprano (1964-65),
Jeu de Miroirs de Votre Faust for piano, soprano and tape (1964–65)
Echos de Votre Faust for mezzo-soprano, flute, cello, and piano (1961–69),
Les Ruines de Jéruzona for mixed choir and "rhythm section" (1978),
La Passion selon Guignol for amplified vocal quartet and orchestra (1981),
Parade de Votre Faust for orchestra (1974)
Aiguillages au carrefour des immortels for 16 or 17 instruments (2002)
Il sogno di Leporello: Parade 2 (de Votre Faust) for orchestra (2005)
Vue sur les Jardins interdits for saxophone quartet (1973)
The Taking of Pelham One Two Three (1974) (film soundtrack)
Adieu, for wind quintet (flute, oboe, clarinet, bassoon, and horn), Nr. 21 (1966)
Alphabet für Liège, Nr. 36 (1972)
Am Himmel wandre ich ("In the Sky I Am Walking", American Indian Songs), Nr. 36½ (1972)
Amour, 5 pieces for clarinet, flute, or saxophone Nr. 44 (1976)
Atmen gibt das Leben, choral opera with orchestra (or orchestra on tape), Nr. 39 (1974/77)
Aus den sieben Tagen ("From the Seven Days"), 15 texts for intuitive music (performable separately), Nr. 26 (1968)
Bassetsu-Trio, for basset horn, trumpet, and trombone, Nr. 3. ex 70 (1997). Arranged from Mittwoch aus Licht, scene 4: Michaelion
Carré, for 4 choirs and orchestras, Nr. 10 (1959–60)
Dr. K-Sextett, for flute, bass clarinet, percussionist (tubular chimes and vibraphone), piano, viola, and cello, Nr. 28 (1968–69)
Drei Lieder for alto voice and chamber orchestra, Nr. 1/10 (1950)
Etude, musique concrète, Nr. 1/5 (1952)
Europa-Gruss, Nr. 72 (1992/2002)
Expo, for 3 players or singers with 3 short-wave receivers, Nr. 31 (1969–70)
Formel, for small orchestra, Nr. 1/6 (1951)
Fresco, for 4 orchestral groups, Nr. 29 (1969)
Für kommende Zeiten, 17 texts for intuitive music, Nr. 33 (1968–70)
Gesang der Jünglinge, electronic and concrete music, Nr. 8 (1955–56)
Gruppen, for 3 orchestras, Nr. 6 (1955–57)
Harlekin, for clarinet, Nr. 42 (1975)
Der kleine Harlekin, for clarinet, Nr. 42½ (1975)
Helikopter-Streichquartett, for string quartet and 4 helicopters, Nr. 69 (1992–93) [Scene 3 of Mittwoch aus Licht]
Herbstmusik, musical theatre for 4 performers, Nr. 40 (1974)
Laub und Regen, duet for clarinet and viola, Nr. 40½
Hymnen, 4-channel electronic and concrete music (also version with soloists, and Third Region with orchestra), Nr. 22 (1966–67)
In Freundschaft, for clarinet (and versions for most other instruments), Nr. 46 (1977)
Inori, adorations for 1 or 2 soloists and large orchestra, Nr. 38 (1973–74)
Vortrag über HU, for a singer, Nr. 38½ (1974)
Jubiläum, for orchestra, Nr. 45 (1977)
Klang ("Sound", the 24 Hours of the Day), Nr. 81– (2004–2007)
First Hour: Himmelfahrt (Ascension), for organ (or synthesizer), soprano, and tenor, Nr. 81 (2004–05)
Second Hour: Freude (Joy), for 2 harps, Nr. 82 (2005)
Third Hour: Natürliche Dauern 1–24 (Natural Durations 1–24), for piano, Nr. 83 (2005–06)
Fourth Hour: Himmels-Tur (Heaven's Door), for a percussionist and a little girl, Nr. 84 (2005)
Fifth Hour: Harmonien (Harmonies), Nr. 85, versions for:
bass clarinet, Nr. 85.1 (2006)
flute, Nr. 85.2 (2006)
trumpet, Nr. 85.3 (2006)
Sixth Hour: Schönheit (Beauty), for flute, bass clarinet, and trumpet, Nr. 86 (2006)
Seventh Hour: Balance, for flute, English horn, and bass clarinet, Nr. 87 (2007)
Eighth Hour: Glück (Bliss), for oboe, English horn, and bassoon, Nr. 88 (2007)
Ninth Hour: Hoffnung (Hope), for violin, viola, and cello, Nr. 89 (2007)
Tenth Hour: Glanz (Brilliance), for oboe, clarinet, bassoon, trumpet, trombone, tuba, and viola, Nr. 90 (2007)
Eleventh Hour: Treue (Fidelity), for E-flat clarinet, basset horn, and bass clarinet, Nr. 91 (2007)
Twelfth Hour: Erwachen (Awakening), for soprano saxophone, trumpet, and cello, Nr. 92 (2007)
Thirteenth Hour: Cosmic Pulses, electronic music, Nr. 93 (2006–07)
Fourteenth Hour: Havona, for bass voice and electronic music, Nr. 94 (2007)
Fifteenth Hour: Orvonton, for baritone and electronic music, Nr. 95 (2007)
Sixteenth Hour: Uversa, for basset-horn and electronic music, Nr. 96 (2007)
Seventeenth Hour: Nebadon, for horn and electronic music, Nr. 97 (2007)
Eighteenth Hour: Jerusem, for tenor and electronic music, Nr. 98 (2007)
Nineteenth Hour: Urantia, for soprano and electronic music, Nr. 99 (2007)
Twentieth Hour: Edentia, for soprano saxophone and electronic music, Nr. 100 (2007)
Twenty-first Hour: Paradies (Paradise), for flute and electronic music, Nr. 101 (2007)
Klavierstücke
Klavierstücke I–IV, Nr. 2 (1952)
Klavierstücke V–X, Nr. 4 (1954–55/61)
Klavierstück XI, Nr. 7 (1956)
Klavierstück XII, ex Nr. 49¾ (1979/83)
Klavierstück XIII, Nr. 51½ (1981)
Klavierstück XIV, ex Nr. 57⅔ (1984)
Synthi-Fou (Klavierstück XV), ex Nr. 61⅔
Klavierstück XVI, Nr. 63½ (1995)
Klavierstück XVII, 7½ ex Nr. 64 (1994/99)
Klavierstück XVIII, Nr. 73⅔ (2004)
Klavierstück XIX, Nr. 80 (2001/2003)
Kontakte ("Contacts"), for electronic sounds, Nr. 12 (1958–60)
Kontakte, for electronic sounds, piano, and percussion, Nr. 12½ (1958–60)
Originale, musical theatre with Kontakte, Nr. 12⅔ (1961)
Kontra-Punkte ("Counter-Points"), for 10 instruments, Nr. 1 (1952–53)
Kreuzspiel, for oboe, bass clarinet, piano, and 3 percussionists, Nr. 1/7 (1951)
Kurzwellen, for 6 players with live electronics, plus sound director, Nr. 25 (1968)
Licht, Nr. 47–80 (1977–2003)
Licht-Ruf, Nr. 67 (1995)
Litanei 97, Nr. 74 (1997)
Mantra, for 2 pianists (with wood blocks and antique cymbals) and electronics, Nr. 32 (1970)
Mikrophonie I, for tamtam (2 players), 2 microphones, 2 filters with potentiometers, and 4 pair of loudspeakers, Nr. 15 (1964)
Mikrophonie II, for 12 voices, Hammond organ (or synthesizer), 4 ring modulators, and tape, Nr. 17 (1965)
Mixtur, for orchestra, 4 sinewave generators, and 4 ring-modulators, Nr. 16 (1964)
Musik im Bauch, for 6 percussionists and music boxes, Nr. 41 (1975)
Momente, for soprano solo, 4 choirs, and 13 instrumentalists, Nr. 13 (1962–64/69)
Oktophonie (1990/91) electronic music of Tuesday from Light
Plus-Minus, 2 x 7 pages for realization, Nr. 14 (1963)
Pole, for 2 players or singers with 2 short-wave radios, Nr. 30 (1969–70)
Prozession, for 6 players with live electronics, Nr. 23 (1967)
Punkte ("Points"), for orchestra, Nr. ½ (1952/62/66/93)
Quitt ("Even"), for alto flute, clarinet, and trumpet, Nr. 1 ex 59 (1989)
Refrain, for piano (+ 3 woodblocks), vibraphone (+ 3 alpine cowbells and keyboard glockenspiel), and celesta (+ 3 antique cymbals), Nr. 11 (1959)
Rotary-Bläserquintett ("Rotary Wind Quintet"), for flute, oboe, clarinet, bassoon, and horn, Nr. 70½ (1997)
Schlagtrio ("Percussive Trio") [originally Schlagquartett], for piano and 2 x 3 [originally 3 x 2] timpani, Nr. ⅓ (1952)
Sirius, electronic music with trumpet, soprano, bass clarinet, and bass voice, Nr. 43 (1975–77)
Solo, for a melody instrument and feedback (live electronics with 4 technicians, 4 pair of loudspeakers), Nr. 19 (1965–66)
Spiel ("Play"), for orchestra, Nr. ¼ (1952)
Spiral, for a soloist with short-wave receiver and live electronics with sound director, Nr. 27 (1968)
Sternklang ("Star Sound"), park music for five groups, Nr. 34 (1971)
Stimmung ("Tuning"), for 6 vocalists, Nr. 24 (1968)
Stop, for small orchestra in 6 groups, Nr. 18 (1965)
Strahlen ("Rays"), for a percussionist and ten-channel sound recording, Nr. 80½ (2002)
Studie I, electronic music, Nr. 3/I (1953)
Studie II, electronic music, Nr. 3/II (1954)
Sukat, for alto flute and basset-horn, Nr. 2 ex 60 (1989)
Telemusik, electronic and concrete music, Nr. 20 (1966)
Thinki, for flute, Nr. 1 ex 70 (1997)
Tierkreis ("Zodiac"), 12 melodies of the star signs, for a melody and/or chording instrument, Nr. 41½ (1974–75)
Trans, for orchestra and tape, Nr. 35 (1971)
Traum-Formel ("Dream Formula"), for basset-horn, Nr. 51⅔ (1981)
Trompetent ("Trumpetent"), for 4 trumpeters, Nr. 73 (1995)
Türin, for Tür (door), rin, and speaker (versions in German and English), with electronics (2006)
Unsichtbare Chöre, 16-channel recording of a capella choir, for 8-channel playback, ex Nr. 79 (1979)
Vibra-Elufa, for vibraphone, Nr. 9¾ ex 64 (2003)
Xi, for a melody instrument with microtones, Nr. 1 ex 55 (1986)
Ylem, for 19 players, Nr. 37 (1972)
Ypsilon, for a melody instrument with microtones, Nr. 2 ex 59 (1989)
Zeitmaße ("Time Measures"), for oboe, flute, cor anglais, clarinet, and bassoon, Nr. 5 (1955–56)
Zyklus ("Cycle"), for a percussionist, Nr. 9 (1959)
Cantique de durées (1960)[2]

List of musical pieces composed in the twelve-tone technique

  • Palmström, song cycle op. 5 (1923/24)
    Zeitungsausschnitte (Newspaper Clippings), song cycle op. 11 (1926)
  • Three Lieder, for voice, E flat clarinet and guitar, op. 18 (1925)
    Two Lieder, for mixed choir, celesta, guitar, violin, clarinet and bass clarinet, op. 19 (1926)
    String Trio, op. 20 (1927)
    Symphony, op. 21 (1928)
    Quartet for violin, clarinet, tenor saxophone and piano, op. 22 (1930)
    Three Songs on Hildegard Jone's Viae inviae, for voice and piano, op. 23 (1934)
    Concerto for flute, oboe, clarinet, horn, trumpet, violin, viola and piano, op. 24 (1934)
    Three Lieder on texts by Hildegard Jone, for voice and piano, op. 25 (1934-35)
    Das Augenlicht, for mixed choir and orchestra, on a text by Hildegard Jone, op. 26 (1935)
    Variations, for solo piano, op. 27 (1936)
    String Quartet, op. 28 (1937-38) - the tone row of this piece is based around the BACH motif
    Cantata No. 1, for soprano, mixed choir and orchestra, op. 29 (1938-39)
    Variations, for orchestra, op. 30 (1940)
    Cantata No. 2, for soprano, bass, choir and orchestra, op. 31 (1941-43)
  • Milton Babbitt
    Virtually all published works after 1947
  • Luigi Dallapiccola
    Virtually all published works after 1942
  • Benjamin Frankel
Film score for The Prisoner (1955, starring Alec Guinness)[3]
Film score for The Curse of the Werewolf (1961)[4]
Zwölftonmusik für neun Soloinstrumente, op. 73 (1937)
Zwölftonmusik für Orchester (1939)
Zwölftonmusik für Orchester with a twelve-tone row, in six different tropes (1945)
Zwölftonspiele (approximately one thousand works) (after 1940)
Composizione no.1, for orchestra (1951)
Variazioni canoniche sulla serie dell’op. 41 di A. Schönberg, forchamber orchestra (1950)
Sonatina, for violin and piano, Nr. ⅛ (1951)
  • Igor Stravinsky, works from 1952 forward:[5]
    Cantata (1952)
    Three Songs From Shakespeare (1953)
    In Memoriam Dylan Thomas (1954)
    Agon (1957)
    Threni (1958)
    Movements for Piano and Orchestra (1958-59)
    A Sermon, A Narrative, and a Prayer (1961)
    The Flood (1962)
    The Dove Descending Breaks the Air (1962)
    Variations (Aldous Huxley in Memoriam) (1963/1964)
    Requiem Canticles (1966)
  • Charles Wuorinen
    Most mature works

References

  1. ^ Jacques Calonne, "Aspects d'un resume (Apropos d' Orbes pour orchestre)", Revue d'Esthetique 21 (1968), nos. 2–4 ("Musiques nouvelles"): 59-103.
  2. ^ Gilles Tremblay, "Note pour Cantique de durées", Revue d'esthetique 21 (1968), nos. 2–4 ("Musiques nouvelles"): 51–58.
  3. ^ Dimitri Kennaway, notes for recording, Naxos 8.557850, "his [Frankel's] first published experimentation with serial technique.
  4. ^ Dimitri Kenneway, notes for recording, Naxos 8.557850, "credited with being the first British feature film score to employ the method [twelve-tone serialism] almost entirely."
  5. ^ Joseph N. Straus, Stravinsky's Late Music, Cambridge Studies in Music Theory and Analysis (Cambridge: Cambridge University Press, 2001), 4. ISBN 0-521-80220-2 (cloth) ISBN 0-521-60288-2.
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