Gretchen am Spinnrade (Gretchen at the Spinning Wheel) a German art song, was composed by Franz Schubert using the text from Johann Wolfgang von Goethe's Faust.. Liszt transcribed the music of other composers brilliantly on the piano. Of all the composers Schubert was the one Liszt called the most poetic. Liszt loved Schubert and this is reflected in over sixty transcriptions of Schubert songs
Composed in 1822 during a period of enormous emotional tension, Schuberts ‘Wanderer Fantasy’ occupies a special place in the history of piano writing. It is revolutionary in construction, all four movements being developed from a single rhythmic motif, and points to the future in a way scarcely equaled by any other work of the period.
Slamet Abdul Sjukur, born in Surabaya/Java was the “founding father” of contemporary Indonesian music past away on 24 March this year. In the early 1960s he studied and worked under Olivier Messiaen and Henri Dutilleux at the Conservatoire National Supérieur de Musique de Paris. Developing the idea of minimax in music,his compositions are notable for their minimal constellation of sounds and for their numerological basis which indicate the composer’s interest in a new ‘ecology of music’.
Olivier Messiaen was a influential French composer, organist, and teachernoted for his use of mystical and religious themes. As a composer he developed a highly personal style noted for its rhythmic complexity, rich tonal colour, and unique harmoniclanguage.
Messiaen described his Preludes as “a collection of successive states of mind and personal feelings”. Sadness, loss, and meditations on mortality are found in many of the Preludes, but there is light (physical and metaphorical) as well, as there always is et Mélisande. Henri Dutilleux is unique among contemporary French composers of the post-Second World War generation for his singular affiliation to the development of his own personal style,notably at the avoidance of serialist-influenced compositional processes. style,.in Messiaen’s music, and they contain many of the features which are so distinctive of Messiaen’s works.: Like Debussy, Messiaen gave each Prelude a title, suggesting a narrative for the work. Some are obvious, such as ‘Un reflet dans le vent…’ (‘A Reflection in the Wind…’), with its stormy gusts and eddies.
Dutilleux's music extends the legacies of earlier French composers such as Debussy and Ravel but is also clearly influenced by Béla Bartók and Igor Stravinsky. Among his favourite pieces, he mentioned Beethoven's late string quartets and Debussy's Pelléas