Waldo Acebo Meireles
intend to give an overview of the widespread use of this issue for over five centuries, authors generally refer poorly understood, particularly in the twentieth century examples can be heard in most cases are rarely interpreted, I have no intention of giving a list of over 80 composers who have used this theme since the fifteenth century, reflected the interest but let dozens of composers have shown over this issue.
the 'Dies irae', appears in the thirteenth century, is a Gregorian chant with a strong rhythm and a melody of great simplicity, its author is unknown, although some say that may be the Italian friar of the Franciscan order Thomas of Celano. The hymn Dies irae is best known as a sequence within the requiem mass of the Catholic Church. The hymn describes the day of reckoning where some will be saved and go to heaven and others will sink into hell. Undoubtedly a lot about creepy.
Let us hear the Dies Irae:
That the issue was extremely attractive to us is shown by the fact that from the fifteenth century began to be used by several composers, such as: Antonio Brumel [1460-1512] French composer used it in his Requiem Mass, Ludovico da Viadana [1560-1627] Italian, he included in his "Missa Solemnis Pro Difunctis', the famous French court composer Jean Baptiste Lully [1632-1687] turned to the subject in motet 'Dies irae 'and Marc-Antoine Charpentier [1643-1704] I include it in their' Prose des Morts'. This means that over four centuries echoed the theme in the vaults of churches and cathedrals, if not in its original form in the variants used by the composers mentioned.
In the nineteenth century begins with the famous use by Niccolo Paganini [1782-1840] arch-known Italian violinist who innovated in violin technique and made several pieces for that instrument, among which includes his 24 Caprices, op 1 compounds between 1805-09 in which the Caprice No. 24 consists of a theme, the Dies Irae, eleven variations and a final. It is considered one of the most difficult written works for solo violin. This work will have a major impact in the nineteenth century and especially in the twentieth. Let's hear
Caprice # 24
In 1830 the "Symphonie Fantastique" by Hector Berlioz [1803-1869] is released and the song 'Dies irae' appears three times in the work, particularly in its fifth movement 'Dream of a night sabaoth' in which topic is presented by the metals in its lowest register, accompanied by the campanologer.
Franz Liszt [1811-1886] used repeatedly the subject, making it the centerpiece of his symphonic poem "Totentanz" [Dance of Death] for piano and orchestra. Liszt had intended to be for the piano what Paganini for the violin, also liked to engage in an air of mystery something grim and gloomy, in that string wrote his' transcendental Studies on Caprices by Paganini. "
Let's hear an excerpt from the Study in A minor
Perhaps the work most solid basis of the Paganini Caprices are the 'Variations on a Theme of Paganini "Op 35 by Johannes Brahms [1833-1897], written between the years 1862-63 which is a consistent piano works great difficulty without the excesses of Liszt. The work is divided into two parts or books.
We hear fragments of the Book I
The Danish composer Asger Hamerik [1843-1923] uses the Dies Irae in his Requiem op34 made in 1887. With this work we can say that closes the nineteenth century the use of the subject at hand, the twentieth century will bring a proliferation of works based upon, or in any way used, the 'Dies Irae' and its expression in the Caprice Paganini.
Eugène Ysaÿe [1858-1931] the famous violinist of the early twentieth century wrote a collection of 6 Violin Sonatas Op 27, which includes the subject in the Sonata No 2 in the minor 'Obsession' We hear this sonata
treatment of the topic 'Dies irae' in the twentieth century will be in the works of Sergei Rachmaninov [1873-1943] born in Russia, a widely used, for example in the symphonic poem 'The Isle of the Dead', but best known work of Rachmaninov, it appears the issue is the 'Rhapsody on a Theme of Paganini "Op 43 for piano and orchestra [1934], this work has a theme and 24 variations being the best known of the numbers 11 to the 18 that are part of the composer's own strong romance, probably no pianist that does not include this work in his repertoire. Let us hear the variation
number 10 and number 18
mentioned
Ernest Bloch [1880-1959] Swiss-American in his Concerto for Violin [1938] includes the topic in the third movement. Finale. Allegro molto, it appears repeatedly in Ildebrando Pizzetti
metals [1880-1968] Italian widely used in his opera theme Murder in the Cathedral [1958]
The famous Polish pianist and composer Karol Szymanowski [1882-1937] uses the subject in his Paganini Caprices Piano
The principal cellist of the Berlin Philharmonic, the German Hans Bottermund [1892-1949] wrote a few variations on Niccolo Paganini Capricho 24, the only version I know is the cellist Janos
Stalker George
Thalben-Ball [1896-1987] Australia-born British organist and composer wrote the Variations On a Theme By Paganini: For Pedals [1962], which is interesting because it was written only for the use of organ pedals
hear fragments of this composition
The little known but very interesting composer Boris Blacher [1903-1975] wrote the orchestral Variations on a Theme of Paganini [1947] This book presents a solid structure and a complex orchestration, is the subject with 16 variations.
Let us hear the theme and variations first three
The cellist Gregor Piatigorsky [1903-1976] integrated with the Russian American pianist Arthur Rubinstein and violinist Jascha Heifetz what was called 'the million-dollar trio "composed some attractive Variation On a Theme of Paganini which consists of 14 variations and a dedicated marcia Tempo Vladimir Horovitz, each variation is dedicated to a friend: Pablo Casals, Erica Moroni, Joseph Szigeti, Yehudi Menuhin, Nathan Milstein, Jascha Heifetz, etc. select variation # 2 dedicated to Paul Hindemith. Let's hear
The Austrian composer Marcel Rubin [1905-1995] wrote 10 symphonies, the number four entitled "Dies Irae" and the theme appears in various stages of the work.
Ludvig Nielsen [1906-2001] Norwegian organist wrote for his instrument Veni Redemptor gentium et Dies irae - Variations op 52 in which the Dies Irae is used as a central theme.
Xavier Montsalvatge [1912-2002] Catalan Symphony composed Requiem - Dies irae, which is present the issue at hand.
The famous Polish composer Witold Lutoslawski [1913-1994] wrote a few variations on a theme by Paganini for two pianos [1941], this work was written for his own use Lutoslawski which gives an idea of \u200b\u200btheir ability virtuoso on the instrument, there is a less known for piano and orchestra [1978] of which we hear an excerpt: Let's hear
Josef Horovitz [1926] British born in Austria composed Variations on a Theme of Paganini for woodwind quartet.
Finnish composer Einojuhani Rautavaara [1928] considered the most notable composer Jean Sibelius Finland after he wrote in 1953 A Requiem In Our Time, Op.3 Dies Irae, for wind band Let's hear
metals
board to Then a group of American composers who have used the 'Dies irae' in his works. Let's start by Richard Purvis [1913-1994] wrote a Dies Irae for organ, his instrument. George Rochberg [1918-2005] wrote in 1970 his Caprice Variation consisting of 51 variations for violin solo, is a work of almost one hour in which our subject is developed from the Brahms Paganini Variations [Book I] in 9 to 13 variations of this work, ie they are a variation of a variation. Let's hear
variation # 10
George Crumb [1929] composer of 'avant garde' included the topic in 'Black Angels - Thirteen Images From The Dark Land V. Danse '[1970] for electric string quartet. Let's hear
William Harper [1949] among his works are ten operas. In his Requiem mix voices with electronic instruments.
Let's hear a fragment of the Kyrie - Dies irae
Del composer Wendy Mae Chambers [1953], who has written a number of works for percussion, the track included in the Mass' A Mass For 77 Trombones V. Dies Irae. " Let's hear an excerpt
postmodern composer Michael Daugherty [1954] is inspired by Superman comics create one of his most notable works Metropolis Symphony [1993], the fourth movement, Red Cape Tango is the Dies Irae theme. We hear fragments
fourth movement
The composer and violinist Ritsu Katsumata Brighamton was commissioned by the Orchestra to compose a Dies Irae, this work is the 2004 with which we enter the twenty-first century. Let's hear an excerpt
the defunct USSR In spite of its atheistic ideology using the Dies Irae of the Catholic Church also attended, see:
Kachaturian Aram [1903-1978] used it in his Symphony No. 2 [bell] in the third and fourth movement, Dmitri Kabalevsky [1904-1987] in the three movements of the Concerto for cello, Edison Denisov [1929-1996] in his Five Paganini Caprices, Valentin Bibik [1940] in a wide work: Dies Irae 39 variations for piano and Dimitri
Shostakovich [1906-1975] in his Aphorisms, Op.13 VII. Danse Macabre for piano. Let's hear
latter
Among American composers also had use Dies Irae: The Venezuelan Antonio Estevez Aponte [1916-1988] in his Cantata criolla [1954] Alberto Ginastera [1916-1983], the Argentine used in a shooting in the Violin Concerto and the Mexican Javier Montiel in his Variations on El Capricho No.24 De Paganini String Quartet. We hear fragments
latter
In the field of light music are two examples of interest are both British composers:
Philip Lane [1950] Diversions On A Theme Of Paganini VIII. Let's hear
Epilogue
And the famous musical composer Andrew Lloyd Webber [1948] Variations [1990] for orchestra, cello and rock band, from which a version for solo cello [2001] Let's hear
theme and variations 1-4 in the orchestral version
use in cinema has been a common theme in dozens Dies irae movie appears in one form or another, here are two examples
Ennio Morricone [1928] the well-known composer for film scores widely used in the film Escalation issue, a comedy with little success. Let's hear
The American composer Wendy Carlos [1939] wrote the score for Stanley Kubrick's film 'aclock Orange' [1971], but what interests us is that he wrote using electronic instrument for the excellent film terror 'The Shining' [1980]. Let's hear
jazz musicians have also been attracted by the Dies Irae, hear three examples:
The violinist Eddie South [1904-1962] in Paganini In Rhythm
pianist Dick Wellstood
Al [1927-1987] in Paganini's Thing [recorded live]
And German clarinetist Sabine Meyer [1959] on 24
violinist-songwriter Kelly Hall-Tompkins wrote 10 variations each in a different jazz style 'Ethnic Variation On a Theme of Paganini'. Let us hear the V
Swing-blue
In popular music there are many examples, listen to some:
Group 'Spartak Bourangoulov' in Dies Irae
The group 'Venus Gang' in Dies Irae
Joe Stump, guitarist and composer Paganini's Revenge [excerpts]
And let the end the excellent group German 'Dectera Lugh' that includes elements of jazz, rock, pop, folk, metal, and uses medieval instruments
We hear of 'Dectera Lugh' Dies irae
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