Title: Adams HARMONIELEHRE, Author: ScoresOnDemand, Name: Adams HARMONIELEHRE, Length: pages, Page: 1, Published. John Adams, Edo de Waart, San Francisco Symphony – Adams: Harmonielehre – Music. The home of Classical Music. All information about John Adams at a glance and a click. Videos, Photos, CDs, DVDs, BluRays, Tickets, Tourdaten, Merchandise.

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And finally E-flat wins through its strength, and this moment seems like an epiphany. There are two other catalysts for the composition of Harmonielehre. By using this site, you agree to the Terms of Use and Privacy Policy.

By clicking on an affiliate link, you accept that Skimlinks cookies will be set. Webarchive template wayback links All articles with unsourced statements Articles with unsourced statements from April But in this case, I simply place the keys together, as if in a mixer, and harmonieelhre them battle it out.

Adams has stated that the piece was inspired by a dream he had in which he was driving across the San Francisco—Oakland Bay Bridge and saw an oil tanker on the surface of the water abruptly turn upright and take off like a Saturn V rocket.

More by John Adams

And through all the craft – the artifice, if you will – of his composition, I think he manages it: Compositions by John Coolidge Adams compositions Compositions for symphony orchestra Minimalistic compositions. Percussion4 players timpani 2 marimbas vibraphone bowed and struck xylophone tubular bells crotales bowed and struck glockenspiel 2 suspended cymbals high and low sizzle cymbal small crash cymbals bell tree 2 tamtams 2 actually referred to as “Medium Gong” in the second movement 2 triangles different pitches bass drum Keyboards piano celesta Strings 2 harps string section.

Adams’s reputation as a young composer was founded on the way he had taken the example of Steve Reich and Philip Glass’s as the inspiration for his own resuscitation of tonality, most notably in Shaker Loops and the ecstatic choral writing of Harmonium.

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John Adams // Adams: Harmonielehre

There was another dream, of Adams’s infant daughter careering round the cosmos on the back of a flying medieval theologian, Meister Eckhardt, which inspired the ethereal music that opens the third movement.

Loading comments… Trouble loading? As he says, “in a more traditionally worked-out piece, harmonielehrw would be a modulatory sequence that would present the outcome in a rather dialectical way. It’s the same at the end of the piece, in which Adams stages an epic battle between the work’s main keys. But the atmosphere of the music’s relationship with these earlier traditions is never cool, detached, or harmpnielehre.

Adams’s piece is an attempt to do just that well, in E minor and E flat major…yet as well as its passages that are clear love-songs to symphonic and Wagnerian late-romanticism, his Harmonielehre “Harmony Lesson”, composed in when Adams was in his late 30sis full of surreal dreams and post-minimalist rhythms, glitter, and energy. Achieving that in Harmonielehre meant, for Adams, aping the style and manners of late romantic music, and not just through quasi-quotations.

It’s not even called a symphony, I hear you cry! For a start, it’s cast in three large movements, it includes references and reimaginations of Mahler, Harmoielehre, and Wagner, and for all its diversity of soundworld and musical material, it creates a single musical and dramatic arc in its 40 minutes that is definitively symphonic.

Symphony guide: John Adams’s Harmonielehre | Music | The Guardian

This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. In the context of the West Coast of America in the late s and early 80s, Wagner was as uncool as it got. The links are powered by Skimlinks. Until the dream, Adams was in the throes of writer’s block, a scarring experience that the slow second movement, The Anfortas Harmonielehee, commemorates and transcends: Compositions by John Coolidge Adams.

All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. Well, maybe, but John Adams’s Harmonielehre is, as I will now attempt to argue, one of the most significant and sophisticated commentaries on and embodiments of symphonic thinking of the late 20th century.


From Wikipedia, the free encyclopedia. Views Read Edit View history. Show 25 25 50 All. The next morning, Adams conceived the opening of the piece, the explosive propellant for harmonielfhre own symphonic rocket, which was a commission from the San Francisco Symphony for a large-scale work.

Actually, that’s not quite the right image: Watching this sea-borne behemoth, Adams dreamt that it suddenly took off “like a rocket ship with an enormous force of levitation”.

The composition’s title, German for “study of harmony,” is also the title of several music theory texts, including those written by Arnold AamsHeinrich Schenkerand Hugo Riemannwith Adams explicitly referring to Schoenberg’s. It was desire itself. And just because something isn’t called a “symphony” doesn’t mean it isn’t one! As Adams himself says, “This is a work that harmlnielehre to the past in what I suspect is a ‘postmodernist’ spirit, but … it does so entirely without irony.

Harmonielehre is a orchestral composition by the American composer John Adams. Listen to music like the achingly expressive lyrical theme at the centre of the first movement, which apart from the post-minimalist filigree of some of its orchestral decoration, sounds like a theme culled from Mahler’s or Zemlinsky’s or the romantic Schoenberg’s workshop, circa Adams’s title comes from Schoenberg’s great harmony textbookan essential musical tome that gives you the keys not to a theory of composition-withtones Harrmonielehre serialism adamx other wordsbut to tonal harmonic practice from Palestrina to Bruckner.

It opens with a battering ram of E minor chords.

Adams makes clear ahrmonielehre to the emotionally bleak opening of Sibelius’s 4th Symphony at the start of the movementand its climax is a rewriting of the terrifying chord that screams out in pain in the Adagio of Mahler’s 10th Symphony.