Johann Nepomuk David: Difference between revisions

Latest revision as of 04:49, 6 November 2014

Synopsis

Austrian composer and teacher

1895 born in Eferding, Upper Austria.
1920-1923 studied composition with Joseph Marx at the Vienna Academy of Music.
1924–34 worked in Wels as a primary school teacher, organist and choirmaster, while continuing his study of composition alone.
1934 appointed to the staff of the Leipzig Hochschule für Musik.
1942 became director of the Leipzig Hochschule für Musik.
1945-1947 director and composition teacher at the Salzburg Mozarteum.
1948–63 professor of composition at the Stuttgart Hochschule für Musik.
1977 died in Stuttgart, Germany.

According to Wikipedia, "His general style changed from the modal tendencies seen in his first two symphonies to the more acerbic though still tonal sound of the later ones." In David's own words, whatever he wrote ‘turned into a fugue’, signifying that counterpoint was always present.

For details, see the Wikipedia article on Johann Nepomuk David.

List of Organ Works

Click to sort by opus number, title, or year of composition or publication
Opus	Title	Year
Op. ??	Fantasia super 'L'homme armé'	1929
Op. ??	Fantasy and Fugue in C major	1935
Op. ??	Title	year
Op. ??	Title	year
Op. ??	Title	year
Op. ??	Title	year
Op. ??	Title	year

Background and General Perspectives on Performing These Organ Works

According to Oxford Music Online,

"David’s music which has survived manifests, in the main, debts...to music that he knew from his childhood and adolescence: Gregorian chant, Josquin, Bach and Bruckner, and also Reger, without whose example David’s extensive organ output would not have been possible."

"there are parallels with middle-period Stravinsky and traces of jazz..."

"linked with his contemporary Hindemith by a love for old forms, a frequent use of German folktunes of the late Middle Ages and Renaissance, and similar extensions to tonal harmony...polyphonic foundation of their art and their emphasis on craftsmanship"

"characteristically 20th-century harmonic materials – an extended tonality, often organized into polytonal layers, and an emphasis on the 4th in chord construction."

Registration and Organs

Replace this text with information on registration and organs that might be applicable to the whole set of pieces

See the footnote in the "Notes" section at the bottom of the page^[1]

Fingering and Pedaling

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Articulation and Phrasing

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Ornamentation

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Tempo and Meter

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Scores and Editions

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Recordings

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Free Online

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Pay to Listen

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Other Resources

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Notes

↑ This footnote was entered in the "Registration and Organs" section

This space is for automatic insertion of footnotes. To enter a footnote from anywhere in the article, start by typing the tag <ref> and then enter the text, and type the tag </ref> to end the footnote. The footnote will then appear in this "Notes" section automatically.

[1] This footnote was entered in the "Registration and Organs" section

[1]

@@ Line 1: / Line 1: @@
 ==Synopsis==
-?Nationality? ?composer, organist, and/or teacher or?
+Austrian composer and teacher
-* ?birth year? born in ?birth city?
+* 1895 born in Eferding, Upper Austria.
-* ?year of event? ?city of event? ?short description of event?
+* 1920-1923 studied composition with Joseph Marx at the Vienna Academy of Music.
-* ?year of event? ?city of event? ?short description of event?
+* 1924–34 worked in Wels as a primary school teacher, organist and choirmaster, while continuing his study of composition alone.
-* ?year of death? died in ?city of death?
+* 1934 appointed to the staff of the Leipzig Hochschule für Musik.
+* 1942 became director of the Leipzig Hochschule für Musik.
+* 1945-1947 director and composition teacher at the Salzburg Mozarteum.
+* 1948–63 professor of composition at the Stuttgart Hochschule für Musik.
+* 1977 died in Stuttgart, Germany.
-For details, see the [http://en.wikipedia.org/wiki/?first_middle_last as listed in Wikipedia article?].
+According to Wikipedia, "His general style changed from the modal tendencies seen in his first two symphonies to the more acerbic though still tonal sound of the later ones." In David's own words, whatever he wrote ‘turned into a fugue’, signifying that counterpoint was always present.
+For details, see the [http://en.wikipedia.org/wiki/Johann_Nepomuk_David Wikipedia article on Johann Nepomuk David].
 ==List of Organ Works==
@@ Line 17: / Line 23: @@
 ! scope="col" | Year
 |-
-| Op. ?? || [[Title]] || year
+| Op. ?? || [[Fantasia super 'L'homme armé']] || 1929
 |-
-| Op. ?? || [[Title]] || year
+| Op. ?? || [[Fantasy and Fugue in C major]] || 1935
 |-
 | Op. ?? || [[Title]] || year
@@ Line 33: / Line 39: @@
 ==Background and General Perspectives on Performing These Organ Works==
-Replace this text with any general perspectives that do not fit under the categories listed below.  ''(For comments on a specific piece or genre, use the list of pieces above to navigate to that page.)''
+According to Oxford Music Online,
+"David’s music which has survived manifests, in the main, debts...to music that he knew from his childhood and adolescence: Gregorian chant, Josquin, Bach and Bruckner, and also Reger, without whose example David’s extensive organ output would not have been possible."
+"there are parallels with middle-period Stravinsky and traces of jazz..."
+"linked with his contemporary Hindemith by a love for old forms, a frequent use of German folktunes of the late Middle Ages and Renaissance, and similar extensions to tonal harmony...polyphonic foundation of their art and their emphasis on craftsmanship"
+"characteristically 20th-century harmonic materials – an extended tonality, often organized into polytonal layers, and an emphasis on the 4th in chord construction."
 ==Registration and Organs==