List of twelve-tone pieces
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It has been suggested that this article or section be merged with List of pieces which use serialism. (Discuss) |
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| Neoclassical (see Neoclassicism) |
| Modernistic (see Modernism) |
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| Dadaistic (see Dada) |
| Impressionistic (see Impressionist music) |
| Jazz (see Jazz) |
| Minimalistic (see Minimalist music) |
| Nationalistic (see Nationalism) |
| Populistic (see Populism) |
| Postminimalistic (see Postminimalism) |
| Surrealist (see Surrealist music) |
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| Atonal (see Atonality) |
| Twelve-tone (see Twelve-tone technique) |
| List of pieces which use serialism (see Serialism) |
| Extended techniques (see Extended technique) |
| Pandiatonic (see Pandiatonic) |
| Polytonal (see Polytonality) |
| Process music (see Process music) |
| Quartal (see Quartal harmony) |
| Quarter tone (see Quarter tone) |
| Whole tone (see Whole tone scale) |
| Phase (see Phasing) |
| Quotation (see Quotation) |
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This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2007) |
- Second Viennese School
- Waltz from 5 Klavierstücke, Op. 23
- Serenade, Op. 24
- Suite for Piano, Op. 25
- Wind Quintet, Op. 26
- Suite for piano, piccolo clarinet, clarinet, bass clarinet, violin, viola, and cello, Op. 29
- String Quartet No. 3, Op. 30
- Variations for Orchestra, Op. 31
- Von heute auf morgen, Op. 32
- Klavierstück, Op. 33a
- Klavierstück, Op. 33b
- Moses und Aron (incomplete)
- Begleitungsmusik zu einer Lichtspielscene (Drohende Gefahr, Angst, Katastrophe), Op. 34
- Concerto for Violin and Orchestra, Op. 36
- String Quartet No. 4, Op. 37
- Concerto for Piano & Orchestra, Op. 42
- String Trio, Op. 45
- A Survivor from Warsaw, Op. 46
- Fantasy for Violin & Piano, Op. 47
- "Sehr langsam" and "Rasch, aber leicht", from Op. 19
- Three Lieder, for voice, E flat clarinet and guitar, opus 18 (1925)
- Two Lieder, for mixed choir, celesta, guitar, violin, clarinet and bass clarinet, opus 19 (1926)
- String Trio, opus 20 (1927)
- Symphony, opus 21 (1928)
- Quartet for violin, clarinet, tenor saxophone and piano, opus 22 (1930)
- Three Songs on Hildegard Jone's Viae inviae, for voice and piano, opus 23 (1934)
- Concerto for flute, oboe, clarinet, horn, trumpet, violin, viola and piano, opus 24 (1934)
- Three Lieder on texts by Hildegard Jone, for voice and piano, opus 25 (1934-35)
- Das Augenlicht, for mixed choir and orchestra, on a text by Hildegard Jone, opus 26 (1935)
- Variations, for solo piano, opus 27 (1936)
- String Quartet, opus 28 (1937-38) - the tone row of this piece is based around the BACH motif
- Cantata No. 1, for soprano, mixed choir and orchestra, opus 29 (1938-39)
- Variations, for orchestra, opus 30 (1940)
- Cantata No. 2, for soprano, bass, choir and orchestra, opus 31 (1941-43)
- Igor Stravinsky, works from 1952 forward:[1]
- 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)
- Milton Babbitt
- Virtually all published works after 1947
- Luigi Dallapiccola
- Virtually all published works after 1942
- Roger Sessions
- Virtually all published works after 1953
- Benjamin Frankel
- Film score for The Prisoner (1955, starring Alec Guinness)[2]
- Film score for The Curse of the Werewolf (1961)[3]
- Charles Wuorinen
- Most mature works
- Sculptured
- "Apollo Ends" (1999)
- David Shire
- Film Score for The Taking of Pelham One Two Three 1974
- Greg Ginn
[edit] References
- ^ 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.
- ^ Dimitri Kennaway, notes for recording, Naxos 8.557850, "his [Frankel's] first published experimentation with serial technique[citation needed].
- ^ 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."
