Music 1010 Stephanie Aud

 Born July 27, 1877 in Pozsony, Hungary  Father, Fredrick von Dohnányi was a professor of math and physics and a great lover of music.  Mother, Ottilia, was devout, displined.  Dohnányi was encouraged to be creative and imaginative during his childhood. F2: Dohnányi with sister

 Dohnányi expressed interest in music at an early age.  His father, would practice cello while Dohnányi would pay careful attention.  At 3, he could accurately keep time with music.  Out of fear he would become a prodigy, Dohnányi was not taught music until later.

 At 6, Dohnányi began learning piano and was taught by his father.  He learned quickly.  At 7, Dohnányi was composing.  He often read music for fun.  At 8, he began to tutor under local organist.  At 9, he could often be found composing instead of doing his school work.  Attended Royal Academy in Budapest to refine his musical talent.

 June 16, Dohnányi’s Piano Quintet op. 1 made it’s debut.  Became his first published work.  Dohnányi won Bösendorfer Prize for music for Piano Concerto Op. 5  Toured Europe as pianst unitil F3: Dohnányi on tour with some companions.

 offered position on the faculty of Berlin Hochschule in Germany  Taught Piano and composed  During 10 year tenor, he composed 26 pieces.  Returned to Hungary to contribute to music community there.

 Offered position at Franz Liszt Academy of Music in Budapest teaching piano.  Dohnányi continued to perform and compose while teaching.  Became director of the Academy during great political unrest in Hungary.  Forced to flee later that year after many citizens were murdered or imprisoned.  Dohnányi returned to Hungary as soon as he was able  Became Chief Conductor of Budapest Philharmonic Society  Toured all over world. F4: Sketch of Dohnányi conducting the Budapest Philharmonic Society.

 Dohnányi disliked Jazz.  During the rise of Jazz he continued to compose works of a more traditional nature.  He always preferred Mozart, Brahms, and Schuman.  He continued to tour until his health declined  Appointed Musical director of Hungarian State Radio

 Dohnányi returned again to the academy in Budapest as director while still fulfilling duties as musical director of State Radio.  Forced to resign position when he refused to dismiss anyone based on race or religion during the rise of fascism  Once again, Dohnányi was forced to flee his beloved country, however this time for good.

 He relocated first to Argentina then to Tallahassee, Florida.  Began teaching at Florida State University  He continued to conduct, compose and perform amid rumors that marred his reputation that he was a nazi.  Just recently, his reputation is changing.

 Dohnányi was prolific.  From age 7 to death at age 82, he never stopped composing.  Finished last recording February 5 th  Died February, 9 th 1960 from the flu and exhausting due to his dedication to his work.

Dohnányi loved music, when asked if he was in love when he composed he responded, “I was, and I always am in love.” This is the legacy he left for the world.

1907- Dohnányi completed String Quartet No. 2 in D flat Major, Op 15 while working as a professor for the Berlin Hochschule.  During this time he was fulfilling his duties as father, husband, composer, conductor, and performing.  Completed and published 4 pieces (including this one)  This piece was dedicated Dr. Adalbert Linder, his doctor and friend.

Listen here.here  0:00: The piece begins softly with 2 violins, a viola and cello. Gradually the volume increases. Gradually the piece gets loudly and faster until 0:29 when it goes silent  Notice how the instruments pause and resume, slowly and softly and gradually get louder.

 2:00: Here the pace has quickened and slows down slightly at 2:06. At 2:14 the violins play higher notes while the viola and cello contrast and play lower notes. The music is happy.  3:30: Here the viola is prominent. The other instruments play quieter and in the back ground. The viola’s rich sound is soothing here. All instruments go soft again to a pause at 3:29

 4:00: Over the next 10 seconds, the instruments pause, play a note, pause, and play a note until 4:11 when with force and loudly the violins begin the cello playing and pausing behind them. This continues building and climaxing until 5:11.  6:00 Here the dissonance from earlier is repeated but the consonance comes at 6:14. The piece is smooth until 6:23 when the dissonance begins again.

 7:00: Quietly and smoothly the tempo slows to a long pause at 7:10 ending at 7:13 where the tempo quickens the notes get higher.  7:36 Notice how the Cello and the viola play a lower range while the Violins play higher. This contrast continues through 8:28.

 9:00: The music is loud here and tempo faster building up to a dramatic shift in notes at 9:30  9:30: The tempo is building. The volume is increasing. The instruments seem to be arguing creating dissonance.  10:00 The volume is loud and the tempo is fast than before but there is consonance in the harmony of the instruments.

13:00 The notes slow and get soft as the violins play alone. 13:08 the Violins pause, and pluck, pause and pluck repetitively until 13:21 when all instruments play the same note and hold for a dramatic finish.

Bibliography Blair, Johnson. Classical Archives. All Music Guide, Web. 10 Feb < Grymes, James A "The Ernst von Dohnányi Collection at the Florida State University." Notes 55, no. 2: 327. Academic Search Premier, EBSCOhost (accessed February 15, 2012). Wong, Wendy H. W. "THE "IMPERIAL AND ROYAL-COURT SCHUMANN ROBBER":THE UNPUBLISHED PIANO CYCLES OF ERNST VON DOHNÁNYI." Fontes Artis Musicae 57, no. 1 (January 2010): Academic Search Premier, EBSCOhost (accessed February 15, 2012) von Dohnányi, Ilona; Grymes, James A. (Editor). Ernst von Dohnányi : A Song of Life. Bloomington, IN, USA: Indiana University Press, p Listening Guide: von Dohnanyi, Ernst, writ. "Movement III, Molto Adagio." Perf. Audubon Quartet. String Quartet No. 2 in D flat major, Op. 15. Web. 1 Feb