Jan 4, 2002 21:19
22 yrs ago
English term
Jon Zuber (X)
Jon Zuber (X)
Nothing lost.
Works in: Spanish to English, Catalan to English
View
motto instrument
English
Art/Literary
Music
music
Viola d'amore
A kind of viola popular during the late 17th and 18th centuries. It is the size of a viola but with many of a viol's characteristics, includin a flat back, sloping shoulders and a carved head. There are usually 14 strings, seven bowed (normal tuning A-d-a-d'-f#'-a'-d'') and the rest sympathetic, tuned to the same notes. Its sound is particularly soft and sweet and it has been used, especially in music of highly emotional content, by many composers, notably by J.S. Bach, in cantatas and the St. John Passion, Telemann in his 1716 Passion Der sterbende Jesus, Charpentier in Louis and Janacek, who used it as a **motto instrument** for the eponymous heroine in Katya Kabanove (1921).
A kind of viola popular during the late 17th and 18th centuries. It is the size of a viola but with many of a viol's characteristics, includin a flat back, sloping shoulders and a carved head. There are usually 14 strings, seven bowed (normal tuning A-d-a-d'-f#'-a'-d'') and the rest sympathetic, tuned to the same notes. Its sound is particularly soft and sweet and it has been used, especially in music of highly emotional content, by many composers, notably by J.S. Bach, in cantatas and the St. John Passion, Telemann in his 1716 Passion Der sterbende Jesus, Charpentier in Louis and Janacek, who used it as a **motto instrument** for the eponymous heroine in Katya Kabanove (1921).
Responses
| 4 | symbolic instrument |
Mary Smith (X)
|
| 5 | leitmotif instrument |
Sven Petersson
|
| 4 | motto instrument |
Maya Jurt
|
| 1 | see explanation |
Hazel Whiteley
|
Responses
59 mins
Selected
symbolic instrument
con el que pretendía representar a Katia.
Muy por encima de los demás destaca el papel de la protagonista, Katerina (Kát’a), mucho más difícil en lo que respecta a la definición del carácter que en los condicionamientos de tipo técnico o tesitural. Janácek, al referirse a él, decía: «El personaje principal es una mujer de índole tan dulce que podría llevársela un soplo de brisa, y no ya la tempestad que se abate sobre ella».
Muy por encima de los demás destaca el papel de la protagonista, Katerina (Kát’a), mucho más difícil en lo que respecta a la definición del carácter que en los condicionamientos de tipo técnico o tesitural. Janácek, al referirse a él, decía: «El personaje principal es una mujer de índole tan dulce que podría llevársela un soplo de brisa, y no ya la tempestad que se abate sobre ella».
3 KudoZ points awarded for this answer.
Comment: "Gracias, Susana."
13 mins
see explanation
I don't know what motto instrument is but I thought that the definition (in a musical context) from the OED might inspire you:
motto: a recurrent phrase having some symbolical significance.
I think maybe the sound of the viola (sweet, etc) represents the woman and that therefore the viola is her motto instrument.
Just an idea though!
motto: a recurrent phrase having some symbolical significance.
I think maybe the sound of the viola (sweet, etc) represents the woman and that therefore the viola is her motto instrument.
Just an idea though!
Reference:
15 mins
Sven Petersson
Sweden
Sweden
Native in English
&
English
Sweden
Medical Translator
Native in: Swedish 
, English
Works in: English to Swedish, Danish to Swedish, German to Swedish, and 13 more.
leitmotif instrument
Implicit in answer.
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Note added at 2002-01-04 21:48:46 (GMT)
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From The New Penguin English Dictionary: leitmotiv or leitmotif noun 1 a musical phrase that signals an idea, or situation, esp. in operas of Wagner. .......
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Note added at 2002-01-04 21:48:46 (GMT)
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From The New Penguin English Dictionary: leitmotiv or leitmotif noun 1 a musical phrase that signals an idea, or situation, esp. in operas of Wagner. .......
Reference:
50 mins
motto instrument
Motto is Italien and means jest or joke, or motto (watchword) or device.
It is a wellknown term in music.
See link below:
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Note added at 2002-01-04 22:10:57 (GMT)
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All eight concertos feature the three-movement layout (fast-slow-fast) that Albinoni did so much to popularize in his earliest published concertos, Op. 2 (1700) and Op. 5 (1707). The outer movements employ a curious hybrid form that in part follows the pattern of Albinoni\'s string concertos (where the same \"motto\" theme introduces each musical section) but also borrows from the \"da capo\" aria. Albinoni regularly makes the oboe enter with its own \"motto\" phrase. The first time, this idea is cut short by the strings; the second time, the oboe is allowed to extend the idea to the end of the section. This opening gambit, for which the German scholar Hugo Riemann coined the term \"Devise\" (the German word for a heraldic \"device\"), is very common in arias written around 1700, although, strangely enough, it was becoming obsolete by the time Albinoni decided to use it in his concertos. Generally speaking, the \"string\" motto and the \"oboe\" motto are thematically related or have a common harmonic structure. Albinoni is a composer for whom repetition (with enough variation to keep tedium at bay) is a more characteristic process than contrast.
It is a wellknown term in music.
See link below:
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Note added at 2002-01-04 22:10:57 (GMT)
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All eight concertos feature the three-movement layout (fast-slow-fast) that Albinoni did so much to popularize in his earliest published concertos, Op. 2 (1700) and Op. 5 (1707). The outer movements employ a curious hybrid form that in part follows the pattern of Albinoni\'s string concertos (where the same \"motto\" theme introduces each musical section) but also borrows from the \"da capo\" aria. Albinoni regularly makes the oboe enter with its own \"motto\" phrase. The first time, this idea is cut short by the strings; the second time, the oboe is allowed to extend the idea to the end of the section. This opening gambit, for which the German scholar Hugo Riemann coined the term \"Devise\" (the German word for a heraldic \"device\"), is very common in arias written around 1700, although, strangely enough, it was becoming obsolete by the time Albinoni decided to use it in his concertos. Generally speaking, the \"string\" motto and the \"oboe\" motto are thematically related or have a common harmonic structure. Albinoni is a composer for whom repetition (with enough variation to keep tedium at bay) is a more characteristic process than contrast.
Discussion