DOCSLIB.ORG

Brilliant Brass! Power-Packed Percussion! Sensational Strings!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brilliant Brass! Power-Packed Percussion! Sensational Strings! TABLE OF CONTENTS Romeo and Juliet Fun & Games .......................6 Grades 6-8. 2 Fan Mail ...........................7 Meet the Awesome Orchestra! Youth Orchestra ....................8 Grades 3-5. 3 Children’s Chorus ...................8 See the Sounds. 4 Youth Chorus. .8 Conductor of the Orchestra ............5 Family Concerts ....................8 2018-19 Season Guide for Young Concert-goers Sensational Strings! Brilliant Historians think the first string instrument was developed from the Brass! caveman’s hunting bow and developed Brass instruments over time into early members of the have been around since ancient times. Horns string family including the zither, have been pictured on the walls of primitive lyre, dulcimer, and lute. Stringed dwellings and Egyptian tombs, and described instruments used today have on crumbling scrolls and clay tablets. They have changed little since the 1600s; been made of bone, cane, an animal’s horn, and (in fact, some violinists play metal. Brass instruments have played important instruments that were made roles throughout history from communicating way back then!). Members of messages over long distances, to announcing the the orchestral string family arrival of dignitaries and royalty, to war, hunting, include (from highest to and celebrations. The members of the brass family lowest) violin, viola, are (from highest to lowest) trumpet, French horn, cello, and double bass. trombone, and tuba. The harp is also a How brass instruments work: A player puts her member of the lips together and buzzes air through them into On December 11, 2018, string family. the metal mouthpiece. This starts the air vibrating The Cleveland Orchestra How string instruments work: Vibration of the through the hollow metal tube, which comes out of will be 100 years old! strings is the key to making sound. Plucking a the “bell” at the far end of the tubing, magnifying We’ve come a long way since string with your finger or pulling a bow across its sound! You play different notes on a brass those early days when the the string will start the string vibrating. The instrument by tightening and loosening your lips and by pressing down valves (or in the case of the orchestra was founded by bow is made of wood and horse hair. You trombone, by moving the slide in and out!). Adella Prentiss Hughes – yes, change pitch by playing a different string or by The Cleveland Orchestra placing your finger on a string to make it shorter (shorter=higher in pitch). was founded by a woman in Power-Packed Percussion! 1918! Today, The Cleveland The percussion family includes all of the Orchestra is considered one of instruments that are ‘struck’ in some way. We the top orchestras in the world. Wondrous Woodwinds! The first woodwind instruments may have no official records of when humans first used percussion instruments, but from ancient times, Our Orchestra is made up of have been made by blowing through an drums have been used for tribal dances and for approximately 100 musicians old animal bone! Flutes made of bone and decorated wood are found in the communications of all kinds. Today, there are more each of whom triumphed in instruments in the percussion family than in any very competitive auditions to history of many cultures. At first the holes were open and needed to be other. They can be grouped into two types: first, win a position in The Cleveland covered by fingers to change pitch. Later, those instruments that make one pitch (snare drum, Orchestra. They have mastered inventors put metal keys on woodwind bass drum, cymbals, tambourine, wood block, their instruments over many instruments that could cover more than gong, maracas, and castanets); and second, those years (some starting as early one hole at a time, making it possible to that can play different pitches, even a melody. as age 3!) through private play higher, lower, and faster. There are These include the kettle drums, the xylophone, lessons, group lessons, school three groups of woodwind instruments: the orchestra bells, the celesta, and the piano. ensembles, summer-long (1) those where you blow across an open How percussion instruments work: There are music programs, college hole (flute and piccolo); (2) those with a several ways to get a percussion instrument to level/conservatory study, and single wooden reed on the mouthpiece start vibrating. You can strike some percussion especially through countless (clarinet, bass clarinet, saxophone); and instruments with a stick or mallet (snare drum, hours of daily, individual (3) those that use two small wooden bass drum, kettle drum, triangle, xylophone); or reeds tied together in a specific way practice. All of our musicians with your hand (tambourine). Other percussion (oboe, English horn, bassoon, and instruments are shaken (maracas, tambourine) or are passionate about music, contrabassoon). and about their instruments. scraped (guiro) or crashed together (cymbals)! How woodwind instruments work: The air inside Chimes are struck with a hammer, and the piano Do you have a passion hollow woodwind instruments must vibrate to makes its sound when for music? Do you play an make musical sounds. For a flute and piccolo, you the keys are played, instrument or are you curious blow across (not into!) the hole in the mouthpiece, activating tiny to try one? Check out the like blowing across the top of a Coke bottle (glass hammers inside the families of instruments below, bottles makes better sounds than plastic ones). For piano that learn how different instruments woodwinds with wooden reeds, the reeds begin to vibrate when you put them in your mouth, set your strike strings make sound, and think about and create the ways you would like to mouth just right, and blow. You change pitch by tightening or loosening your lips and by pressing vibrations that make music! down different combinations of keys. produce sound. “For never was a story of more woe/ Than this of Juliet and her Romeo” Romeo and Juliet, Act 5, Scene 3, Lines 308-309 This concert program combines drama (actors) and music (orchestra!) to tell the story of William Shakespeare’s famous work, Romeo and Juliet. The play features the feuding Montagues and Capulets, and the tragic love story of teenagers Romeo and Juliet. Many composers have been inspired to create musical and theatrical works based on Romeo and Juliet. October 9-11, 2018 About the Composers The Cleveland Orchestra On this concert you will be introduced to two About the Music musical interpretations of Romeo and Juliet, one by The music you will hear on this concert from Education Concerts Russian Composer Sergei Prokofiev, and the other by American composer Leonard Bernstein. Leonard Bernstein and Sergei Prokofiev tells for Grades 6-8 the story, without words, of Romeo and Juliet... Prokofiev was commissioned by Russia’s famous Kirov Vinay Parameswaran, conductor Bernstein’s ‘Prologue’ from West Side Story, Ballet to set this tragic love story to music. His ballet introduces the storyline on our concert. In West Severance Hall was initially rejected when he tried to write a happy Side story, Shakespeare’s “Montagues” and ending to the piece! Prokofiev’s music does depict “Capulets” are portrayed by two rival gangs – both the love story and its tragic ending, and reflects The Sharks and The Jets. And Shakespeare’s Bernstein Prologue on the feelings of the older and younger generations. Romeo and Juliet are depicted by the main Leonard Bernstein’s musical interpretation of the Prokofiev Young Juliet characters Tony and Maria. Similar to the feud Romeo and Juliet tale is set in 1950s New York City. between the Montagues and the Capulets, the The main characters, Tony and Maria, (a modern-day Prokofiev Montagues and Capulets love interests’ gangs are on opposite sides. Romeo and Juliet) quickly fall in love, but their friends Bernstein Cha-Cha/ Meeting Scene and families belong to two rival feuding gangs – the Prokofiev’s ‘Young Juliet’ introduces the Prokofiev Romeo and Juliet Jets and the Sharks (Montagues and Capulets). It audience to Juliet Capulet. In this piece, is a both a beautiful love story and a gritty, heart- the music describes Juliet being dressed in Prokofiev Death of Tybalt wrenching portrayal of what happens when people let her finest gown, and when she sees herself Bernstein Rumble the differences among them give way to hate. in the mirror she realizes she has become a Bernstein Somewhere very pretty young woman. LEONARD BERNSTEIN (1918-1990) was born in Massachusetts, and died Prokofiev’s Montagues and Capulets, in in 1990, in New York. His parents which the music shifts to the sounds of emigrated from Russia, and made turmoil, describes the feud and strife between a living selling beauty products. His the families of the Montagues and Capulets. About Romeo & Juliet family was able to afford a piano Teenagers Romeo and Juliet first meet at when Bernstein was 10, who insisted Bernstein’s ‘Cha-Cha/Meeting Scene’ music a masked ball (guests wear elegant masks on taking piano lessons over the expresses the romance blossoming between to hide their identities) and instantly fall in objections of his father. By age 13 he Tony (the Romeo character) and Maria (the love. Romeo is the son of Lord Montague, played piano in a jazz group, and then went to Harvard at Juliet character) in West Side Story. This fun and Juliet is the daughter of Lord Capulet. 17 to study composition. When a well-known orchestra Latin piece of music allows the audience to The bad news is that the Montagues and conductor on a live radio program suddenly became hear and imagine the characters captivated the Capulets have been feuding for years. ill, Bernstein filled in for him and became famous with each other as they dance together for Because of the ongoing feud between their overnight.
Load more

Recommended publications
  • Sergei Prokofiev Russia Modern Era Composer (1891-1953)
    Hey Kids, Meet Sergei Prokofiev Russia Modern Era Composer (1891-1953) Sergei Prokofiev was born in Russia on April 27, 1891. He began studying the piano with his mother at the age of three. By the age of five Sergei was displaying unusual musical abilities. His first composition, written down by his mother, was called Indian Gallop. By the age of nine he had written his first opera, The Giant. At the age of thirteen Sergei entered the St. Petersburg Conservatory having already produced a whole portfolio of compositions. While at the conservatory he studied with Russian composer Nikolai Rimsky-Korsakov. Later in his life, Prokofiev was said to have regretted not having taken full advantage of this opportunity. The music that Prokofiev composed was new and different. He brought to the concert hall strange new harmonies, dynamic rhythms and lots of humor. When the Russian Revolution broke out, Prokofiev traveled to America. He hoped he would be able to compose in peace. American audiences, however, were not ready for his new sounds so he moved to Paris. In Paris, Prokofiev found greater success where his operas and ballets were well liked. Prokofiev returned to Russia in 1932 spending the last 19 years of his life in his home country. During this time, he produced some of his finest works including Peter and the Wolf for chamber orchestra and narrator, and the score for his ballet Romeo and Juliet which contained some of his most inspired music. Sergei Prokofiev died on March 5, 1953 as one of the most admired composers of the twentieth century.
    [Show full text]
  • 2018 Petroushka Ball Journal
    2018 ROSSINI SEMIRAMIDE METROPOLITAN OPERA METROPOLITAN / PHOTO: MARTY SOHL ON STAGE FEB 19 – MAR 17 High-flying soprano Angela Meade takes on the virtuosic title role in Rossini’s masterpiece of dazzling vocal fireworks. The all-star cast also features Ildar Abdrazakov, Elizabeth DeShong, and Javier Camarena. Maurizio Benini conducts. Tickets start at $25 metopera.org 212.362.6000 TheThe 44th53rd Annual Annual PetroushkaPetroushka Ball Ball FebruaryFebruary 13,9th, 20092018 •• Waldorf=AstoriaThe Plaza Hotel •• NewNew YorkYork CityCity To Benefit thethe RussianRussian Children’s Children’s Welfare Welfare Society Society Dear Guests, It is with great pleasure that I welcome you to the 53rd Petroushka Ball The Russian Children’s Welfare Society’s mission is to help the thousands of disadvantaged children of Russia. The Society was founded in 1926 and, during the past 92 years, has undergone a number of permutations which were the result of the many political and social shifts over the 20th Century. Originally, the Society exclusively helped children of Russian decent outside of Russia who were victims of the Russian Revolution and World Wars I & II. Eventually Europe, followed by South America, became self-sufficient and the Society refocused its efforts on helping children in Russia after the fall of the Soviet Union. For the past two decades, the Society has devoted all of its aid to Russia. The Society’s primary activities include: pediatric maxillofacial surgery in partnership with the Russian Aid Foundation; a successful college scholarship program currently supporting 157 students; assisting vetted orphanages; and hosting an an- nual Christmas “Yelka” party where over 1,000 orphans from across Russia celebrate an unforgettable day in Moscow.
    [Show full text]
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]
  • 2015 Contest Results
    District 3 History Day 2015 Contest Results Western Reserve Historical Society Case Western Reserve University Paper – Junior Division First Themistocles (524 B.C. – 459 B.C.): A View Into the Underdog Leader Who Saved Place: Democracy Roberto Demarchi Beachwood Middle School – Maria Marsilli Second Nikola Tesla — Inventor of the Alternating Current Motor Place: Rishav Roy Birchwood School -- Connie Miller Third The New Era for Woman: Opha Mae Johnson Place: Breanna Trent Shiloh Middle School -- Megan O'Hara Paper – Senior Division First Minnie Vautrin: The Heroic Goddess of Nanking Place: Felicia Escandon Lutheran West High School – Dave Ressler Second Reagan and Gorbachev -- The Legacy of the End of the Cold War Place: Jim Fitzgibbon Rocky River High School – Frank O’Grady Third Mary Church Terrell Place: Lucy Cipinko Oberlin High School – Donna Shurr Website – Junior Individual Division First John D. Rockefeller : Industrial & Philanthropic Leader Place: J. Victor Pan Birchwood School – Connie Miller Second Florence Nightingale : A Legacy of Innovative Medical Care Place: Farah Sayed Birchwood School – Connie Miller Third Lewis Hine : Taking the Lead to Expose the Dangers of Child Labor Place: Zuha Jaffar Birchwood School – Connie Miller Website – Senior Individual Division First Rabbi Arthur J. Lelyveld : "A Man Obsessed with Peace" Place: Jeremy Gimbel Shaker Heights High School – Tim Mitchell Second Why We Live Apart : Institutionalized Segregation in the 20th Century Place: Joe Berusch Shaker Heights High School – Tim Mitchell Third Signs of the Times: Manualism Versus Oralism in Deaf Education Place: Nadia Degeorgia Shaker Heights High School – Tim Mitchell Website – Junior Group Division First The House That George Built Place: Ryan Stimson, Matteo Giovanetti, Marc Giovanetti Saint Barnabas School – Judith Darus Second More Than Just the Bomb : J.
    [Show full text]
  • Sergey Prokofiev
    A PORTRAIT Sergey Prokofiev 1891–1953 Preface Modish confidence and malignant conformity – two extremes that reflect the mores of western liberalism on the one hand and Soviet totalitarianism on the other – are the contradictory social and political poles that shaped the artistic and personal world of Prokofiev. While enjoying the former, and enduring the latter, he displayed an outstandingly original and fertile creativity that places him among the most distinctive and attractive musical voices of the twentieth century. Both his popularity and his status as one of the great composers of recent times are assured, for his music is devoid of intellectual posturing. Rarely does he sacrifice rigorous authenticity for artifice, or exchange well-wrought organic structure for glamour and superficiality. Prokofiev’s orchestral sonorities can be percussively steely and ironic one minute and poignantly romantic and witty the next, but they are always governed by a personal sincerity and fundamental musical honesty. The twentieth century witnessed many trends in music, some of which were self- conscious and indulgent, while others were simply blind alleys. Prokofiev, however, remained largely unaffected by strict artistic creeds (whether self-imposed or compulsorily enforced), and managed to maintain a distinctly independent musical voice that listeners continue to find refreshing. Sergey Prokofiev: A Portrait Contents Page Track List 6 Sergey Prokofiev: A Portrait – by Gregory Hart 10 I: A Provincial Boyhood 12 II: In the Imperial Capital 16 III: Artistic Freedom, War and Revolution 24 IV: An American Interlude 32 V: Paris and Marriage 36 VI: A Russian Interlude 45 VII: Paris Again 50 VIII: Paris or Moscow? 61 IX: Back to Moscow 68 X: Great Patriotic War 77 XI: Post-war Optimism 85 XII: Official Condemnation and Late Flowering 91 Credits 104 5 Sergey Prokofiev: A Portrait Track List CD 1 1 Dreams, Op.
    [Show full text]
  • Behind the Scenes of the Fiery Angel: Prokofiev's Character
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ASU Digital Repository Behind the Scenes of The Fiery Angel: Prokofiev's Character Reflected in the Opera by Vanja Nikolovski A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2018 by the Graduate Supervisory Committee: Brian DeMaris, Chair Jason Caslor James DeMars Dale Dreyfoos ARIZONA STATE UNIVERSITY May 2018 ABSTRACT It wasn’t long after the Chicago Opera Company postponed staging The Love for Three Oranges in December of 1919 that Prokofiev decided to create The Fiery Angel. In November of the same year he was reading Valery Bryusov’s novel, “The Fiery Angel.” At the same time he was establishing a closer relationship with his future wife, Lina Codina. For various reasons the composition of The Fiery Angel endured over many years. In April of 1920 at the Metropolitan Opera, none of his three operas - The Gambler, The Love for Three Oranges, and The Fiery Angel - were accepted for staging. He received no additional support from his colleagues Sergi Diaghilev, Igor Stravinsky, Vladimir Mayakovsky, and Pierre Souvchinsky, who did not care for the subject of Bryusov’s plot. Despite his unsuccessful attempts to have the work premiered, he continued working and moved from the U.S. to Europe, where he continued to compose, finishing the first edition of The Fiery Angel. He married Lina Codina in 1923. Several years later, while posing for portrait artist Anna Ostroumova-Lebedeva, the composer learned about the mysteries of a love triangle between Bryusov, Andrey Bely and Nina Petrovskaya.
    [Show full text]
  • Sergei Prokofiev
    Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.
    [Show full text]
  • Heritage of Books on Cleveland
    A L....--_----' Heritage of Books on Cleveland Cleveland Heritage Program A HERITAGE OF BOOKS: A Selected Bibliography of Books and Related Materials on Cleveland to be found at the Cleveland Public Library by Matthew F. Browarek CLEVELAND PUBLIC LIBRARY 1984 Cover photograph: Hiram House Station C 1920 Archives. Cleveland Public Library PREFACE The Cleveland Heritage Program was born out of the conviction that the city of Cleve­ land possesses unique qualities worth capturing in pictures and words. In designing the program, Professor Thomas Campbell of Cleveland State University and I were prompted less by a desire to evoke nostalgia than to retrieve fugitive material for the benefit of scholars whose work will help us to understand how and why our city is what it is. If the uses of history are to serve the present generation, then the Cleveland Heritage Program has done its work well. Funded primarily by a grant from the National Endowment for the Humanities, the program was carried on over a two-year period from 1981 to 1983. Important supple­ mentary grants were made by the Cleveland Foundation, the George Gund Foundation and Nathan L. Dauby Fund. Also, the Cleveland Heritage Program greatly benefited from the cooperation of the following institutions: the Cleveland Public Schools, the Catholic Diocese of Cleveland, the Greater Cleveland Growth Association, the Western Reserve Historical Society, Cuyahoga Community College, WVIZ-TV and the College of Urban Affairs of Cleveland State University. Under Professor Campbell and his many able assistants, diligent research recovered valuable artifacts, photographs and oral histories relating to several of Cleveland's neigh­ borhoods.
    [Show full text]
  • The Cleveland Orchestra
    THE MUSICAL ARTS ASSOCIATION Operating THE CLEVELAND ORCHESTRA Frank E. Joseph, President Carl N. Osborne.................................................................. Vice President William A. McAfee.............................................................. Vice President Edgar A. Hahn...................................................................... Vice President Alfred M. Rankin.................................................................. Vice President Alan S. Geismer..............................................................................Secretary Burton A. Miller......................................................................Treasurer Walter K. Bailey* Frank K. Griesinger R. Henry "Norweb, Jr. Alfred A. Benesch Edgar A. Hahn* Carl N. Osborne* Mrs. George P. Bickford Newman T. Halvorson Thomas F. Patton* Mrs. Dudley S. Blossom Miss Dorothy Humel Alfred M. Rankin* Kenyon C. Bolton Mrs. Gilbert W. Humphrey* Alexander C. Robinson, III Mrs. Percy W. Brown Jay Iglauer H. Chapman Rose Howard F. Burns James D. Ireland Henry E. Russell Frederick C. Crawford Frank E. Joseph* Ralph S. Schmitt Henry S. Curtiss Mrs. John S. Lucas Kurt L. Seelbach* Leroy B. Davenport Ernest Manring Arthur W. Steudel Walter L. Davis William A. McAfee* Dr. Robert S. Stockton Howard Dingle Charles B. Merrill Vernon B. Stouffer Royal Firman, Jr. Burton A. Miller* Mrs. William C. Treuhaft* Ellwood H. Fisher W. A. C. Miller, III Dr. Paul J. Vignos, Jr.* Edward W. Garfield John S. Millis Hon. Carl V. Weygandt Alan S. Geismer* John P. Murphy Mrs. Fred R. White Robert Hays Gries Mrs. Richard P. Nash* Lewis B. Williams Ex Officio: Mrs. Webb Chamberlain*, President of Women's Committee * Member of Executive Committee PAST PRESIDENTS D. Z. Norton 1919-1921 Thomas L. Sidlo 1939-1953 John L. Severance 1921-1936' Percy W. Brown 1953-1955 Dudley S. Blossom 1936-1939 Frank E. Taplin 1955-1957 A. Beverly Barksdale, Manager George P. Carmer, Assistant Manager and Comptroller Lauren W.
    [Show full text]
  • Prokofiev, Sergey (Sergeyevich)
    Prokofiev, Sergey (Sergeyevich) (b Sontsovka, Bakhmutsk region, Yekaterinoslav district, Ukraine, 11/23 April 1891; d Moscow, 5 March 1953). Russian composer and pianist. He began his career as a composer while still a student, and so had a deep investment in Russian Romantic traditions – even if he was pushing those traditions to a point of exacerbation and caricature – before he began to encounter, and contribute to, various kinds of modernism in the second decade of the new century. Like many artists, he left his country directly after the October Revolution; he was the only composer to return, nearly 20 years later. His inner traditionalism, coupled with the neo-classicism he had helped invent, now made it possible for him to play a leading role in Soviet culture, to whose demands for political engagement, utility and simplicity he responded with prodigious creative energy. In his last years, however, official encouragement turned into persecution, and his musical voice understandably faltered. 1. Russia, 1891–1918. 2. USA, 1918–22. 3. Europe, 1922–36. 4. The USSR, 1936–53. WORKS BIBLIOGRAPHY DOROTHEA REDEPENNING © Oxford University Press 2005 How to cite Grove Music Online 1. Russia, 1891–1918. (i) Childhood and early works. (ii) Conservatory studies and first public appearances. (iii) The path to emigration. © Oxford University Press 2005 How to cite Grove Music Online Prokofiev, Sergey, §1: Russia: 1891–1918 (i) Childhood and early works. Prokofiev grew up in comfortable circumstances. His father Sergey Alekseyevich Prokofiev was an agronomist and managed the estate of Sontsovka, where he had gone to live in 1878 with his wife Mariya Zitkova, a well-educated woman with a feeling for the arts.
    [Show full text]
  • The Gamut Looks at Cleveland, Special Edition, 1986
    Cleveland State University EngagedScholarship@CSU The Gamut Archives Publications 1986 The Gamut Looks at Cleveland, Special Edition, 1986 Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/gamut_archives Part of the Arts and Humanities Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cleveland State University, "The Gamut Looks at Cleveland, Special Edition, 1986" (1986). The Gamut Archives. 37. https://engagedscholarship.csuohio.edu/gamut_archives/37 This Book is brought to you for free and open access by the Publications at EngagedScholarship@CSU. It has been accepted for inclusion in The Gamut Archives by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. Copyright ©1986 by Cleveland State University. All rights reserved. Printed in U.S.A. At The Gamut we pride ourselves on our limitless scope. We like to say that we specialize in being general, that the variety of our articles is endless, on subjects as esoteric as the dying languages of Mayan Indians and as down-to-earth as forecasting the weather, as serious as a new definition of death and as whimsical as a history of dogs in church. But there is one area in which we do specialize - we are a regional journal, and in particular, a Cleveland journal. We have allowed ourselves to be partial to articles about the city by Cleveland writers, and those writers have not let us down. This collection gathers together, for the first time, some of our favorite articles on Cleveland from The Gamut's first six years.
    [Show full text]
  • The Nineteenth-Century Russian Operatic Roots of Prokofyev’S
    THE NINETEENTH-CENTURY RUSSIAN OPERATIC ROOTS OF PROKOFYEV’S WAR AND PEACE by TERRY LYNN DEAN, JR. (Under the Direction of David Edwin Haas) ABSTRACT More than fifty years after Prokofyev’s death, War and Peace remains a misunderstood composition. While there are many reasons why the opera remains misunderstood, the primary reason for this is the opera’s genesis in Stalinist Russia and his obligation to uphold the “life-affirming” principles of the pro-Soviet aesthetic, Socialist Realism, by drawing inspiration from the rich heritage “Russian classical” opera—specifically the works of Glinka, Chaikovsky, and Musorgsky. The primary intent of this dissertation is to provide new perspectives on War and Peace by examining the relationship between the opera and the nineteenth-century Russian opera tradition. By exploring such a relationship, one can more clearly understand how nineteenth-century Russian operas had a formative effect on Prokofyev’s opera aesthetic. An analysis of the impact of the Russian operatic tradition on War and Peace will also provide insights into the ways in which Prokofyev responded to official Soviet demands to uphold the canon of nineteenth-century Russian opera as models for contemporary composition and to implement aspects of 19th-century compositional practice into 20th-century compositions. Drawing upon the critical theories of Soviet musicologist Boris Asafyev, this study demonstrates that while Prokofyev maintained his distinct compositional voice, he successfully aligned his work with the nineteenth-century tradition. Moreover, the study suggests that Prokofyev’s solution to rendering Tolstoy’s novel as an opera required him to utilize a variety of traits characteristic of the nineteenth-century Russian opera tradition, resulting in a work that is both eclectic in musical style and dramaturgically effective.
    [Show full text]