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CHAN 9722 Front.Qxd 25/7/07 3:07 Pm Page 1
CHAN 9722 Front.qxd 25/7/07 3:07 pm Page 1 CHAN 9722 CHANDOS Schnittke (K)ein Sommernachtstraum Cello Concerto No. 2 Alexander Ivashkin cello Russian State Symphony Orchestra Valeri Polyansky CHAN 9722 BOOK.qxd 25/7/07 3:08 pm Page 2 Alfred Schnittke (1934–1998) Cello Concerto No. 2* 42:00 1 I Moderato – 3:20 2 II Allegro 9:34 3 III Lento – 8:26 4 IV Allegretto mino – 4:34 5 V Grave 16:05 6 10:37 Nigel LuckhurstNigel (K)ein Sommernachtstraum (Not) A Midsummer Night’s Dream TT 52:50 Alexander Ivashkin cello* Russian State Symphony Orchestra Valeri Polyansky Alfred Schnittke 3 CHAN 9722 BOOK.qxd 25/7/07 3:08 pm Page 4 us to a point where nothing is single-faced ‘Greeting Rondo’ with elements from the First Alfred Schnittke: Cello Concerto No. 2/(K)ein Sommernachtstraum and everything is doubtful and double-folded. Symphony creeping into it; one can hear all The fourth movement is a new and last the sharp polystylistic shocking contrasts outburst of activity, of confrontation between similar to Schnittke’s First Symphony in The Second Cello Concerto (1990) is one of different phases and changes as if through a hero (the soloist) and a mob (the orchestra). condensed form here. (K)ein Sommernachts- Schnittke’s largest compositions. The musical different ages. The first subject is excessively Again, two typical elements are juxtaposed traum, written just before the composer’s fatal palate of the Concerto is far from simple, and active and turbulent, the second more here with almost cinematographical clarity: illness began to hound him, is one of his last the cello part is fiendishly difficult. -
St John's Smith Square
ST JOHN’S SMITH SQUARE 2015/16 SEASON Discover a musical landmark Patron HRH The Duchess of Cornwall 2015/16 SEASON CONTENTS WELCOME TO ST JOHN’S SMITH SQUARE —— —— 01 Welcome 102 School concerts Whether you’re already a friend, or As renovation begins at Southbank 02 Season Overview 105 Discover more discovering us for the first time, I trust Centre, we welcome residencies from the 02 Orchestral Performance 106 St John’s history you’ll enjoy a rewarding and stimulating Orchestra of the Age of Enlightenment 03 Choral & Vocal Music 108 Join us experience combining inspirational and London Sinfonietta, world-class 03 Opera 109 Subscription packages music, delicious food and good company performers from their International Piano 04 Period Instruments 110 Booking information in the fabulous grandeur of this historic Series and International Chamber Music 05 Regular Series 111 How to find us building – the UK’s only baroque Series, and a mid-summer performance 06 New Music 112 Footstool Restaurant concert venue. from the Philharmonia Orchestra. 07 Young Artists’ Scheme This is our first annual season brochure We’re proud of our reputation for quality 08 Festivals – a season that features more than 250 and friendly service, and welcome the 09 Southbank Centre concerts, numerous world premieres and thoughts of our visitors. So, if you have 10 Listings countless talented musicians. We’re also any comments, please let me know and discussing further exciting projects, so I’ll gladly discuss them with you. please keep an eye on our What’s On I look forward to welcoming you to guides or sign up to our e-newsletter. -
Toccata Classics TOCC 0091 Notes
TOCCATA Alfred CLASSICS SCHNITTKE Discoveries Yellow Sound: stage composition for pantomime, instrumental ensemble, soprano and mixed chorus Dialogue for cello and ensemble Six Preludes for piano Magdalina for mezzo soprano and piano Variations for string quartet Artists include Liora Grodnikaite, mezzo soprano Alexander Ivashkin, cello Oleh Krysa, violin Drosostalitsa Moraiti, piano Bolshoi Soloists’ Ensemble Alexander Lazarev, conductor SCHNITTKE DISCOVERIES by Alexander Ivashkin This CD presents a series of ive works from across Alfred Schnittke’s career – all of them unknown to the wider listening public but nonetheless giving a conspectus of the evolution of his style. Some of the recordings from which this programme has been built were unreleased, others made specially for this CD. Most of the works were performed and recorded from photocopies of the manuscripts held in Schnittke’s family archive in Moscow and in Hamburg and at the Alfred Schnittke Archive in Goldsmiths, University of London. Piano Preludes (1953–54) The Piano Preludes were written during Schnittke’s years at the Moscow Conservatory, 1953–54; before then he had studied piano at the Moscow Music College from 1949 to 1953. An advanced player, he most enjoyed Rachmaninov and Scriabin, although he also learned and played some of Chopin’s Etudes as well as Rachmaninov’s Second and the Grieg Piano Concerto. It was at that time that LPs irst became available in the Soviet Union, and so he was able to listen to recordings of Wagner’s operas and Scriabin’s orchestral music. The piano style in the Preludes is sometimes very orchestral, relecting his interest in the music of these composers. -
Russian Visions
7 3. Andante espressiv RUSSIAN VISIONS RUSSIAN VISIONS 20th-century Music for Cello and Piano 20th-century Music for Cello and Piano SOMMCD 0606 Igor STRAVINSKY (1882-1971) Alfred SCHNITTKE (1934-1998) Dmitri SMIRNOV (b.1948) Bozidar Vukotic cello · Alissa Firsova piano STRAVINSKY Suite Italienne for cello and piano [16:36] bm 3. Largo 3:26 1 1. Introduzione 2:06 bn 4. Allegro 2:00 2 2. Serenata 3:15 bo 5. Lento 1:51 3 3. Aria 4:42 4 4. Tarantella 2:17 SMIRNOV 5 5. Minuetto e Finale 4:13 bp Tiriel, Op. 41c* 9:30 SCHNITTKE SCHNITTKE Sonata No. 1 for cello and piano [18:04] Musica nostalgica for cello and piano 6 1. Largo 3:40 arr. M. Rostropovich 7 2. Presto 5:48 bq In tempo di Menuetto 3:14 8 3. Largo 8:34 Sonata No. 2 (Quasi una Sonata) [14:14] Total duration 61:40 9 1. Senza tempo 2:47 bl 2. Allegro 4:08 *First recording Recorded at the Menuhin Hall on 9 & 10 February 2019 Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor Igor STRAVINSKY · Alfred SCHNITTKE · Dmitri SMIRNOV* Front cover: Le Coq d’Or: Set Design for Act I by Natalia Goncharova (1881-1962). Private collection. Bridgeman Images. *First recording Design: Andrew Giles Booklet Editor: Michael Quinn DDD © & 2020 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Bozidar Vukotic cello · Alissa Firsova piano Made in the EU his programme brings together 20th-century works for cello and piano by Giambattista Pergolesi to perform with the violinist Paul Kochanski. -
Musica Ad Asiago
MUSICA AD ASIAGO ASIAGOFESTIVAL è organizzato dalla Associazione Culturale “Amici della Musica di Asiago” - “Fiorella Benetti Brazzale”, in collaborazione con la Parrocchia di S. Matteo, con il contributo e la collaborazione della Città di Asiago e l’Assessorato Turismo e Cultura. Si ringraziano in modo particolare la Burro delle Alpi - Alpilatte, Gran Moravia, la Bassan Bernardo e Figli, Birra Cimbra e la Rigoni di Asiago per il sostegno concesso, determinante per l’allestimento della stagione, nonchè le altre ditte private che, aiutando la manifestazione, dimostrano sensibilità verso le attività che arrichiscono il soggiorno dei nostri ospiti e le esperienze culturali sull’altopiano. Figure musicanti tratte dal “Gabinetto armonico pieno di strumenti sonori del Padre Filippo Bonanni al Santo Re David - In Roma MDCCXXII” riedito nella stamperia di Vincenzo Bona - In Torino MCMLXIX. Sabato 15 Agosto - ore 21.00 ASIAGOFESTIVAL 2015 ASIAGO - Duomo San Matteo Concerto per l'Assunta 49^ EDIZIONE organo: Michael König soprano: Ulrike Haller Sabato 8 Agosto - ore 21.00 musiche di: Frescobaldi, J.S.Bach, Vivaldi, Becker, Kobald, ASIAGO - Chiesa di San Rocco Mascagni, Sullivan Ensemble dell’Orchestra Barocca di Venezia Venice Baroque Orchestra musiche di: Vivaldi Domenica 16 Agosto - ore 17.00 CAmpOroverE DI Roana ex Forte Interrotto Lunedì 10 Agosto - ore 21.00 ASIAGO - Chiesa di San Rocco ensemble di violoncelli: Cello Passionato violoncello: Julius Berger pianoforte: Oliver Kern violoncello: Hyun-Jung Berger violoncello: Julius Berger violoncello: -
FROM the HEAD of DEPARTMENT the Major Piece of Research
FROM THE HEAD OF DEPARTMENT The major piece of research news over the past term an event that also saw a display of materials from the has undoubtedly been the release in December of Daphne Oram archive. Coincidentally, at about the the results of the Research Assessment Exercise. same time, we also secured the purchase of Daphne Keith Negus has given a full appraisal of these in Oram’s original ‘Oramics’ machine, one of the first his contribution below so I will simply reiterate his ever electronic music composition systems. We point that having 70% of the Department’s work rated anticipate that this will lead to some very interesting as being either ‘world leading’ or ‘internationally future strands of research, as well as potential excellent’ was an exceptionally good outcome for us, collaborations with other high-profile partners. and a result that, in percentage terms, was exceeded Another indicator of the Department’s high standing by only one other department within the College as a in music research is the number and quality of PhD whole. The RAE will soon give way to the Research students we are able to attract. Even so, it was Excellence Framework (REF), and we shall shortly something of a pleasant surprise when I discovered begin to contemplate the potential implications for that we have enrolled no fewer than 20 PhD students the Department of this revised method of research in the department in the last calendar year, two of assessment. But for the moment we can draw whom have joined us on AHRC-funded scholarships breath and congratulate ourselves on the very fine (making a total of five students in the Department achievement this time around. -
New Approaches to Performance and the Practical
New Approaches to Performance and the Practical Application of Techniques from Non-Western and Electro-acoustic Musics in Compositions for Solo Cello since 1950: A Personal Approach and Two Case Studies Rebecca Turner Submitted in Partial Fulfillment of the Requirements for the Degree of PhD in Music (Performance Practice) Department of Music Goldsmiths College, University of London 2014 Supervisor Professor Alexander Ivashkin Declaration I, Rebecca Turner, the undersigned, hereby declare that the work submitted in this thesis is my own and where the contributions of others are made they are clearly acknowledged. Signed……………………………………………… Date…………………….. Rebecca Turner ii For Alexander Ivashkin, 1948-2014 iii Acknowledgments I would like to acknowledge the wisdom, encouragement, and guidance from my academic supervisor, the late Professor Alexander Ivashkin; it was an honour and a privilege to be his student. I am also eternally grateful for the tutelage of my performance supervisor, Natalia Pavlutskaya, for her support and encouragement over the years; she has taught me to always strive for excellence in all areas of my life. I am enormously grateful to Franghiz Ali-Zadeh and Michael Cryne for allowing me to feature their compositions in my case studies, and also for generosity giving up their time for our interviews. I am indebted to the staff of the Music Department at Goldsmiths College, London University, both for supporting me in my research and also being so generous with the use of the available facilities; in particular the Stanley Glasser Electronic Music Studios. I also thank C.f. Peters Corp., Breitkopf & Härtel, Schott Music Ltd, MUSIKVERLA HANS SIKORSKI GMBH & CO, for their kind permission to quote from copyrighted material. -
Cello Concerto (1990)
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-G RUSTAM ABDULLAYEV (b. 1947, UZBEKISTAN) Born in Khorezm. He studied composition at the Tashkent Conservatory with Rumil Vildanov and Boris Zeidman. He later became a professor of composition and orchestration of the State Conservatory of Uzbekistan as well as chairman of the Composers' Union of Uzbekistan. He has composed prolifically in most genres including opera, orchestral, chamber and vocal works. He has completed 4 additional Concertos for Piano (1991, 1993, 1994, 1995) as well as a Violin Concerto (2009). Piano Concerto No. 1 (1972) Adiba Sharipova (piano)/Z. Khaknazirov/Uzbekistan State Symphony Orchestra ( + Zakirov: Piano Concerto and Yanov-Yanovsky: Piano Concertino) MELODIYA S10 20999 001 (LP) (1984) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where his composition teacher was Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. Piano Concerto in E minor (1976) Alexander Tutunov (piano)/ Marlan Carlson/Corvallis-Oregon State University Symphony Orchestra ( + Piano Trio, Aria for Viola and Piano and 10 Romances) ALTARUS 9058 (2003) Aria for Violin and Chamber Orchestra (1973) Mikhail Shtein (violin)/Alexander Polyanko/Minsk Chamber Orchestra ( + Vagner: Clarinet Concerto and Alkhimovich: Concerto Grosso No. 2) MELODIYA S10 27829 003 (LP) (1988) MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Concertos A-G ISIDOR ACHRON (1891-1948) Piano Concerto No. -
Polystylism and Narrative Potential in the Music of Alfred Schnittke
POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOIT TREMBLAY B.Arts (education musicale), Universite Laval, 1999 B.Mus (mention en histoire), Universite Laval, 1999 M.Mus (musicologie), Universite Laval, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Music, emphasis in musicology) THE UNIVERSITY OF BRITISH COLUMBIA April 2007 © Jean-Benoit Tremblay, 2007 ABSTRACT This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Mo^-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music. -
Toccata Classics TOCC 0128 Notes
P NIKOLAI KORNDORF: A BRIEF INTRODUCTION by Martin Anderson Nikolai Korndorf had a clear image of what kind of a composer he was. In a ‘Brief Statement about my Work’ he wrote: I belong to the direction in Russian music which, independent of the composer’s style, typically addresses very serious topics: philosophical, religious, moral, the problems of a person’s spiritual life, his relationship with the surrounding world, the problem of beauty and its relationship with reality, as well as the problem of lotiness and meaning in human beings and in art, the relationship of the spiritual and the anti-spiritual.1 But it would be wrong to assume that those words suggest some kind of aloofness – he knew he had to touch his audience: As much as possible I strive to ensure that every one of my works contains a message to each listener and that my music leaves no one indiferent, but aroused with an emotional response. I even accept that at times my music arouses negative emotions – as long as it is not indiference.2 Born in Moscow on 23 January 1947, Nikolai Sergeyevich Korndorf studied composition at the State Tchaikovsky Conservatoire of Music there, under Sergei Balasanyan; after he was awarded his doctorate in 1973, he went on to study conducting at the Conservatoire under Leo Ginsburg. Thereafter he developed two careers: between 1972 and 1991 he lectured in composition, conducting, musicology and theory at the Conservatory; and, after winning the National All-Union Conductors’ Competition in Moscow in 1976, he guest-conducted throughout the Soviet Union. -
Lydia Chernicoff, Doctor of Musical Arts, 2019
ABSTRACT Title of Dissertation: PARADOX AND PARALLEL: ALFRED SCHNITTKE’S WORKS FOR VIOLIN IN CONTEXT Lydia Chernicoff, Doctor of Musical Arts, 2019 Dissertation Directed By: Professor JaMes Stern, School of Music In his works for violin, Alfred Schnittke explores and challenges the traditional boundaries of Western composition. This dissertation project is founded on the conviction that these works by Schnittke, despite their experiMental and idiosyncratic nature, hold an integral place in the standard violin repertoire as well as in the broader canon of Western classical music. The argument will be supported by three recital prograMs that place the works in the context of that canon and an investigation of how Schnittke’s compositional language relates to that of the western European composers, revealing his complex and distinctive voice. By tracking his deconstruction and reworking of the music of other composers, we see Schnittke’s particular formality and musical rhetoric, as well as his energetic and artistic drive, and we see that his works are not merely experiMental—they renew the forms whose boundaries they transgress, and they exhibit a gravity, a tiMelessness, and a profound humanity, earning the composer his rightful place in the lineage of Western classical music. The first and third recitals were performed in Ulrich Recital Hall, and the second recital was performed in Gildenhorn Recital Hall, all at the University of Maryland. Recordings of all three recitals can be accessed at the University of Maryland Hornbake Library. PARADOX AND PARALLEL: ALFRED SCHNITTKE’S WORKS FOR VIOLIN IN CONTEXT By Lydia Chernicoff Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillMent of the requireMents for the degree of Doctor of Musical Arts 2019 Advisory ComMittee: Professor JaMes Stern, Chair Professor Olga Haldey Professor Irina Muresanu Professor Rita Sloan Professor Eric ZakiM © Copyright by Lydia Chernicoff 2019 To every artist in search of his or her voice. -
Alissa Firsova in Einem Inter- Oview Mit Dem Musik-Label VIVAT Während Der Aufnahmearbeit Für Ihr Album „Russian Émigrés“ ALISSA Im August 2015
32 MUSIK TEXT: CATRIN GEORGE PONCIANO FOTOS: AIGA & LEE GLASGOW PHOTOGRAPHY hne Menschen um sich herum kann sie nicht existieren, sagt Alissa Firsova in einem Inter- Oview mit dem Musik-Label VIVAT während der Aufnahmearbeit für ihr Album „Russian Émigrés“ ALISSA im August 2015. Musik spielen, Musik komponieren, Musik dirigieren, sei jedes Mal wieder ein aus sich herausfahren, fügt sie hinzu. Für ihre Arbeit benötigt Alissa Emotionen wie andere die Luft zum Atmen, eigene Gefühle und die Spiegelung der Gefühle ihrer FIRSOVA Mitmenschen. Erst dann, sagt sie, kann sie sich befrei- en vom Hier und Jetzt und in die musikalische Ebe- ne aufsteigen, in die sie sich fallen lassen möchte, um die bereits bekannte klassische Musik mit ihrer neuen, zeitgenössischen Musik zu vermählen. Das klingt poe- Ihr Können entfacht tisch und dual, denn Alissa Firsovas Musik passiert auf zwei Ebenen. Einer, die wir alle hörend kennen und ei- musikalische Poesie ner zweiten, parallelen, neuen Welt der Musik, die rein ihrer Wahrnehmung entspringt und die Musikerwelt in Amerika und Europa restlos begeistert. ESA 06/19 | www.entdecken-sie-algarve.com MUSIK 33 Unter Kennern der internationalen Klassik-Musikszene besetzt Alissa Firsova einen eigenen Stern am Himmel. Sie beherrscht das Piano, dirigiert Orchester, komponiert zeitgenössische Musik – und derzeit ein Stück über die Algarve Der Albumtitel „russische Emigranten“ ist nicht akustisch spezialisierten Wigmore Hall, auch Bech- zufällig gewählt. Alissas Familie stammt aus Russ- stein-Hall genannt, im Mai in London, sowie in der land, sie sind 1991 nach England umgezogen. In ihrer über 5.500 Zuhörer fassenden Royal Albert Hall in Familie ist Musik und Kunst zuhause.