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TCHAIKOVSKY Liturgy of St
TCHAIKOVSKY Liturgy of St. John Chrysostom Nine Sacred Choruses Latvian Radio Choir Sigvards Kļava PYOTR ILYICH TCHAIKOVSKY (1840–1893) Liturgy of St. John Chrysostom, Op. 41 (1878) Liturgiya svyatogo Ioanna Zlatousta 1. After first Antiphon: Glory to the Father | Posle pervovo antifona: Slava Otsu i Sïnu 3:04 2 After the Little Entrance: Come, Let Us Worship | Posle malovo fhoda: Pridiite, poklonimsa 3:43 3. Cherubic Hymn | Heruvimskaya pesn: Izhe Heruvim 6:02 4. The Creed | Simvol verï 4:48 5. After the Creed: A Mercy of Peace | Posle Simvola verï: Milost mira 4:24 6. After the exclamation ‘Thine own of Thine…’: We Hymn to Thee |Posle vozglasheniya ”Tvoya ot Tvoih...”: Tebe poem 2:41 7. After the words ‘Especially for our most holy…’: Hymn to the Mother of God | Posle slov “Izriadno o presviatey...”: Dostoyno yest 3:26 8. The Lord’s Prayer: Our Father | Molitva Gospodnya: Otche nash 3:25 9. The Communion Hymn: Praise the Lord | Prichastnïy stih: Hvalite Gospoda 2:32 10. After the exclamation ‘In the fear of God…’: We have seen the True Light! | Posle vozglasheniya ”So strahom Bozhïim...”: Videhom svet istinï 3:26 Nine Sacred Choruses (1884–85) Devjati duhovno-muzykalnyh sotshinenij 11. Cherubic Hymn I | Heruvimskaya pesn I 6:05 12. Cherubic Hymn II | Heruvimskaya pesn II 5:51 13. Cherubic Hymn III | Heruvimskaya pesn III 6:01 14. We Hymn to Thee |Tebe poem 3:20 15. Hymn to the Mother of God | Dostoyno yest 3:03 16. Our Father | Otche nash 3:16 17. Blessed are They | Blazheni, yazhe ibral 3:23 18. -
Table of Contents
TABLE OF CONTENTS About Seraphic Fire . 4 About Patrick Dupré Quigley . .. 5 About Elena Sharkova . 6 Program . 7 Text & Translations . 8 Artists . 15 Artist Biographies . 16 Administration . 24 Our Supporters . 27 Two-Time GRAMMY® Nominee Oct 2017 Nov 2017 Dec 2017 Jan 2018 Feb 2018 Mar 2018 "After celebrating 15 years, this next season provides an eclectic musical journey through masterworks of cultural significance like Brahms’ timeless Liebeslieder Waltzes, as well as through high-quality under-performed music like David Lang's The Little Match Girl Passion. Our 16th Season continues to put South Florida at the center of artistic innovation with the country’s finest vocal artists performing history’s awe-inspiring repertoire." Apr 2018 May 2018 Patrick Dupré Quigley, Founder & Artistic Director Subscriptions Now on Sale! Subscribe at SeraphicFire.org or 305.285.9060 ABOUT SERAPHIC FIRE ABOUT PATRICK DUPRÉ QUIGLEY Led by Founder and Artistic Director Patrick Dupré appearance by conductor Elena Sharkova . The Quigley, Seraphic Fire brings top ensemble singers season also features collaborations with organist and instrumentalists from around the country to Nathan Laube and violinist Matthew Albert . perform repertoire ranging from Gregorian chant and Baroque masterpieces, to Mahler and newly Recognized as “one of the best excuses for commissioned works by this country’s leading living in Miami” (el Nuevo Herald) because of its composers . Two of the ensemble’s recordings, “vivid, sensitive performances” (The Washington Brahms: Ein Deutsches -
View/Download Liner Notes
Introduction from Nigel Short Russian Treasures is the twentieth album from Churches, dating back to the 16th century and Tenebrae and this release has further signifi cance evolving more-or-less uninterrupted until the as it sees the launch of the new label, Bene Arte, sudden decline in the Church’s fortunes which established exclusively to record the choir. Russian accompanied the Bolshevik Rebellion in 1917. choral music has been a feature in Tenebrae’s From Kedrov’s intensely spiritual yet delicate setting concert performances since the choir’s inception so of the Lord’s Prayer and Kalinnikov’s comparatively it seemed appropriate for us to record some of this light and lyrical feel, to the more traditional dark, exquisite music, sharing some little-known gems as rich and heavy textures of Rachmaninov, this disc is well as some familiar favourites from this vast area punctuated by those unmistakable Russian forces. of choral repertoire. Over the years we have worked extensively with It was in the early nineties, when I was travelling Russian language coaches whilst nurturing our in Russia, that I became captivated by the intense own characteristics of passion and precision to spirituality of the Russian Orthodox Liturgy and the deliver a special and heartfelt tribute to the powerful and mystical effect it has when combined music of these great composers. Thank you with the gloriously sonorous music sung so to everyone who has been involved in bringing beautifully by the native choirs. I found old music this album to fruition, especially the singers. shops, seeking original manuscripts or anything To you, the listeners, we hope you enjoy this choral I could lay my hands on. -
Cn 059E (Satb)Final.Indd
Praise the Name of the Lord (for mixed chorus) CHESNOKOV, Pavel Grigor’yevich (b. 12 [ 24] October, 1877, near Voskresensk, Moscow region; d. 14 March, 1944, Moscow)—graduated from Moscow Synodal School of Church Singing in 1895; 1895–99, studied composition with Sergei Taneyev; graduated from Moscow Conservatory in 1917 in conducting and composition (student of Mikhail Ippolitov-Ivanov). From 1895, taught church singing (chant) at the Moscow Synodal School; served as precentor in several Moscow churches and taught choral music at various schools. From 1920 to 1944 was professor of choral music at the Moscow Conservatory and conductor of several state choirs in Moscow. Chesnokov is the most prolific composer associated with the Moscow Synodal School: his compositional output includes over 500 choral works, over 400 of which are sacred. His major opera include three complete settings of the Divine Liturgy, two complete settings of the All-Night Vigil, two settings of the Memorial Service, and a setting of the Liturgy of Presanctified Gifts. In addition, he composed numerous settings of individual hymns taken from the ordinary of the Liturgy and Vigil, from feast-day propers, and paraliturgical concertos. “Praise the Name of the Lord” is a setting of the polyeleos, one of the most majestic and solemn elements of the Orthodox All-Night Vigil service. At this point in the service, all the lights in the church are lit and the clergy in full vestments process to the center of the church to stand with the people. As the basis for his arrangement, Chesnokov uses the stately znamenny chant melody, which provides a vehicle for the verses from Psalms 134 [135] and 135 [136]. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Lingas, A. (2015). An Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946). In: Morosan, V. and Lingas, A. (Eds.), Maximilian Steinberg, Opus 13, Based on Early Russian Chants (Musical Score). (pp. vii-xviii). San Diego, CA, USA: Musica Russica. ISBN 978-0-9701767-5-2 This is the submitted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16597/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Steinberg Intro Page 1 of 29 Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946)1 Alexander Lingas, City University London & EHRC, University of Oxford Over the last few decades there has been an international revival of interest in what Vladimir Morosan has called -
The Problem of Tonal Disunity in Sergeäł Rachmaninoff's All-Night
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 The Problem of Tonal Disunity in Sergeĭ Rachmaninoff's All-Night Vigil, op. 37 Olga Ellen Bakulina The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/850 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE PROBLEM OF TONAL DISUNITY IN SERGEĬ RACHMANINOFF’S ALL-NIGHT VIGIL, OP. 37 by OLGA (ELLEN) BAKULINA A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2015 i © 2015 OLGA (ELLEN) BAKULINA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy ______ ____________________ Date L. Poundie Burstein Chair of Examining Committee ______ ____________________ Date Norman Carey Executive Officer William Rothstein, adviser Philip Ewell, first reader Poundie Burstein Blair Johnston ____________________ Supervisory Committee The City University of New York iii ABSTRACT THE PROBLEM OF TONAL DISUNITY IN SERGEĬ RACHMANINOFF’S ALL-NIGHT VIGIL, OP. 37 By Olga (Ellen) Bakulina Adviser: Professor William Rothstein Recent English-language scholarship has given considerable attention to the issue of tonal disunity, particularly the concepts of tonal pairing, directional tonality, and double-tonic complex. -
Serge Jaroff and His Don Cossack Choir: the Refugees Who Took the World by Storm Donna Arnold
Serge Jaroff and His Don Cossack Choir: The Refugees Who Took the World by Storm Donna Arnold Abstract Serge Jaroff’s Don Cossack Choir was an improbable phenomenon. Founded at a miserable Turkish internment camp in 1920, it drew members from Don Cossack regiments expelled from Russia after the Russian Civil War. Jaroff, a detainee who had attended the Moscow Synodal School of Church Singing in Moscow, was ordered to establish and conduct it. He arranged repertoire from memory and turned thirty-six amateur singers into a world-class a cappella ensemble. Once liberated, they concertized throughout the non-Soviet world and enjoyed long- term success. Banned from Russia forever, they eventually became American citizens. Except for recent Dutch and Russian research they have received little scholarly attention, and there are no major studies about them in English. This essay describes their history, seeking to identify key components of their artistic excellence and commercial success, and advocates for further research. or nearly sixty years, Serge Jaroff’s a and Russian scholars4 have done important cappella Russian émigré Don Cossack research lately, their findings are not widely Choir concertized throughout the non- accessible, and there are no major studies in FSoviet world, drawing huge audiences and English. Understanding the choir’s history is selling millions of records. They were a beloved essential to understanding its music, both of concert staple in the United States,1 and the which link inextricably with Jaroff’s life story. choir’s members, banished forever from Soviet a new German translation of Emilian Klinsky’s book Sergiei 2 Russia, eventually became American citizens. -
A Study of Musical and Extra-Musical Imagery in Rachmaninoff's "Etudes-Tableaux", Opus 39." (1990)
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 A Study of Musical and Extra-Musical Imagery in Rachmaninoff 's "Etudes-Tableaux", Opus 39. Raymond J. Gitz Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gitz, Raymond J., "A Study of Musical and Extra-Musical Imagery in Rachmaninoff's "Etudes-Tableaux", Opus 39." (1990). LSU Historical Dissertations and Theses. 5049. https://digitalcommons.lsu.edu/gradschool_disstheses/5049 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
1 All-Night Vigil, Opus 37 Sergei Vasilyevich Rachmaninov (1873
All-Night Vigil, opus 37 Sergei Vasilyevich Rachmaninov (1873–1943) Prelude: Russian Sacred Music Other than Rachmaninov’s Vigil and a smattering of miniatures by composers of the previous generation, Russian music occupies a neglected niche in the repertoire of modern American choirs. More’s the pity, for the Russian choral tradition is rich and quite distinctive from its Western cousins. Just as Western Europe developed different varieties of medieval chant, such as Gregorian in Rome and Sarum in England, Russia had its distinctive type, called znamenny chant, with roots stretching to ancient Byzantium. When thirteenth-century Tatars conquered Kiev, hitherto the center of Russian culture, the churches of Novgorod and Moscow preserved znamenny chant, but only barely. The Renaissance brought to Western European music new imaginative vibrancy, with sacred polyphony and secular madrigals, but these innovations missed Russia entirely. Not until Vasily Titov (c.1650– c.1715) did Russia give rise to a native-born composer of important stature. The eighteenth century brought greater influences from the West, as the tsars in St. Petersburg hired leading Italian musicians to direct their resident orchestras and singers. New heights arose with the sacred, unaccompanied “choral concertos” of Dmitri Bortniansky (1751–1825), written for the Imperial Court Chapel. Bortniansky’s music often sounds like a juxtaposition of Italian lyricism and Haydnesque buoyancy. The works of Haydn, Mozart, Beethoven, Cherubini, and other Western masters came to be imitated and performed throughout Russia. The Court Chapel even presented the world premiere of Beethoven’s Missa solemnis in 1824. The mid-nineteenth century brought a decline in choral writing as Russian composers—not unlike their Western contemporaries—devoted themselves more to opera and orchestral music. -
TENEBRAE Wherein He Cherished Roses Fair, the Boy Said Humbly: “Take, I Pray, Nigel Short, Artistic Director and Wove Them Into Garlands There
PRINCETON UNIVERSITY CONCERTS 12/13 TEXTS & TRANSLATIONS Thursday, November 8, 2012 at 8:00PM Princeton University Chapel PYOTR ILYICH TCHAIKOVSKY Legend (The Crown of Roses) presented in collaboration with McCarter Theatre When Jesus Christ was yet a child, “Do you bind roses in your hair?” He had a garden small and wild, They cried, in scorn, to Jesus there. TENEBRAE Wherein He cherished roses fair, The Boy said humbly: “Take, I pray, Nigel Short, Artistic Director And wove them into garlands there. All but the naked thorns away.” SERGEI RACHMANINOV Priidite, poklonimsya (from All-Night Vigil) Now once, as summer time drew nigh, Then of the thorns they made a crown, (1873-1943) There came a troop of children by, And with rough fingers press’d it down, RACHMANINOV Great Litany (Liturgy of St. John Chrysostom) And seeing roses on the tree, Till on his forehead fair and young, With shouts they pluck’d them merrily. Red drops of blood, like roses sprung. RACHMANINOV The Cherubic Hymn RACHMANINOV Blazhen muzh (from All-Night Vigil) NIKOLAY KEDROV PAVEL CHESNOKOV Izhe Heruvimi Otche nash Our Father (1877-1944) Otche nash, izhe yesi na nyebesyekh, Our Father, which art in heaven, VASILY KALINNIKOV I Will Love Thee da svyatitsya imya Tvoye, hallowed be thy name; (1866-1901) da priidet tsarstviye Tvoye, thy kingdom come; PAUL MEALOR Now Sleeps the Crimson Petal da budyet volya Tvoya thy will be done, (b. 1975) (four madrigals on Rose Texts) yako na nyebesi i na zyemli. in earth as it is in heaven. Khleb nash nasushchnyi dazhd nam dnes, Give us this day our daily bread. -
1-800-326-3132 Musicarussica.Com
Oh, Praise the Lord from the Heavens CHESNOKOV, Pavel Grigor’yevich (b. 12 [24] October, 1877, near Voskresensk, Moscow region; d. 14 March, 1944, Moscow)—graduated from Moscow Synodal School of Church Singing in 1895; 1895–99, studied composition with Sergei Taneyev; graduated from Moscow Conservatory in 1917 in conducting and composition (student of Mikhail Ippolitov-Ivanov). From 1895, taught church singing (chant) at the Moscow Synodal School; served as precentor in several Moscow churches and taught choral music at various schools. From 1920 to 1944 was professor of choral music at the Moscow Conservatory and conductor of several state choirs in Moscow. Chesnokov is the most prolific Russian Orthodox composer in modern times: his compositional output includes over 500 choral works, over 400 of which are sacred. His major opera include three complete settings of the Divine Liturgy, two complete settings of the All-Night Vigil, two settings of the Memorial Service, and a setting of the Liturgy of Presanctified Gifts. In addition, he composed numerous settings of individual hymns taken from the ordinary of the Liturgy and Vigil, from feast-day propers, and paraliturgical concertos. Chesnokov’s Liturgy of St. John Chrysostom, op. 42, written in the early 1910s, is a free composition. Stylistically, it displays a higher degree of polyphonic writing (e.g., the contrapuntal passage in the middle of the present setting) than his previous works, no doubt a result of his renewed studies in composition which he undertook at the Moscow Conservatory in the 1910s already as a successful church composer. The current English adaptation is based on the Russian first edition. -
Sample Pages
8 2. Bless the Lord, O My Soul (Blagoslovi, dushe moya, Gospoda) All-night Vigil ALEXANDER GRECHANINOV (1864–1956) h Op. 59 No. 1 #### Moderato2pp tranquillo = 60 SOPRANO V # 2 ˆ ˆ ‰ ‰ ˆ #### 2 Bla p ----go - slo - vi,> ALTO V # 2 r Š Š Š Š Š Š Š Š. e Š Š Š ‰. Š Š Š Š Š Š Š Š >‰ Š Š Š Š ##### 2pp Bla - go - slo - vi, du - she mo - ya, Go - spo - TENOR V[ 2 ‰. Š ˆ ‰ Š Š >‰ Š Š B#### 2 Bla p ----Š ‰ Š Š goŠ Š- sloŠ Š - vi,‰ Š Š BASS # 2 r Š Š Š ‰ Š Š Š Š Š Š >‰ Š Š Bla - go - slo h - vi, du - she mo - ya, Go - spo - # # Moderato tranquillo = 60 V # ## 2 ˆ Š Š Š ˆŠ Š Š Š ‰Š ‰Š Š ˆŠ. Š Š ( for Š Š Š Š ˆ Š Š ‰Š Š Š Š Š.Š. Š Š ŠŠ Š rehearsal p f only) B### 2 ‰ Š Š Š Š Š ‰ Š Š { # # 2 r Š Š Š ‰ Š Š Š Š Š Š ‰ Š Š 5V##### Š Š Š ŠBless theˆ Lord, O my soul. ˆ ˆ # # Bla - go - slo - vyen. > V # ## Š Š Š Š Š Š Š Š Š. e Š Š Š Š ˆ Š Š Š Š Š Š Š >‰ Š Š Š Š #### - da. Bla - go - slo - vyen ye - si, Go - spo - V[ # Š Š Š Š ˆ ‰ Š Š >‰ Š Š B### Š Bla - go - slo - vyen.‰ Š Š Š Š Š ‰ Š Š # # Š Š Š Š ‰ Š Š Š Š Š Š >‰ Š Š #### - da.