The Snow Maiden Nikolay Rimsky-Korsakov
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COCKEREL Education Guide DRAFT
VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19 -
Myths, Legends, Fairy Tales and Folk Tales in Music ______
______________________________________________________________________________________________________ Sounds of Enchantment: Myths, Legends, Fairy Tales and Folk Tales in Music ______________________________________________________________________________________________________ Gioacchino ROSSINI Overture from William Tell Felix MENDELSSOHN Scherzo from A Midsummer Night’s Dream Sergei PROKOFIEV Waltz Coda and Midnight from Cinderella, Op. 87 David CROWE How Birds Came Into the World John WILLIAMS Raiders March from Raiders of the Lost Ark Piotr Ilyich TCHAIKOVSKY Scene from Swan Lake Modest MUSSORGSKY / arr. Ravel Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Sounds of Enchantment Overview – Page 4 Program Notes – Page 7 ROSSINI | Overture from William Tell Page 8 MENDELSSOHN | Scherzo from A Midsummer Night’s Dream Page 10 PROKOFIEV | Waltz Coda and Midnight from Cinderella, Op. 87 Page 13 CROWE | How Birds Came Into the World Page 17 WILLIAMS | Raiders March from Raiders of the Lost Ark Page 20 TCHAIKOVSKY | Scene from Swan Lake Page 22 MUSSORGSKY | Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition Page 24 Activities — Page 27 Student Section— Page 39 CREDITS This guide was originally created for the 2008-2009 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Anne Stewart, and Jane Orrell. -
Rimsky-Korsakov Overture and Suites from the Operas
CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource. -
Rimsky-Korsakov and His World
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. David Brodbeck The Professor and the Sea Princess: Letters of Nikolai Rimsky-Korsakov and Nadezhda Zabela-Vrubel EDITED BY MARINA FROLOVA-WALKER TRANSLATED BY JONATHAN WALKER I am still filled, my dear, dear friend, Filled with your visage, filled with you! . It is as if a light-winged angel Descended to converse with me. Leaving the angel at the threshold Of holy heaven, now alone, I gather some angelic feathers Shed by rainbow wings . —Apollon Maykov (1852), set by Rimsky-Korsakov as No. 4 of his Opus 50 songs and dedicated to Nadezhda Zabela-Vrubel “I am rather dry by nature,” confessed Rimsky-Korsakov in one of his letters.1 This is indeed the prevailing impression we are likely to draw from his biographies, or even from his own memoirs. We know so much about the externals of his life, and yet the inner man somehow eludes us, obscured by his professorial image: a kindly but reserved man, with a pos- itive outlook on life, dignified and of impeccable morals. The contrast with the wild biographies of Musorgsky and Tchaikovsky allows us to suppose that Rimsky-Korsakov was really rather ordinary, even a little dreary. 1. Maykov’s Russian original of the epigraph above is as follows: Yeshcho ya poln, o drug moy milïy, / Tvoim yavlen'yem, poln toboy!. ./ Kak budto angel legkokrïlïy / Sletal besedovat' so mnoy, / I, provodiv yego v preddver'ye svyatïkh nebes, ya bez nego / Sbirayu vïpavshiye per'ya / Iz krïl'yev raduzhnïkh yego… • 3 • For general queries, contact [email protected] © Copyright, Princeton University Press. -
Snegurochka the Snow Maiden
TCHAIKOVSKY SNEGUROCHKA THE SNOW MAIDEN VSEVOLOD GRIVNOV ANNELY PEEBO MDR LEIPZIG RADIO SYMPHONY ORCHESTRA MDR LEIPZIG RADIO CHOIR KRISTJAN JÄRVI G010003432597T PETER TCHAIKOVSKY (1840-1893) “SNEGUROCHKA”, Op. 12 THE SNOW MAIDEN / SCHNEEFLÖCKCHEN 1 I. Introduction 4:14 Introduktion 2 II. Dance and Chorus of the Birds 6:12 Tanz und Chor der Vögel 3 III. Monologue of Frost 3:22 Monolog des Frostes 4 IV. Carnival Procession 6:40 Chor des Fastnachtsgeleites 5 Va. Melodrama 1:51 6 Vb. Entr’acte 1:01 7 VI. Lel’s First Song 2:49 Erstes Lied des Lel 8 VII. Lel’s Second Song 1:18 Zweites Lied des Lel 9 VIII. Entr’acte 2:39 10 IX. Chant of the Blind Bards 4:22 Chor der blinden Gussli-Spieler 11 X. Melodrama 5:00 12 XI. Chorus of the People and the Courtiers 1:33 Chor des Volkes und der Höflinge des Zaren Annely Peebo, Mezzo-soprano / Mezzosopran (7, 8, 15, 16, 22) 13 XII. Round of the Young Maidens 4:33 Vsevolod Grivnov, Tenor (3, 4, 10, 17, 22) Reigen der Mädchen 14 XIII. Dance of the Tumblers 4:35 MDR Leipzig Radio Symphony Orchestra / MDR Sinfonieorchester Narrentanz MDR Leipzig Radio Choir / MDR Rundfunkchor 15 XIVa. Lel’s Third Song (1.) 5:38 Drittes Lied des Lel (1.) Pavel Brochin, Chorus Master / Choreinstudierer (2, 4, 10, 12, 13, 20, 21, 22) 16 XIVb. Lel’s Third Song (2.) 4:22 Drittes Lied des Lel (2.) KRISTJAN JÄRVI, Conductor / Dirigent 17 XV. Brussilo’s Song 1:59 Lied des Brussilo 18 XVI. -
The Negotiation of Nationalism in Nineteenth-Century Russian Opera
Not Russian Enough The Negotiation of Nationalism in Nineteenth-Century Russian Opera R H ©?=>> Rutger Helmers Print production by F&N Boekservice Typeset using: LATEX ?" Typeface: Linux Libertine Music typesetting: LilyPond Not Russian Enough: The Negotiation of Nationalism in Nineteenth-Century Russian Opera Niet Russisch genoeg: nationalisme en de negentiende-eeuwse Russische operapraktijk (met een samenvatting in het Nederlands) P ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magniVcus, prof. dr. G. J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op donderdag ? februari ?=>? des ochtends te >=.@= uur door Rutger Milo Helmers geboren op E november >FE= te Amersfoort Promotor: Prof. dr. E. G. J. Wennekes Co-promotor: Dr. M. V. Frolova-Walker Contents Preface · vii Acknowledgements · viii Preliminary Notes · x List of Abbreviations · xiii Introduction: The Part and the Whole · > Russia and the West · C The Russian Opera World · >= The Historiographical Legacy · >B Russianness RedeVned · ?> The Four Case Studies · ?A > A Life for the Tsar · ?F Glinka’s Changing Attitude to Italian Music · @@ The Italianisms of A Life for the Tsar · @F Liberties · BA Reminiscences · C> Conclusion · CB v vi CON TEN TS ? Judith · CD Serov the Cosmopolitan · D= Long-Buried Nationalities · E> Judith and Russianness · FE Conclusion · >=D @ The Maid of Orléans · >>> The Requirements of the Operatic Stage · >>C Schiller, The Maid, and Grand Opera Dramaturgy · >?> -
The Proms Listening Service Radio 3’S Tom Service Proposes Onward Sonic Explorations Inspired by the Music of Tonight’S Prom
The Proms Listening Service Radio 3’s Tom Service proposes onward sonic explorations inspired by the music of tonight’s Prom WAGNER STRAVINSKY Tannhäuser – overture The Song of the Nightingale; For all the voluptuous pleasures of the Venusberg and the The Firebird sensuality of Wagner’s music, it’s striking how often these Stravinsky’s fairy tales in music and ballet seem to have sprung dramas become hymns to the dubious pleasures of renunciation. fully formed into the world thanks to Paris’s mania for all things Parsifal refuses Kundry’s kiss to save the Brotherhood of the Russian in the early 20th century, and the exotic visions of the Grail; Tristan and Isolde is an erotic agony precisely because the country, its art and its stories with which Sergey Diaghilev and lovers’ eroticism his Ballets Russes flooded the city’s stages. But the father of is never fulfilled, so that love-death replaces love-life; and the these infectiously fantastical dramatic fairy tales wasn’t Diaghilev entire dramaturgy of The Ring is about pleasure postponed or or Stravinsky but Rimsky-Korsakov, who was also Stravinsky’s apocalyptically destroyed. The paradox is that the sensorium of teacher. Rimsky made the genre of the fairy-tale opera his own, Wagner’s music defining along the way the sounds and ideas that Stravinsky is a sonic substitute for the physical fulfilment that his characters would develop: melodic directness, rhythmic invention, harmonic are rarely, if ever, granted. Psychologists would have a field day exoticism, orchestral dazzle and new patterns of repetition. with all this – and, indeed, they have, as you can read in That’s why, to hear where Stravinsky comes from in music, you countless Wagner commentaries. -
Ekaterina Potego – Biography
Vocal Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Contents: Karrah O’Daniel-Cambry Biography Opera and Marketing Manager [email protected] Curriculum Vitae Press Mailing Address: Repertoire 1000 South Denver Avenue Musical Interpretations of Suite 2104 Famous Poets Tulsa, OK 74119 YouTube Video Links Website: Photo Gallery http://www.pricerubin.com Complete artist information including video, audio and interviews are available at www.pricerubin.com Ekaterina Potego – Biography Soprano Ekaterina Potego was born in Russia. She has won numerous awards at home as well as in other Eastern European countries. Ekaterina Potego studied at the Moscow School of Music and the Vienna Conservato-ry. Among the teachers who taught her singing were Christa Ludwig and Alfred Burgstaller. She made her first appearance in 1999 at the Vienna Chamber Opera. She sang as a soloist on numerous stages throughout Europe while pursuing her career at the Vienna State Opera and the opera festivals in St. Margarethen. Ekaterina Potego – Curriculum Vitae Artistic Education: • Vienna Konservatorium (Soloist 1998-2005), diploma with outstanding merits under Prof. Julia Conwell • Additional pedagogic education concentrating on classical operas with Alfred Burgstaller • Private Education (KS Christa Ludwig, Alfred Burgstaller, KS Marjana Lipovcek) • Master Classes (KS Hilde Zadek, Mirella Freni, KS Marjana Lipovsek) • Music University Moscow specialized as soloist (1996-1998) under Ludmilla Slepneva • Opera School at Gnessin-Music Institute Moscow under Zara Doluhanova • Children Ballet School on the Bolschoi Theater Moscow, Art School (Painting at the Music School Yalta), Music School (Guitar). -
Ad Alta: the Birmingham Journal of Literature Volume Ix, 2017
Ad Alta: The Birmingham Journal of Literature Volume IX, 2017 AD ALTA: THE BIRMINGHAM JOURNAL OF LITERATURE VOLUME IX 2017 Cover image taken from ‘Axiom’ by WILLIAM BATEMAN Printed by Central Print, The University of Birmingham, Birmingham, UK This issue is available online at: www.birmingham.ac.uk/adalta Ad Alta: the Birmingham Journal of Literature (Print) ISSN 2517-6951 Ad Alta: the Birmingham Journal of Literature (Online) ISSN 2517-696X © Ad Alta: the Birmingham Journal of Literature Questions and Submissions: Joshua Allsop and Jessica Pirie ([email protected]) GENERAL EDITORS Joshua Allsop & Jessica Pirie EDITORIAL BOARD Tom White REVIEW PANEL Emily Buffey Maryam Asiad Ruth Caddick POETRY AND ARTS EDITORS Hannah Comer Katherine Hughes Polly Duxfield Slava Rudin Brianna Grantham Charles Green NOTES EDITOR Christian Kusi-Obodum Yasmine Baker Paula Lameau James McCrink BOOK REVIEWS EDITOR Aurora Faye Martinez Geoff Mills Antonia Wimbush PROOFS EDITOR Jack Queenan Ad Alta: the Birmingham Journal of Literature wishes to acknowledge the hard work and generosity of a number of individuals, without whom this journal would never have made its way into your hands, or onto your computer screen. First, our editorial board Tom White and Emily Buffey should be thanked. Tom White, with tireless patience, was always available with invaluable advice and support throughout the entire process. Emily Buffey provided excellent feedback and commentary, sometimes at very short notice. Will Cooper of Central Print should also be thanked, without whose experience and expertise the publication of this journal would not have been possible. Also, our contributors, who dedicated so much precious time to writing and redrafting their submissions, and the section editors who guided and worked with them through that process. -
SAN DIEGO SYMPHONY ORCHESTRA LING CONDUCTS PROKOFIEV and DVOŘÁK a Jacobs Masterworks Concert Jahja Ling, Conductor
SAN DIEGO SYMPHONY ORCHESTRA LING CONDUCTS PROKOFIEV AND DVOŘÁK A Jacobs Masterworks Concert Jahja Ling, conductor December 6, 7 and 8, 2019 NIKOLAI RIMSKY-KORSAKOV Suite from The Snow Maiden Introduction Dance of the Birds Cortège Dance of the Tumblers SERGE PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 Andante – Allegro Andantino Allegro ma non troppo Wei Luo, piano INTERMISSION ANTONÍN DVOŘÁK Symphony No. 8 in G Major, Op. 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo Suite from The Snow Maiden NIKOLAI RIMSKY-KORSAKOV Born March 18, 1844, Tikhvin Died June 21, 1908, Lyubensk In 1873 the Russian writer Alexander Ostrovsky completed a fairy-tale play that he called Snegurochka, or “The Snow Maiden.” Set in ancient Russia, it tells of a Snow Maiden (the love-child of spring and winter) who is unable to fall in love. Eventually she is granted the gift of love, and the world blooms around her, but when the sun’s rays strike her, she melts and her despairing lover throws himself in a lake. The play, written in verse, seemed to cry out for music, and Tchaikovsky composed 19 pieces of incidental music for its first production in Moscow on May 23, 1873. A few years later, Rimsky-Korsakov fell in love with Ostrovsky’s play, saying that upon reading it, “My mild interest in the ancient Russian customs and heathen pantheism flamed up.” He asked (and received) Ostrovsky’s permission to turn the play into an opera and composed The Snow Maiden in 1880-81. At the premiere in St. -
Program Notes
Program Notes Program Notes by April L. Racana Sun. October 22, The 897th Orchard Hall Subscription Concert Mon. October 23, The 898th Suntory Hall Subscription Concert Mikhail Glinka (1804-1857) Kamarinskaya Waltz-fantasia Krakoviak from "A Life for the Czar (Ivan Susanin)" Glinka is considered by many to be the father of Russian music given that his operas and orchestral works were based on Russian themes and ultimately became models for other compatriots to incorporate Russian folk music and folk tales into their works. Tchaikovsky even commented that "all of the Russian school of symphonic works is contained in Glinka's Kamarinskaya, just as the whole oak tree is in an acorn." Oct 22 Kamarinskaya incorporates two folks songs which Glinka had encountered separately -- one a wedding song and the other a traditional dance tune. The composer himself described Oct how he came to combine the two for this work: "By chance I discovered a relationship with 23 the wedding song 'From behind the mountains', which I had heard in the country, and the folk dance tune 'Kamarinskaya', which everyone knows. And suddenly my fantasy ran high; instead of a piano piece I wrote an orchestral piece called 'Wedding Tune and Dance Tune'." The wedding song called Izza-gor opens the work as a kind of introduction which is then repeated and varied before leading into the dance tune. These two tunes alternate throughout the short work, with the dance tune repeated many dozens of times, each time a new variation, highlighting Glinka's creative abilities with orchestral timbres in various combinations and with shifting harmonies throughout. -
The Snow Maiden the Blossom‐Laden Trees, and in Men's Souls KING WINTER Opera in a Prologue and Four Acts I Waken Love
Nikolai Rimsky‐Korsakov A tender moon and calm, SCENE II Caresses with its rays Fairy Spring, King Winter The Snow Maiden The blossom‐laden trees, And in men's souls KING WINTER Opera in a prologue and four acts I waken love. When the cold cracks the timbers. Libretto by Rimsky‐Korsakov after Now in the very shadow, vast and chill, And the walls of the houses ; Alexander Ostrovsky of woods that mourn, When the frost makes the great I bid the flowers spring up from the courtyard gates frozen sod. Creak on their hinges, SUNG TEXTS Speaking to the Birds, who are trembling Then the smoke rising over the ENGLISH TRANSLATION with cold. dwellings, Dear birds of mine, you gossips dear to The smoke floating upward to vanish PROLOGUE me, 'Neath the breath of the wind, It is at the beginning of spring; night has 'Tis sixteen years ago, moved by mere I freeze of a sudden. fallen, and the Red Mountain is covered caprice, Aye, I freeze it and hold it with snow. To the right, bushes, a That I coquetted with old Winter here, Suspended ; scattered cluster of leafless birches. To Galant with heart of ice. And since that O'er the plain, above the trees the left, a thick forest of pine and firtrees, day, Suspended — their branches bending beneath the 'Tis I who am his slave. A girl What pleasure it gives me. weight of the snow. At the back, at the Was born us, and is in his power. How I enjoy it! foot of the mountain, a river; holes in the He keeps my child, my cherished ice are surrounded by small firs.