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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
Grieg & Musical Life in England
Grieg & Musical Life in England LIONEL CARLEY There were, I would prop ose, four cornerstones in Grieg's relationship with English musicallife. The first had been laid long before his work had become familiar to English audiences, and the last was only set in place shortly before his death. My cornerstones are a metaphor for four very diverse and, you might well say, ve ry un-English people: a Bohemian viol inist, a Russian violinist, a composer of German parentage, and an Australian pianist. Were we to take a snapshot of May 1906, when Grieg was last in England, we would find Wilma Neruda, Adolf Brodsky and Percy Grainger all established as significant figures in English musicallife. Frederick Delius, on the other hand, the only one of thi s foursome who had actually been born in England, had long since left the country. These, then, were the four major musical personalities, each having his or her individual and intimate connexion with England, with whom Grieg established lasting friendships. There were, of course, others who com prised - if I may continue and then finally lay to rest my architectural metaphor - major building blocks in the Grieg/England edifice. But this secondary group, people like Francesco Berger, George Augener, Stop ford Augustus Brooke, for all their undoubted human charms, were firs t and foremost representatives of British institutions which in their own turn played an important role in Grieg's life: the musical establishment, publishing, and, perhaps unexpectedly religion. Francesco Berger (1834-1933) was Secretary of the Philharmonic Soci ety between 1884 and 1911, and it was the Philharmonic that had first prevailed upon the mature Grieg to come to London - in May 1888 - and to perform some of his own works in the capital. -
Beyond the Storm
Pamela J. Marshall Beyond the Storm oboe collection of Poetry-Inspired Solos PREVIEWSpindrift Music Company www.spindrift.com Publishing contemporary classical music and promoting its performance and appreciation collection of Poetry-Inspired Solos Beyond the Storm by Pamela J. Marshall for oboe La Mer by Oscar Wilde (1854-1900) From Poems, 1881 A white mist drifts across the shrouds, A wild moon in this wintry sky Gleams like an angry lion's eye Out of a mane of tawny clouds. The muffled steersman at the wheel Is but a shadow in the gloom;-- And in the throbbing engine-room Leap the long rods of polished steel. The shattered storm has left its trace Upon this huge and heaving dome, For the thin threads of yellow foam Float on the waves like ravelled lace. PREVIEWSpindrift Music Company www.spindrift.com aer "La Mer" by Oscar Wilde Beyond the Storm Pamela J. Marshall Andante misterioso, con licenza q = 86 Oboe p p mp pp mp pp 2 p pp mp 4 (like a throbbing engine) 5 (as if two voices, staccato notes extremely clipped) 11 mp pp 15 18 mp pp pp 21 pp mp 26 mp 27 PREVIEW Copyright © 2007 Pamela J. Marshall 28 mf 29 f 33 mf 38 p mp 43 mf 48 mp 51 pp 54 mp p 57 p mf 61 PREVIEWmp 64 p ppp 2 Spindrift Music Company Publishing contemporary classical music and promoting its performance and appreciation 38 Dexter Road Lexington MA 02420-3304 USA 781-862-0884 [email protected] www.spindrift.com Selected Music by Pamela J. -
Mariinsky Orchestra
CAL PERFORMANCES PRESENTS PROGRAM A NOTES Friday, October 14, 2011, 8pm Pyotr Il’yich Tchaikovsky (1840–1893) fatalistic mockery of the enthusiasm with which Zellerbach Hall Symphony No. 1 in G minor, Op. 13, it was begun, this G minor Symphony was to “Winter Dreams” cause Tchaikovsky more emotional turmoil and physical suffering than any other piece he Composed in 1866; revised in 1874. Premiere of ever wrote. Mariinsky Orchestra complete Symphony on February 15, 1868, in On April 5, 1866, only days after he had be- Valery Gergiev, Music Director & Conductor Moscow, conducted by Nikolai Rubinstein; the sec- gun sketching the new work, Tchaikovsky dis- ond and third movements had been heard earlier. covered a harsh review in a St. Petersburg news- paper by César Cui of his graduation cantata, PROGRAM A In 1859, Anton Rubinstein established the which he had audaciously based on the same Russian Musical Society in St. Petersburg; a year Ode to Joy text by Schiller that Beethoven had later his brother Nikolai opened the Society’s set in his Ninth Symphony. “When I read this Pyotr Il’yich Tchaikovsky (1840–1893) Symphony No. 1 in G minor, Op. 13, branch in Moscow, and classes were begun al- terrible judgment,” he later told his friend Alina “Winter Dreams” (1866; rev. 1874) most immediately in both cities. St. Petersburg Bryullova, “I hardly know what happened to was first to receive an imperial charter to open me.... I spent the entire day wandering aimlessly Reveries of a Winter Journey: Allegro tranquillo a conservatory and offer a formal -
Christianialiv
Christianialiv Works from Norway’s Golden Age of wind music Christianialiv The Staff Band of the Norwegian Armed Forces The second half of the 19th century is often called the “Golden Age” of Norwegian music. The reason lies partly in the international reputations established by Johan Svendsen and Edvard Grieg, but it also lies in the fact that musical life in Norway, at a time of population growth and economic expansion, enjoyed a period of huge vitality and creativity, responding to a growing demand for music in every genre. The Staff Band of the Norwegian Armed Forces (to use its modern name) played a key role in this burgeoning musical life not just by performing music for all sections of society, but also by discovering and fostering musical talent in performers and composers. Johan Svendsen, Adolf Hansen, Ole Olsen and Alfred Evensen, whose music we hear on this album, can therefore be called part of the band’s history. Siste del av 1800-tallet er ofte blitt kalt «gullalderen» i norsk musikk. Det skyldes ikke bare Svendsens og Griegs internasjonale posisjon, men også det faktum at musikklivet i takt med befolkningsøkning og økonomiske oppgangstider gikk inn i en glansperiode med et sterkt behov for musikk i alle sjangre. I denne utviklingen spilte Forsvarets stabsmusikkorps en sentral rolle, ikke bare som formidler av musikkopplevelser til alle lag av befolkningen, men også som talentskole for utøvere og komponister. Johan Svendsen, Adolf Hansen, Ole Olsen og Alfred Evensen er derfor en del av korpsets egen musikkhistorie. The Staff Band of the Norwegian Armed Forces / Ole Kristian Ruud Recorded in DXD 24bit/352.8kHz 5.1 DTS HD MA 24/192kHz 2.0 LPCM 24/192kHz + MP3 and FLAC EAN13: 7041888519027 q e 101 2L-101-SABD made in Norway 20©14 Lindberg Lyd AS 7 041888 519027 Johan Svendsen (1840-1911) Symfoni nr. -
The Inextricable Link Between Literature and Music in 19Th
COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57 -
Sept 30, Oct 4, 6, 8
Tchaikovsky’s SEPT 30, OCT 4, 6, 8 In-Depth Guide by Stu Lewis INTRODUCTION: “THE RUSSIANS ARE COMING” Russian opera has always been a “hard sell” for American opera companies. The most obvious reason is the Russian language itself, which lacks the lyricism of French or Italian. It can be hard to find American or Western European singers who are comfortable singing in Russian, since most opera students focus on French, Italian, and German, in addition to their native languages. Yet this cannot be the only reason. For the first forty years of its existence, Lyric Opera of Kansas City performed all of its repertoire in English—yet no Russian operas were produced during that period. This year’s “Eugene Onegin” is only the second Russian opera production. The other one? Also “Eugene Onegin.” Moreover, the reasons for the dearth of Russian opera in the U.S. cannot be political. Russian concertos, ballets, and symphonies are a familiar part of the American musical scene; even Soviet-era composers such as Prokofiev and Shostakovich are widely admired. The shining exception to our neglect of Russian opera is Tchaikovsky’s “Eugene Onegin.” Of course, the general popularity of Tchaikovsky’s music is one reason for its success, though none of the composer’s other operas have approached the status of this one. What is it that makes this opera stand out? One reason is that many Russian operas were written in the “grand opera” tradition that is currently out of vogue. Tchaikovsky himself was concerned at the lack of action in the story, so much so that he hesitated to call it an opera, preferring the term “lyrical scenes.” Moreover, it is a love story without a love duet, and in the end the hero and heroine part quietly. -
Tchaikovsky.Pdf
Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day. -
Hayley Richard
1 Hayley Richard Tchaikovsky: Russia’s Most Popular Composer To many he was an inspiration; to more he was a legend--Pyotr Tchaikovsky, the great Russian composer. Leaving behind 7 symphonies, 11 operas, 3 ballets, 5 suites, 3 piano concertos, a violin concerto, 11 overtures, 4 cantatas, 20 choral works, 3 string quartets, a string sextet and more than 100 piano pieces, Tchaikovsky undoubtedly left his mark on the world. His strong emotion, appeal to technical skill, and dedicated work habits together give him his claim to fame as the most popular Russian composer of all time. One could argue that April 25th, 1840 was just an ordinary day in history, but to the music realm this date would serve as a hallmark as the infamous Pyotr Ilich Tchaikovsky was welcomed to the world. Born in Votkinsk, Russia as the second of six children to Alexander and Ilya Tchaikovsky, Pyotr had shown a clear interest in music from childhood. At just the mere age of four was when the first known attempt of his musical composition occurred, a song written with his younger sister Alexandra. What seemed a small, insignificant work at the time, would serve as the basis of countless pieces he would later compose. Like many of the most famous composers, Tchaikovsky’s family did not deem him to be a music genius until later in life. Instead Tchaikovsky’s parents “chose to prepare the high-strung and sensitive boy for a career in the civil service” (Poznansky). Nine years later, Tchaikovsky’s mother passed away from cholera; it would be then that Tchaikovsky’s father would realize his son’s true vocation and enroll him in piano lessons. -
Season 2012-2013
27 Season 2012-2013 Thursday, December 13, at 8:00 The Philadelphia Orchestra Friday, December 14, at 8:00 Saturday, December 15, Gianandrea Noseda Conductor at 8:00 Alisa Weilerstein Cello Borodin Overture to Prince Igor Elgar Cello Concerto in E minor, Op. 85 I. Adagio—Moderato— II. Lento—Allegro molto III. Adagio IV. Allegro—Moderato—[Cadenza]—Allegro, ma non troppo—Poco più lento—Adagio—Allegro molto Intermission Tchaikovsky Symphony No. 3 in D major, Op. 29 (“Polish”) I. Introduzione ed allegro: Moderato assai (tempo di marcia funebre)—Allegro brillante II. Alla tedesca: Allegro moderato e semplice III. Andante elegiaco IV. Scherzo: Allegro vivo V. Finale: Allegro con fuoco (tempo di polacca) This program runs approximately 1 hour, 55 minutes. The December 14 concert is sponsored by Medcomp. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. -
Print-At-Home Programme
Wednesday 26 May 2021 Thursday 27 May 2021 Barbican GRIEG, RACHMANINOFF & BEETHOVEN Edvard Grieg The Last Spring Serge Rachmaninoff Piano Concerto No 2 Ludwig van Beethoven Symphony No 5 Michael Tilson Thomas conductor Yuja Wang piano London Symphony Orchestra Welcome A warm welcome to these LSO concerts. After 14 months away, it was wonderful last week to make our long-awaited return to our Barbican home, and to be able to reunite with audiences in person, sharing once again in the joy of live music. Sincere thanks to all of our supporters: your generosity has enabled us to continue sharing music with audiences across the globe through these challenging times, and now continues to assist our return to live performance and our recovery from the pandemic. With these concerts we welcome back LSO Conductor Laureate Michael Tilson Thomas, who has been sorely missed over the past year. Across four concerts at the Barbican and LSO St Luke’s, he conducts music by Grieg and Copland, piano concertos by Rachmaninoff and Shostakovich, and symphonies by Beethoven and Tchaikovsky. It is a pleasure to be joined also by soloist Yuja Wang, who has performed with the Orchestra and Michael Tilson Thomas regularly over the years, most recently in 2017 when she joined the Orchestra on tour in Europe. Following these London performances of Rachmaninoff’s and Shostakovich’s Second Piano Concertos, we look forward to Yuja Wang – and Michael Tilson Thomas – joining us for further concerts at Snape Maltings next week. I hope you enjoy these performances. Our thanks to all of you, our audience members, for your support. -
Download Booklet
CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No.