Tradition and Modern
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Kirill Karabits Courtesy of Ruben Terterian Courtesy
VOICES FROM THE EAST Avet Rubeni Terterian SYMPHONIES NOS 3 AND 4 Bournemouth Symphony Orchestra Kirill Karabits Courtesy of Ruben Terterian Courtesy Avet Rubeni Terterian, rehearsing his Fourth Symphony in St Petersburg, 1982 Avet Rubeni Terterian (1929 – 1994) Symphony No. 3 (1975)* 28:34 for duduk, zurna, and large symphony orchestra Dedicated to Herman Rubenovich Terterian Tigran Aleksanyan duduk • zurna Vahe Hovanesian duduk • zurna 1 I = 138 – 152 12:00 2 II = 88 (ad libitum) 8:45 3 III = 138 7:48 Komitas (Soghomon Soghomonian) (1869 – 1935) 4 Shoger jan 1:29 (Dear Shoger) Tigran Aleksanyan duduk Vahe Hovanesian duduk 3 Traditional 5 Noobar-Noobar 2:25 Tigran Aleksanyan duduk Vahe Hovanesian duduk Avet Rubeni Terterian Symphony No. 4 (1976, revised 1984)* 26:09 for large symphony orchestra Dedicated to David Khandjian 6 [Part I] Beginning – 14:16 7 [Part II] Figure 92 – 4:38 8 [Part III] Figure 118 7:13 TT 58:56 Bournemouth Symphony Orchestra* Amyn Merchant leader Kirill Karabits* 4 Kirill Karabits Randall Hodgkinson Randall Christian Steiner © BSO Avet Terterian: Symphonies Nos 3 and 4 Biographical background ancient liturgical music into his personal In his homeland, Avet Rubeni Terterian is voice. regarded, alongside Aram Khachaturian The backbone of his achievement is (1903 – 1978), as the other giant of twentieth- enshrined in eight symphonies, which century Armenian music, and as the founder Terterian composed over two decades from of his nation’s progressive school of 1969 onwards; a ninth was in progress at composers. the time of his death. In summing them up Born in Baku, Azerbaijan, on 29 July he wrote: 1929, to Armenian parents, Terterian began We are all living on the threshold of a his musical education at the Baku Music terrible apocalyptic judgement. -
Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled -
Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
Levon Hakobian. Music of the Soviet Age, 1917-1987. Stockholm: Melos Music Literature, 1998
Levon Hakobian. Music of the Soviet Age, 1917-1987. Stockholm: Melos Music Literature, 1998. 493 pp. Allan B. Ho and Dmitry Feofanov, eds. Shostakovich Reconsidered. London: Toccata Press, 1998. 787 pp. David Haas. Leningrad's Modernists: Studies in Compo sition and Musical Thought, 1917-1932. New York: Peter Lang, 1998. xvi, 301 pp. Reviewed by Stephen Blum During a panel discussion at The Ohio State University shortly after the collapse of the Soviet Union, a distinguished Russian composer contrasted the "static" and "dangerous" East with the "dynamic" West, voicing an un qualified preference for the latter. Hearing this cliche once again set me to thinking about the endless chains of intimidation whose force can be sensed each time that members of one group declare themselves more civilized or more modern-in a word, more "Western"-than members of another. I remembered the opening scene of the novel Ali and Nino (first published in German in 1937 under the pseudonym Kurban Said), in which a geography teacher in Baku informs his class that "it is partly your responsibility as to whether our town should belong to progressive Europe or to reactionary Asia" (Said 1972: 1). Such exhortations are the stuff of which dramas and stories (including music histories) are made. To what extent, if at all, can people speak about their civilization with out opposing it to some "less civilized" configuration? Could we imagine a modern musical life from which representations of an exotic, pre-modern musicality had been expunged? Not as a viable project that might engage our energies, it would seem, even if the complaints voiced by musicians who have found themselves cast as exotic others were to elicit more sympa thetic responses than they have so far. -
Lietuvos Muzikologija 19.Indd
Lietuvos muzikologija, t. 19, 2018 Levon HAKOBIAN Cosmopolitan Nationalism under Moderate Totalitarianism: The Situation of Armenian Art Music in the 1970s and Early 1980s Kosmopolitiškas nacionalizmas saikingo totalitarizmo sąlygomis: XX a. 8–9-ojo dešimtmečio pradžios armėnų muzika State Institute for Art Studies, 5, Kozitsky pereulok, 125009 Moscow, Russia Email [email protected] Abstract The implications of Brezhnevian ‘stagnation’ for cultural development, particularly in Soviet Armenia, were mixed. For different reasons the period of the 1970s and early 1980s in Armenia turned out quite propitious for the development of refined art music. Its major adherents, having consciously distanced themselves from the obsolete nationalist paradigm represented by Khachaturian and his immediate followers, managed to combine strong feelings of national identity and attachment to the native tradition (especially to its more archaic strata) with full awareness of modern developments and sometimes with a really original, wholly individual approach to avant-garde techniques. Some of them, first of all Avet Terterian (1929–1994) and Tigran Mansurian (b. 1939), gained a certain international recognition and are considered national classics. For both, as well as for their lesser known colleagues, such as Martun Israelian (b. 1938), Ashot Zohrabian (b. 1945) and Yervand Yerkanian (b. 1951), the period in question was, perhaps, particularly happy and productive. Importantly, their works, though often sounding rather unconventional and showing no concessions to the dogmas of the ruling ideology, were never banned from performance or publication. Now, from the perspective of several decades later, the best of the Armenian art music of that short, but eventful epoch is perceived as a major and meaningful cultural achievement – indeed, as a voice of a highly cultivated community, though remote from main interna- tional centres, but by no means ‘provincial’ as regards to the professionalism of its representatives and the artistic importance of their oeuvre. -
100.Geburtstag
AUSGABE 1. 2018 100. GEBURTSTAG VON MIECZYSŁAW WEINBERG UND GALINA USTWOLSKAJA EDISON DENISSOW ALFRED SCHNITTKE AWET TERTERJAN INHALT / CONTENT Liebe Leserinnen, 03 / 27 liebe Leser, Edison Denissow 90. Geburtstag wahre Klassiker der Moderne sind die Hauptthemen unseres Magazins mit Geburts- und Gedenktagen 09 / 31 des Jahres 2019 und einer kleinen Vorschau auf Galina Ustwolskaja 2020. Farbig und schillernd sind die Klangwelten des 100. Geburtstag Russen Edison Denissow, der neben Alfred Schnittke 13/ 34 und Sofia Gubaidulina die Generation der Ära nach Mieczysław Weinberg Schostakowitsch in Russland markierte. Wir widmen 100. Geburtstag ihm ein ausführliches Porträt mit vielen interessan- ten Werkbesprechungen. 18/ 37 Alfred Schnittke 2019 gedenken wir Denissows 90. Geburtstags und zum 85. Geburtstag auch der 100. Geburtstage von Mieczysław Wein- 20 / 38 berg sowie der Petersburger Komponistin Galina Awet Terterjan Ustwolskaja, die beide mit Schostakowistch eine 25. Todestag enge Beziehung hatten. Weinbergs Opern stehen im Zentrum seines Schaffens. Ustwolskaja hingegen 23 / 40 gilt als vielleicht radikalste Avantgardistin Russlands News in der zweiten Hälfte des 20. Jahrhunderts. 24 Geburts- und Schließlich gibt es Beiträge zu Alfred Schnittke, Gedenktage 2019 jenem großen Klangpoeten Russlands und Schöpfers sogenannter polystilistischer Musik, sowie Awet 26 Terterjan, dessen Oper „Das Beben“ ein nachhaltiger Vorschau 2020 Erfolg war. Wir wünschen Ihnen eine spannende Lektüre und einen guten Start ins neue Jahr 2018, Dagmar Sikorski -
Curriculum Vitae
CURRICULUM VITAE Name Alexander V. IVASHKIN Citizenship: UK/ New Zealand Personal Website: www.alexanderivashkin.com Qualifications Degrees: M.Mus. [Distinction] Russian Music Academy, Moscow (cello, piano, historical musicology) D.M.A., Russian Music Academy Ph.D., Russian State Institute for Arts Studies, Moscow D.Mus (Higher Doctorate), Russian State Institute for Arts Studies Awards and grants: Bronze Medal at the International Competition in New York, 1994 Diapason D'Or Award, France, 1994 Georges Soros Foundation Grant, 1994 National Award of Excellence, for the achievements in performance, education and research, New Zealand, 1996 Eva Janzer Cello Society Award, from the Indiana University School of Music, USA, 1997 The International Recording Industry Award, 1999 Best CD in the last 5 years - Fanfare, USA, 2000. Best CD of the year, BBC Music Magazine, December 2001 The Leverhulme Trust Grant, UK, 2001 International Who is Who in Music, 2001 - British Academy Grant, UK, 2007, 2003 Russian Oil Company Lukoil Grant, Russia, 2003 Arts and Humanities Research Council Grant, UK, 2007, 2005 Best CD of the month, Gramophone, 2007. VTB Capital Bank Grant for The International Cello competition in London, 2008 Fine Violins Grant, for The International Cello Competition in London, 2009 J&A Beare Grant, for The International Cello Competition in London, 1 2009 Russian Government Grant, 2009 European Commission Grant, 2010 Pro Helvecia, Swiss Cultural Foundation Grant, 2011 Paul Sacher Foundation Grant, 2012 Languages English, Russian, German, French, Polish Appointments Goldsmiths College, University of London: Professor of Music; Chair of Performance Studies (1999 - ) Director, Performance/Research Centre for Russian Music (CRM); Chair of BMus Examinations; Head of Postgraduate Studies; The Curator, The Alfred Schnittke Archive (1999 -) The VTB Capital International Competition, London, Chairman (2009 -) External Examiner to the Royal Academy of Music, DMA and PhD performance students.