Pushkin Romances CD Book.Indd

Total Page:16

File Type:pdf, Size:1020Kb

Pushkin Romances CD Book.Indd P U S H K I N R o m a N c e S π & © 2009 Delos Productions, Inc. P.O. Box 343, Sonoma, California (5476-9998 Disc(s) Made in Canada. Assembled in the USA IVaRY ILJa PIANO www.delosmusic.com DE 3392 P U S H K I N R o m a N c e S 1 I Remember the Wonderful Moment / Ja pomnu chudnoe mgnovenie... Glinka ROMANCES TO POEMS BY aLeXaNDeR PUSHKIN 2 Declaration of Love / Priznanie Glinka DmITRI HVoRoSToVSKY baritone 3 The Fire of Longing Burns in my Blood / V krovi gorit ogon zhelania Glinka IVaRY ILJa PIANO 4 The Night Wind / Nochnoi Zefir Glinka 5 The Youth and the Maiden / Yunosha i deva Dargomyzhskiy 6 For the shores of thy far native land / Dla beregov otchizny dalnei Borodin 7 The Clouds Begin to Scatter / Redeet oblakov Rimsky-Korsakov 8 On The Hills of Georgia / Na kholmah Gruzii lezhit nochnaja mgla Rimsky-Korsakov 9 The Urn with Water Falling Down / Urnu s vodoi yroniv Kui 10 I Loved You / Ya vas ljubil Kui 11 Gone Are My Heart Desires / Ya perezhil svoi zhelania Medtner 12 Winter Evening (The Snowstorm Covers the Sky with Darkness) / Zimnii vecher (Buria Mglou nebo kroet) Medtner 13 To the Dreamer / Mechtatelu Medtner Produced by Tatiana Vinnitskaya for SVIP Production, Ltd Recorded at Great Hall of Moscow Conservatory, Russia, 9-14 September 2007 14 To the Fountain of Bakhchisarai Palace / Fontanu Bakhchisarajsogo dvortsa Vlasov Engineered by Oleg Ivanov, Andrey Myagkov, Dmitri Misailov Microphones: Holophone H2-Pro, Schoeps MK-2, Brauner VM-1 Interconnecting Monster Cable series Prolink 15 Nightingale / Solovei Tchaikovsky Console SSL AWS 900+ Editing & Mixing facilities at SVIP Studios, Moscow 16 Sing not to me, beautiful maiden / Ne poi, krasavitsa, pri mne Rachmaninov Edited by Dmitri Misailov Surround mix engineered by Tatiana Vinnitskaya 17 The forest drops his crimson dress / Ronjaet les bagrianiy svoi ubor Sviridov 5.1 Mastering, Stereo Mastering by Oleg Ivanov 1 2 D m I T R I H V o R o ST o VSKY IV a R I I I J a Internationally acclaimed Russian baritone performs with the world’s top orchestras, and Tallinn (Estonia) born Ivari Ilja studied the USA, Europe, Hong-Kong, Japan Dmitri Hvorostovsky was born and studied conductors such as James Levine, Bernard piano at the Tallinn State Conservatoire with and elsewhere. in Krasnoyarsk, Siberia. In 1989, he won Haitink, Claudio Abbado, Lorin Maazel, Zubin Professor Laine Mets and at the Moscow the prestigious Cardiff Singer of the World Mehta, Yuri Termikanov and Valery Gergiev. Tchaikovsky Conservatoire with Professor Ivari Ilja has also held solo recitals in France, Competition. From the start, audiences were Vera Gornostayeva and Professor Sergey United Kingdom, Germany, Estonia, Russia, bowled over by his cultivated voice, innate Dmitri retains a strong musical and personal Dorensky. Sweden, Finland and performed as a soloist sense of musical line and natural legato. After contact with Russia. He became the first opera with several symphony orchestras such as his Western operatic debut at the Nice Opera singer to give a solo concert with orchestra Ivari Ilja is an internationally recognized Estonian National Symphony Orchestra, in Tchaikovsky’s Pique Dame, his career and chorus on Red Square in Moscow; this accompanist and ensemble musician. the Moscow Symphony Orchestra, the St. exploded to take in regular engagements concert was televised in over 25 countries. His collaboration with renowned singers Petersburg Symphony Orchestra under at the world’s major opera houses and Dmitri has gone on to sing a number of Dmitri Hvorostovsky, Irina Arkhipova, Maria Veronika Dudarova, Stephen Gunzenhauser, appearances at renowned international prestigious concerts in Moscow as a part of Guleghina and Elena Zaremba has been Eri Klas, Leo Krämer, Theodore Kuchar, festivals, including the Royal Opera House, his own special series, ‘Dmitri Hvorostovsky particularly successful. Together they have Peeter Lilje, Roman Matsov, Andres Covent Garden, New York’s Metropolitan and Friends’. He has invited such celebrated performed on several concert stages of Mustonen, Hannu Norjanen, Vello Pähn, Urs Opera, the Paris Opera, the Bavarian State artists as Renee Fleming, Sumi Jo, Sondra the world, including Carnegie Hall, Alice Schneider and Arvo Volmer. As a soloist, Opera, the Salzburg Festival, the Teatro alla Radvonosky and Jonas Kaufmann. In 2005 Tully Hall, Avery Fisher Hall of New York, he has accompanied the Estonian National Scala Milan, the Vienna State Opera, and the he gave an historic tour throughout the cities The Kennedy Center of Washington, Davies Symphony Orchestra on several tours to Chicago Lyric Opera. of Russia at the invitation of President Putin, Symphony Hall San Francisco, La Scala in Germany, Sweden, Latvia and Lithuania. singing to crowds of hundreds of thousands Milan, Queen Elizabeth Hall and Wigmore Hall A celebrated recitalist in demand in every of people to commemorate the soldiers of the in London, the Bolshoi Theatre of Moscow, His repertoire mostly consists of romantic corner of the globe; from the Far East to the Second World War. the great halls of St. Peterburg Philharmonic music, primarily of the works by Frédéric Middle East, from Australia to South America, and Moscow Conservatory, Staatsoper Chopin, Johannes Brahms, Robert Schumann, Dmitri has appeared at such venues as Dmitri Hvorostovsky’s extensive discography Hamburg, Deutsche Oper Berlin, Suntory Hall but also Wolfgang Amadeus Mozart, Sergei Wigmore Hall, London; Queen’s Hall, Edinburgh; spans recitals and complete operas. He has of Tokyo, Musikverein of Vienna, Mozarteum Prokofiev, Benjamin Britten and others. Carnegie Hall, New York; the Teatro alla Scala, also starred in Don Giovanni Unmasked, an of Salzburg, Singapore concerts of IMG etc. Milan; the Tchaikovsky Conservatoire, Moscow; award-winning film (by Rhombus Media) the Liceu, Barcelona; the Suntory Hall, Tokyo; based on the Mozart opera, tackling the dual Since 2003, he has repeatedly toured with and the Musikverein, Vienna. He regularly roles of Don Giovanni and Leporello. great russian baritone Dmitri Hvorostovsky in 3 4 There is no figure in Russian culture better Korsakov’s Mozart and Salieri, The Tale on musical “translation”, filled with the most his output, which includes, among others, known and more admired then Alexander Tsar Saltan and The Golden Cockerel. The list beautiful melodies of great variety. Two of the opera Prince Igor, two completed Pushkin (1799-1837). A nobleman and a poet, can be continued. the romances on this disc belong to a cycle symphonies, two quartets and 17 diverse and he was exiled by the Tsar for his politically Farewell to Petersburg (12 songs, published in perfectly executed romances. charged poems, loathed by the court for his Pushkin’s poetry with its fleeting rhythms, 1840): The fire of longing burns in my blood sharp epigrams and widely read by Russian unique musicality, its picturesque scenes, (1838) and one of the greatest masterpieces The elegy For the shores of thy far native audiences of all social strata. He created emotional complexity and, most importantly, of Russian romance, I remember the land, with its beautiful melody full of the modern Russian language and modern its perfect pitch for a Russian speaking wonderful moment. restrained, almost unearthly sadness, is justly Russian literature. During his short, but language, was an ideal source for Russian considered the best of them. prolific creative life, which ended by a bullet romance (Russian equivalent of the German alexander Sergeevich Dargomyzhsky at a duel, he wrote numerous poems, dramas, Lied). It is impossible to find a Russian (1813-1869), who, on Glinka’s advice, left his Nikolay andreevich Rimsky-Korsakov novels, and fairy tales in verses. Many of composer, who would not put Pushkin’s job as a government bureaucrat and devoted (1844-1906), like Borodin, was one of the them would become a basis for the operas, poems on music. Some of these poems himself to composition, searched for more Mighty Five, the group of young Russian ballets, symphonic pieces and romances. inspired numerous musical interpretations. precise, naturalistic realization of the words composers, concerned with forming and in music. The results of this search are mostly advocating a distinctly Russian musical His gracious, beautifully (seems – effortlessly) This disc presents an almost chronological, transparent in his late opera The Stone style. He too began his musical career as crafted and deeply human verses had become though far from exhaustive, survey of songs Guest (on unchanged Pushkin’s text) and an amateur: following the family tradition, imprinted in memory and minds of millions written by Russian composers of the 19th and satirical songs. However, even in his earlier he became a navy officer. When he died, of Russians, in many ways forming the 20th century on Pushkin’s verses. lyrical romances (such as The Youth and however, he was admired as a highly consciousness and the soul of the nation. The Maiden), which because of their simple respected master-composer, author of mikhail Glinka (1804-1857) – the “father piano part and sincere, heartfelt song-like fifteen operas, the leader of the Petersburg No other writer had influenced Russian of Russian classical music”, the author of melodies often reminded Russian domestic school of composition, and the teacher of music as much as Pushkin. The diversity and the first Russian national opera (Life for romances, he was able to convey not only the such outstanding composers as Stravinsky, richness of his creative output were such that the Tsar, 1834-36), who knew Pushkin and atmosphere but also the specific intonation Liadov and Glazunov, among many others. a composer of any stylistic and ideological even planned to work with him on the opera of the words. Turning to Pushkin’s poems quite a few times, inclinations could find there a great source Ruslan and Lyudmila, captured better then he found there (especially in those, which for inspiration.
Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Three Poems on the Death of Pushkin
    STEPHANIE SANDLER THE LAW, THE BODY, AND THE BOOK: THREE POEMS ON THE DEATH OF PUSHKIN ... the Cheated Eye Shuts Arrogantly-in the Grave- Another way-to See- Emily Dickinson No fact of Alexander Pushkin's life or work was so important in constructing modern mythologies of Pushkin as his death. As a preliminary effort toward understanding those modern myths, I propose here to consider three nineteenth-century poems on Pushkin's death, all written soon thereafter. Mikhail Lermontov's "Smert' poeta" ("The Death of the Poet," 1837) de- fined Pushkin's death as an act of social violence and created a powerful discourse about Pushkin's death based on moral judgment. His definition itself constituted a symbolic act in Russian political and cultural life: "Smert' poeta" attained great authority for succeeding generations' writings about Pushkin's death and about the political context of his life. Less well-known accounts by Vasilii Zhukovskii and Countess Evdokiia Rostopchina will show more personal and strictly historical responses, foreshadowing the unorthodox responses of some of Pushkin's later readers. At the time of his death in a duel in 1837, Alexander Pushkin was admired as Russia's great national poet. Though his fame had declined during the 1830s, crowds who waited for news of the dying poet revealed how much Pushkin was loved and how pro- found was Russia's loss. The transformation of the death into tributes to his greatness began at once,l and Lermontov's "Smert' 1. For a survey of nineteenth-century poems about Pushkin, see R. V. Iezuitova, "Evoliutsiia obraza Pushkina v russkoi poezii XIX veka," Pushkin: Issledovaniia i materialy, 5 (1967), 113-39.
    [Show full text]
  • Russia's Foreign Policy Change and Continuity in National Identity
    Russia’s Foreign Policy Russia’s Foreign Policy Change and Continuity in National Identity Second Edition Andrei P. Tsygankov ROWMAN & LITTLEFIELD PUBLISHERS, INC. Lanham • Boulder • New York • Toronto • Plymouth, UK Published by Rowman & Littlefield Publishers, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.rowmanlittlefield.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2010 by Rowman & Littlefield Publishers, Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Tsygankov, Andrei P., 1964- Russia's foreign policy : change and continuity in national identity / Andrei P. Tsygankov. -- 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-7425-6752-8 (cloth : alk. paper) -- ISBN 978-0-7425-6753-5 (paper : alk. paper) -- ISBN 978-0-7425-6754-2 (electronic) 1. Russia (Federation)--Foreign relations. 2. Soviet Union--Foreign relations. 3. Great powers. 4. Russia (Federation)--Foreign relations--Western countries. 5. Western countries--Foreign relations--Russia (Federation) 6. Nationalism--Russia (Federation) 7. Social change--Russia (Federation) I. Title. DK510.764.T785 2010 327.47--dc22 2009049396 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America It is the eternal dispute between those who imagine the world to suit their policy, and those who arrange their policy to suit the realities of the world.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • INFORMATION to USERS the Quality of This Reproduction Is
    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 comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell &. Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE “ AFRICAN-ARISTOCRAT” : ALEXANDER S. PUSHKIN’ S DUAL POETIC PERSONA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State U niversity By Raquel Ginnette Greene, B.A., M.A.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • 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
    [Show full text]
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Russianness in the Works of European Composers Liudmila Kazantseva Department of Theory and History of Music Astrakhan State Concervatoire Astrakhan, Russia E-mail: [email protected] Abstract—For the practice of composing a conscious Russianness is seen more as an exotic). As one more reproduction of native or non-native national style is question I’ll name the ways and means of capturing Russian traditional. As the object of attention of European composers origin. are constantly featured national specificity of Russian culture. At the same time the “hit accuracy” ranges here from a Not turning further on the fan of questions that determine maximum of accuracy (as a rule, when finding a composer in the development of the problems of Russian as other- his native national culture) to a very distant resemblance. The national, let’s focus on only one of them: the reasons which out musical and musical reasons for reference to the Russian encourage European composers in one form or another to culture they are considered in the article. Analysis shows that turn to Russian culture and to make it the subject of a Russiannes is quite attractive for a foreign musicians. However creative image. the European masters are rather motivated by a desire to show, to indicate, to declare the Russianness than to comprehend, to II. THE OUT MUSICAL REASONS FOR REFERENCE TO THE go deep and to get used to it. RUSSIAN CULTURE Keywords—Russian music; Russianness; Western European In general, the reasons can be grouped as follows: out composers; style; polystyle; stylization; citation musical and musical.
    [Show full text]
  • St. Petersburg
    Maps Events Restaurants Cafés Nightlife Sightseeing Shopping Hotels St. Petersburg October - November 2014 Mellow Yellow Autumn beyond the city limits More than 10 years in Russia! Fine dining and great view Discover the world of Buddha-Bar inyourpocket.com N°97 Contents Where to eat 28 ESSENTIAL Restaurants in hotels 42 CIT Y GUIDES Nightlife 45 Foreword 4 What to see 48 The Essentials 48 In the News 5 Hermitage 49 Arrival & Getting Around 6 St. Petersburg’s historical outskirts 52 Old Soviet Tours 54 City Basics 8 Where to stay 55 Language 9 Interview with concierge 56 Culture & Events 10 Shopping 58 Concerts and festivals 10 Russian souvenirs 58 Russian rock 16 Live music clubs 18 Expat & Business 60 Exhibitions 20 The Expat Experience 60 Features Maps & Index St. Petersburg theatre life 22 City map 62 Krestovsky and Yelagin Islands 24 Street index 64 Historic dining 35 Metro map 67 Konyushennaya area 43 Moscow 65 0+ www.facebook.com/StPetersburgInYourPocket October - November 2014 3 Foreword In the News Across the meadows whirling blow The yellow leaves of fall; HAPPY UNITY DAY PETROVSKAYA AQUATORIA No verdure in the woodlands now, November 04 is Russia’s Day of Popular Unity. This national September is traditionally associated with education and The dark green pine is all. holiday is a new old holiday having been celebrated for knowledge so what better time to hold the grand open- Beneath the boulder’s hanging crest, the first time in 1649 and commemorates the victorious ing of the historical theatrical scale model “Petrovskaya St. Petersburg In YourESSENTIAL Pocket No more on beds of flowers uprising in 1612 by Minin and Pozharsky which ejected Aquatoria”? This new unique exhibition is dedicated to founded and publishedCI TbyY OOO GUIDES Krasnaya Shapka/In Your Pocket.
    [Show full text]
  • Private Musiksammlung Archiv CD/DVD
    Private Musiksammlung Aktualisierung am: 04.09.15 Archiv CD/DVD - Oper Sortierung nach: in CD - mp3 / DVD - MEGP- Formaten 1. Komponisten 2. Werk-Nummer (op.Zahl etc) TA und TR: Daten sind bei „alne“ vorhanden 3. Aufnahmejahr Auskünfte über Mail [email protected] Diese Datei erreichen Sie unter: T und TR: Daten sind bei „EO“ vorhanden http://www.euro-opera.de/T-TA-TR.pdf Auskünfte über Mail in Kürze auch unter: [email protected] http://www.cloud-de.de/~Alne_Musik/ Tagliaferri Tagliaferri Piscatore e Pusilleco - Luciano Pavarotti - - - - - - - - - n OS - 410015,1 Tagliaferri - - 01.01.1900 - W 0,046 - T- CD Tchaikowsky Der Kaufmann von - 2013 Bregenz Charles Workman - Magdalena Anna Erik Nielsen O - 18.07.2013 Oe 1 Hofmann - Christopher Ainslie - Jason 2208,01 André Tchaikowsky Venedig - Bridges - Kathryn Lewek - Juliusz (1935 - 1982) - Wiener Symphoniker 18.07.2013 - Kubiak - Verena Gunz - David Stout - Oper 1 - Keith Warner - Ashley Martin-Davis cda1311 T- M 4 3 CD Telemann Heilig, heilig ist Gott - 2004 Magdeburg Dorothee Fries - Martin Oro - Andreas Ulrich Stötzel Ch-O - 12.03.2004 DLR Berlin Post - Albrecht Pöhl - - - - - 407,01 Georg Philipp - Collegium vocale des Bach-Chores Telemann (1681 - - Hannoversche 24.03.2004 - Siegen - Hofkapelle TWV 2,06 - cda404 T- Dok 117 2 CD Telemann Unsterblicher - 2000 Magdeburg Sophie Daneman - Alison Hagley - Simon Preston O - 16.03.2000 DLR Berlin Rufus Müller - Paul Agnew - Roman 408,01 Georg Philipp Nachruhm Friedrich - Trekel - Colin Campbell - - - - Telemann (1681 - Augusts - verfaßt auf den Tod Augusts Orchestra of the Age 08.08.2000 - des Starken of Enlightenment TWV 4,07 - cda404 T- VHS-Audi 2 CD o Telemann Brockes-Passion - 2005 Paris Annette Dasch - Dietrich Henschel - René Jacobs O - 23.03.2005 Fr.
    [Show full text]