DOCSLIB.ORG

12Pg BOOKLET 4-70)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
12Pg BOOKLET 4-70) DRD2008bklt12.qxd:3255bk16.qxd 2/11/11 3:49 PM Page 1 CYAN MAGENTA YELLOW BLACK 12pg BOOKLET FRONT 20th Century Russian Piano Music Vladimir Yurigin-Klevke, piano # b o Sofia Gubaidulina (1931–) Rodion Shchedrin (1932–) J 1 Ciaconna (1961) (11:33) 24 Preludes and Fugues for Piano (1964-70) 12 No. 10 in C-Sharp Minor (5:54) Arvo Pärt (1935–) 13 No. 12 in G-Sharp Minor (4:02) Partita (1965) 2 Toccatino – Fughetta (2:06) Kara Karayev (1918–1982) 3 Larghetto – Ostinato (4:53) 24 Preludes for Piano (1951-61) 14 No. 1 in C Major (1:23) Dmitri Shostakovich (1906–1975) 15 No. 2 in C Minor (1:30) 24 Preludes, Op. 34 (1932-33) 16 No. 3 in G Major (0:55) 4 No. 1 in C Major (1:28) 17 No. 5 in D Major (1:34) 5 No. 2 in A Minor (0:58) 18 No. 6 in D Minor (1:00) 6 No. 3 in G Major (2:17) 19 No. 8 in A Minor (2:49) 7 No. 10 in C-Sharp Minor (1:59) 20 No. 10 in E Minor (1:21) 8 No. 14 in E-Flat Minor (2:25) 21 No. 15 in D-Flat Major (1:16) 9 No. 16 in B Minor (1:01) 22 No. 19 in E-Flat Major (2:31) 10 No. 17 in A-Flat Major (1:51) 23 No. 23 in F Major (1:17) 11 No. 24 in D Minor (1:15) TOTAL PLAYING TIME: 57:45 Recording producer & engineer: Tatiana Vinnitskaya Recorded in Studio 5, State Radio, Moscow, Russia Mastering: Oleg Ivanov 7 W 2011 Delos Productions, Inc., P.O. Box 343 Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 Disc Made in Canada • Assembled in USA www.delosmusic.com Pg. 12 Pg. 1 DRD2008bklt12.qxd:3255bk16.qxd 2/11/11 3:49 PM Page 2 BLACK 12pg BOOKLET Sofia Gubaidulina was first tested in the cantatas written in the Ciaconna in B Minor, 1961 late 1960s — Night in Memphis and Rubayat. Also Available on Delos In the 1970s, the technique of musical devel- While women poets have been known since opment employing polar contrasts became a Russian Romances # ancient times, women composers have been permanent feature of Gubaidulina’s personal b o a rarity in European culture up to the 20th style. This contrasting dramatic thinking thus Arax Davtian, soprano J century. The talent and professional mastery asserts a new and most significant stage in Vladimir Yurigin-Klevke, piano of Sofia Gubaidulina are undisputed; her the composer’s stylistic evolution. music has won renown in her own country Gubaidulina's creative works are in DRD 2007 (DDD) and internationally. Her works are notable many ways a reflection of the universal char- for a broad, sweeping, large-scale character; acter of the present-day creative process, an Music of her style is distinguished by a high artistic intensive interpenetration of various cultures temperament and will power. In her creative and, as a result, a clearly delineated aware- GLINKA career several periods can be singled out. The ness of typically national features in every DARGOMYZHSKIY earlier period is characterized by the devel- national art, and a striving to contribute the TCHAIKOVSKY opment of polyphonic technique and a skill wealth of one’s own national culture to RACHMANINOFF in building larger musical forms (“Ciaconna” world culture. Employed by Gubaidulina, for piano solo). Impulsive rhythms combined this tendency found its expression in a syn- “one of the most beautiful, honest and with a somewhat dry and hard texture thetic merging of several artistic notions touching recordings of these Russian became a hallmark of this composer’s per- characteristic of the East and the West. This musical gems” Constantine Orbelian sonal style. The creation of her individual merging melds together the dynamic charac- manner required an overcoming of tonal ter of musical development and the emotion- Arax Davtian (1949-2010), People’s Artist of Armenia, was often called Armenia’s asceticism and unfolding rich inner resources al and intellectual activity characteristic of of musical sound. Gubaidulina emerged as the West with an Eastern spontaneity, impro- greatest soprano. She recorded this choice collection for Russian Disc in 1994, at the one of those composers of the 1960s who visational basis, ability for self-development, urging of Constantine Orbelian, who conducted many performances and tours featur- made an energetic contribution in the renew- and a purely Eastern subtle, somewhat ing Arax with the Moscow Chamber Orchestra. Constantine writes in his memorial al of the “musical fabric,” saturating it with sophisticated coloristic timbre. In this very tribute to Arax that when he first heard her sing he was taken with “her crystal clear new fresh timbres, intonations, and methods profound and organic synthesis, the oriental voice, pinpoint intonation, beautiful phrasing and line,” and goes on to say that “Arax of instrumental playing. As the years passed, aspect loses its exotic tint to bring out a was blessed with the rarest of all gifts: truth and sincerity in art.” her music adopted one more dimension — philosophical background filled with deep that of expressing a struggle of contrasting psychological meaning. sources characteristic of the European classi- The oriental features, easily discernible in cal tradition. This type of musical structure Gubaidulina’s works, can be identified in the 2 11 Pg. 2 Pg. 11 DRD2008bklt12.qxd:3255bk16.qxd 2/11/11 3:49 PM Page 3 BLACK 12pg BOOKLET in a recording of Russian romances, origi- choice of thematic material, as in the cantatas them in the literature and art of various nally on Russian Disc and now available on — Night in Memphis, based on ancient countries and epochs, in ancient Egyptian Delos (DRD 2007). A highlight in his work Egyptian lyric poetry and Rubayat, based on poetry, in the verses of the 14th century with singers was his appearance with verse by oriental poets — Khayam, Khafiz, Persian poet Khafiz and in the works of the # Khakhani. It also prevails in the pieces for 17th century Czech thinker and humanist Jan b world-renowned tenor Nikolai Gedda in o J 1994 in St. Petersburg. three-string dombras On Tatar Folklore, in the Amos Komensky. However, her music is liking for decorative-type melodics, and intro- directed to present-day reality and people. Vladimir’s extensive touring schedule has duction of oriental musical instruments alien The force of present-day life is presented as a extended to concerts and recitals internation- to the European tradition. Simultaneously, the novelty and a turn toward the future. Her ally, including Russia, Bulgaria, France, signs of Western culture are conspicuous as creative art is an accumulation of the most Germany, USA, Colombia, Costa Rica and well. Gubaidulina’s music is distinguished by important movements in the cultural devel- Spain. He has also been a regular participant the lyricism of her use of percussion, with the opment of the 20th century and presents a in international chamber music festivals. softest tones acquiring a special importance in highly interesting object for studying the Since 1994, he has collaborated with the well- the temple-blocks, and in its fine fragility — in multiple connections between an artist and known international charity program “New the piano strokes of the cymbals, the lyrical his epoch. Names,” which attracts the most talented dolce derived from the dance tambourine. children of Russia. The personality of a performer occupies Arvo Pärt — Partita a special place in Gubaidulina’s creative art. In the process of composition, she ori- In 1980, the composer left the USSR, and in ents herself towards a certain type of cre- conformity with the “tradition” of the time, ative individual, scrupulously examining his compositions were struck from the con- his personal manner of playing, the way he cert programs in his country and from musi- acts on the stage, his gestures and move- cological studies. Yet, in the West, where abroad, including the Royal Academy of ments. A portrait of the performer is Arvo Pärt settled after he left the USSR (first Music in London, and have themselves been embodied in nearly all of her works. in Vienna and then in Berlin) he is still con- active in piano competitions. Gubaidulina continuously cultivates the sidered a Soviet composer. non-tempered musical “space.” Glissando, Arvo Pärt’s creative potential manifested Also noteworthy is Vladimir’s work with such a favorite of hers, is nothing so much itself already during his years in the Tallinn singers, among them leading soloists of the as the cultivation of the new micro-interval Conservatory where he studied under Heino Bolshoi Theatre‚ such as soprano Bella sphere of later European harmony. Eller and from which he graduated in 1963. Rudenko, bass Alexander Vedernikov, and Gubaidulina is attracted by the eternal He earned his first public renown with his bass Arthur Eisen. He collaborated with the themes of art and human life, like good and piano compositions — two sonatinas and the late, great Armenian soprano Arax Davtian evil, life and death, moral duty. She finds Partita (1958-1959). They are neoclassical in 10 3 Pg. 10 Pg. 3 DRD2008bklt12.qxd:3255bk16.qxd 2/11/11 3:49 PM Page 4 BLACK 12pg BOOKLET style, revealing, however, some individual feature of Pärt’s creative aspirations — his established formula of utterance used to this repertoire continued to ripen as he per- features of the composer’s personal manner interest in liturgical genres and sacred texts work out the main idea is preserved formed the music of many contemporary — a comparative intonational rigidity, a which is fully revealed in his later works.
Load more

Recommended publications
  • Toccata Classics Cds Are Also Available in the Shops and Can Be Ordered from Our Distributors Around the World, a List of Whom Can Be Found At
    Recorded in the Great Hall of the Moscow Conservatoire on 25–27 June 2013 Recording engineers: Maria Soboleva (Piano Concerto) and Pavel Lavrenenkov (Cello Concerto) Booklet essays by Anastasia Belina and Malcolm MacDonald Design and layout: Paul Brooks, [email protected] Executive producer: Martin Anderson TOCC 0219 © 2014, Toccata Classics, London P 2014, Toccata Classics, London Come and explore unknown music with us by joining the Toccata Discovery Club. Membership brings you two free CDs, big discounts on all Toccata Classics recordings and Toccata Press books, early ordering on all Toccata releases and a host of other benefits, for a modest annual fee of £20. You start saving as soon as you join. You can sign up online at the Toccata Classics website at www.toccataclassics.com. Toccata Classics CDs are also available in the shops and can be ordered from our distributors around the world, a list of whom can be found at www.toccataclassics.com. If we have no representation in your country, please contact: Toccata Classics, 16 Dalkeith Court, Vincent Street, London SW1P 4HH, UK Tel: +44/0 207 821 5020 E-mail: [email protected] A student of Ferdinand Leitner in Salzburg and Leonard Bernstein and Seiji Ozawa at Tanglewood, Hobart Earle studied conducting at the Academy of Music in Vienna; received a performer’s diploma in IGOR RAYKHELSON: clarinet from Trinity College of Music, London; and is a magna cum laude graduate of Princeton University, where he studied composition with Milton Babbitt, Edward Cone, Paul Lansky and Claudio Spies. In 2007 ORCHESTRAL MUSIC, VOLUME THREE he was awarded the title of Honorary Professor of the Academy of Music in Odessa.
    [Show full text]
  • AN INTERVIEW with RODION SHCHEDRIN by John Stuhr-Rommereim
    · ........................................................................ AN INTERVIEW WITH RODION SHCHEDRIN by John Stuhr-Rommereim ORN IN MOSCOW, SHCHEDRIN GREW He has received many prestigious commissions, up in a musical family; his father was a including a request from the New York composer and teacher of music theory. Philharmonic in 1968 in honor of the orchestra's Shchedrin studied at the Moscow Choral 125th anniversary. He continues to receive frequent School and graduated from the Moscow commissions from all over the globe. Conservatory in 1955 where he studied Shchedrin succeeded Dmitri Shostakovich as head composition and piano. He began composing of the Union of Russian Composers. Shostakovich large works while in his early 20s, often using founded the union in 1948 as an alternative to the traditional Russian tales as his subject. Shchedrin has official Union of Soviet Composers. Shchedrin taken many classics from Russian literature and resigned in 1988, believing that it was no longer given them life on the musical necessary to have the two stage: his opera, The Dead unions. "We needed to do Souls, is taken from Gogol; away with them. The whole his ballet, Anna Karenina, is structure was thought up from the well-known novel by under Stalin, and it was Tolstoy; and he used the basically a way to make sure writings of Chekhov for his everybody stayed within the ballets The Seagull and The approved limits . We Lady with the Lapdog. don't need that anymore." Shchedrin's wife, the ballerina The career of composer Maya Plisetskaya, has danced Rodion Shchedrin reflects the the lead in many of his recent changes in the Soviet ballets.
    [Show full text]
  • Armenian Voices Biog
    ARMENIAN VOICES A warm breeze from the Caucasus ARMENIAN VOICES is an A Capella group who derive their heritage from the internationally acclaimed, award-winning Hover Chamber Choir of Armenia. The seven member group, all members of the larger Hover Choir, are led by their artistic director and conductor, Sona Hovhanisyan, who studied at the Komitas National Conservatory and founded the choir in 1992. Both ancient and new music from the Armenian nation has been a very well-kept secret which Armenian Voices explores, inviting the listener to share in the wealth of treasure it beholds. ……the tale began over twenty years ago, and continues to evolve...... this youthful, musically progressive Chamber choir are mainly graduates of the Komitas National Conservatory in Yerevan, Armenia. They are a musical ambassador for Armenia and Armenian music. In May 2010, Valery Gergiev invited Hover to participate in four concerts at the IX Moscow Easter Festival; in October they were chosen to perform in the Polyfollia Choral Festival, France - a world showcase for choirs and choral ensembles, encouraging choirs of excellence who focus on musical creativity and stage presence. The year closed with a magical evening at Eglise St-Eustache, Paris performing with superlative Indian percussionist Trilok Gurtu - combining sacred Armenian voices with subtle Indian Percussion. In 2009, two productions were staged: The first, The Parallel by composer, Anna Azizyan took two years of dedication with the mission to extend the borders of the choral music genre. The performance is an assemble of texts - L'Oiseau Bleu by Maurice Maeterlinck, Through the Looking- Glass by Lewis Carroll, Odyssey by Homer, The Little Prince by Antoine de Saint-Exupéry and Gulliver's Travels by Jonathan Swift.
    [Show full text]
  • Longing in Lolita Emily Aucompaugh Submitted for Honors in English the University at Albany, SUNY Directed by Helen Elam (Date)
    To Speak Ghosts and See Echoes: Longing in Lolita Emily Aucompaugh Submitted for Honors in English The University at Albany, SUNY Directed by Helen Elam (Date) Chapter 1: Echoes and Ghosts A while ago, when I knew only that I wished to write something about Lolita, a friend sent me an internet article titled, “How Lolita seduces us all.” The author argues that the success of Vladimir Nabokov’s novel derives foremost from the “tiny Humbert’s” the text creates out of readers who avail themselves “of morally troubling pleasure.” Admittedly, when it comes to a novel like Lolita, which explores the extreme taboo of a middle-aged intellect in a sexual relationship with his twelve-year-old stepdaughter, the plot often tempts the reader to measure his or her own moral standing based on the degree to which they sympathize with Humbert Humbert and enjoy his story. Of course, examining the moral implications of the text in relation to one’s own empathetic response to a murderous pedophile is an important, indeed a necessary, component when analyzing a text such as Lolita. I remember reading the novel in my freshman year of college, and making the mistake of stating to one of my English professors that I liked Humbert Humbert. She without hesitation corrected my assertion by distancing me from my emotional response. With a slight sneer of disgust, she said, “You don’t like Humbert. You mean he interests you.” I did not mean then, and do not mean now, that Humbert merely interested me, like a spectacle to be observed only through the scientific lens of a biologist.
    [Show full text]
  • *!0E1I8I-Fbeeci! 2L-063-SACD Made in Norway 20©10 Lindberg Lyd AS the Year Is 1965
    POLYPHONIC DIALOGUES 1 Shchedrin: Basso Ostinato 4:30 2-3 Shchedrin: P & F No. 1 in C major 0:37 / 1:40 4-5 Shchedrin: P & F No. 2 in A minor 0:46 / 3:28 Dmitri Shostakovich (1906-1975) 6-7 Shostakovich: P & F No. 2 in A minor 0:59 / 1:31 From 24 Preludes and Fugues Op. 87 8-9 Shostakovich: P & F No. 4 in E minor 2:53 / 5:02 No. 2, 4, 5, 7, 12, 15 10-11 Shchedrin: P & F No. 3 in G major 1:14 / 2:16 12-13 Shchedrin: P & F No. 7 in A major 0:31 / 2:02 POLYPHONIC DIALOGUES Rodion Shchedrin (*1932) 14-15 Shostakovich: P & F No. 5 in D major 1:45 / 1:49 Shostakovich | Shchedrin From Two Polyphonic Pieces (1961) 16-17 Shostakovich: P & F No. 7 in A major 1:34 / 2:43 No. 2: Basso Ostinato 18-19 Shchedrin: P & F No. 8 in F sharp minor 1:14 / 2:14 From 24 Preludes and Fugues (1964/70) 20-21 Shchedrin: P & F No. 10 in C sharp minor 2:01 / 1:56 No. 1, 2, 3, 7, 8, 10, 14, 19 22-23 Shostakovich: P & F No. 12 in G sharp minor 4:54 / 3:52 From 25 Polyphonic Preludes (1972) 24-25 Shostakovich: P & F No. 15 in D flat major 3:06 / 1:59 (Polyphonic Notebook) No. 12: Toccatina-Collage 26-27 Shchedrin: P & F No. 14 in E flat minor 0:41 / 2:37 28-29 Shchedrin: P & F No.
    [Show full text]
  • Carmen & Vivaldi
    CARMEN & VIVALDI Zachary Schwartzman conductor Saturday, March 20, 2021 Performance # 164 Season 6, Concert 12 Livestreamed from the Fisher Center at Bard Sosnoff Theater SIGN UP FOR TŌN EMAIL by clicking here INSPIRE GREATNESS by making a donation at theorchestranow.org/support TABLE OF CONTENTS 4 CONCERT QUICK GUIDE 23 THE ADMINISTRATION 5 THE MUSIC 24 ABOUT BARD COLLEGE 6 ANTONIO VIVALDI CONCERTO FOR STRINGS IN G MINOR, RV 156 7 FRANK MARTIN PETITE SYMPHONIE CONCERTANTE 8 ARVO PÄRT CANTUS IN MEMORY OF BENJAMIN BRITTEN 9 RODION SHCHEDRIN CARMEN SUITE (AFTER BIZET’S OPERA) 10 THE ARTISTS 11 ZACHARY SCHWARTZMAN conductor 12 FRANK CORLISS piano 13 TAYLOR ANN FLESHMAN TŌN ’22 harp 14 RENÉE ANNE LOUPRETTE harpsichord 15 ARVO PÄRT composer 16 RODION SHCHEDRIN composer 17 THE ORCHESTRA NOW 19 SER KONVALIN horn 20 CHARLES GILLETTE percussion 21 SUPPORT TŌN Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social 22 THE TŌN FUND DONORS distance. Musicians sharing a music stand also share a home. Concert Quick Guide The Music The Artists ™ Support TŌN CONCERT QUICK GUIDE The TŌN Fund Donors The Administration About Bard College ZACHARY SCHWARTZMAN conductor CONCERT TIMELINE 1 hour and 40 minutes Petite symphonie Concerto concertante Cantus Carmen Suite 6 min 21 min 6 min 42 min Brief remarks by Ser Konvalin horn ANTONIO VIVALDI Born 3/4/1678 in Venice, Italy Died 7/27 or 28/1741 at age 63 in Vienna CONCERTO FOR STRINGS IN G MINOR,
    [Show full text]
  • Rodion Shchedrin - Biography
    Rodion Shchedrin - Biography - The Russian composer Rodion Shchedrin, born in Moscow on 16 December 1932, began his musical career as a singer in the choir school of that city. He studied composition at the Moscow Conservatory with Yuri A. Shaporin and piano with Yakov Flier. Shchedrin belongs to those Rus- sian composers whose works are most obviously related to the traditions of the past generation - to Prokofiev and Shostakovich. At the same time, the composer‘s extensive production reflects an openness and constant search for new possibilities of artistic expression. With Shchedrin, tradition and modernism are held in balance in a unique way. His joy of experimentation leads to the fact that opposing genres, differing stylistic directions and varied compositional techniques stand next to each other. The cheeky Russian joke tune "Chastushka“ finds its place beside twelve-tone music, polyphonic writing can be just as readily found as jazz and avant-garde technique, Western European music tradition is combined with elements of Russian folk song. Spontaneity and versatility, aural imagination and solid construc- tivist thinking mark Shchedrin‘s works. Rodion Shchedrin‘s "Carmen Suite,“ an ingenious adaptation of the operatic model by George Bizet for strings and percussion, meanwhile belongs to the most frequently performed ballet suites of the twentieth century. In this work, the "composer“ Rodion Shchedrin reveals himself as, above all, a refined practical musician, orchestrator and arranger. The "Carmen Suite,“ written in 1967, received its premiere at the Bolshoi Theatre, as did the 1971 ballet music "Anna Kareni- na“, written for his wife Maya Plisetskaya, "The Seagull“ (1979) and "The Lady with the Lapdog“ (1985).
    [Show full text]
  • The Prokofiev Marathon Valery Gergiev Munich Philharmonic
    THE PROKOFIEV MARATHON VALERY GERGIEV MUNICH PHILHARMONIC MARIINSKY ORCHESTRA THE PROKOFIEV MARATHON VALERY GERGIEV MARIINSKY ORCHESTRA MUNICH PHILHARMONIC For the beginning of his music directorship of the Munich Philharmonic Maestro Gergiev has chosen to complement the Prokofiev concertos Valery Gergiev came up with a truly special event: A one day Prokofiev with a wide spectrum of works by Haydn, Mozart, Weber, Reger, marathon with all five piano concertos. JoiningG ergiev, arguably today’s Shchedrin and clarinettist-composer Jörg Widmann. “A miracle leading conductor for works by Prokofiev, and his Munich orchestra was occurred in Mozart’s Clarinet Concerto,” wrote the Süddeutsche his Mariinsky Orchestra from St. Petersburg as well as five outstanding Zeitung, “performed by Jörg Widmann with such insight into its essence pianists, Herbert Schuch, Denis Matsuev, Behzod Abduraimov, and structure that he might have composed it himself. And the Munich Alexei Volodin and Olli Mustonen. Each of these virtuosos performs Philharmonic, of whom Gergiev has been chief conductor for just two one of Prokofiev’s five piano concertos, and, “not least because the months, played as if enchanted by their good fortune.” interpretations were so varied,” observed Munich’s Süddeutsche Zeitung, “the result was a highly revealing Prokofiev portrait.” PART I PART II HERBERT SCHUCH, Piano DENIS MATSUEV, Piano MARIINSKY ORCHESTRA MARIINSKY ORCHESTRA (Cat. no. A055505170000 – Length: approx. 80') (Cat. no. A055505180000 – Length: approx. 70') SERGEI PROKOFIEV SERGEI PROKOFIEV Piano Concerto No. 1 in D flat major, Op. 10 Piano Concerto No. 2 in G minor, Op. 16 further programme: further programme: SERGEI PROKOFIEV CARL MARIA VON WEBER Symphony No.
    [Show full text]
  • Concerto for Orchestra No. 1, Naughty Limericks Rodion Shchedrin
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Concerto for Orchestra No. 1, Naughty Limericks Rodion Shchedrin odion Shchedrin became an import- Dmitri Shostakovich Prize (1993), and outside Rant figure in Russian music not only his homeland he had been granted honor- through his compositions but also through ary membership in the International Music his involvement in the complicated politics Council (1985), corresponding memberships of the Soviet musical establishment. As ear- in the Bavarian Academy of Fine Arts (1976) ly as 1955, the year he graduated from the and Academy of Fine Arts of the German Moscow Conservatory, he was advocating Democratic Republic (1983), and member- for the government to loosen restrictions ship in the Berlin Academy of the Arts (1989). on performing such essential composers as More recent entries in his roster of awards Mahler, Debussy, and Ravel. Although he include the Russian Federation State Order managed to avoid joining the Communist (2002) and the Russian State Order 2nd Class Party, he negotiated a course that inspired “for services to his country” (2007), as well necessary reforms without being so strident as honorary professorships at the St. Peters- that his voice would be silenced. In 1973 he burg Conservatory (2005) and Beijing’s Cen- succeeded Dmitri Shostakovich as chairman tral Conservatory of Music (2008) and such of the Composers’ Union of the Russian Fed- recording awards as Germany’s Echo Klassik eration, a post he held until 1990. (2008) and Russia’s Golden Mask (2009). By that time cracks were widening in the Shchedrin’s compositions cover a remark- Soviet political hierarchy and Shchedrin be- able range of musical styles, drawing inspira- came active in the perestroika movement.
    [Show full text]
  • RODION SHCHEDRIN, PIANO Cassadó International Cello Competition in Florence
    NI 5831 Raphael Wallfi sch is one of the most celebrated cellists performing on the international stage. He was born in London into a family of distinguished musicians, his mother the cellist Anita Lasker-Wallfi sch and his father the pianist Peter Wallfi sch. At an early age, Raphael was greatly inspired by hearing Zara SHCHEDRIN Nelsova play. He was subsequently guided by a succession of fi ne teachers including Amaryllis Fleming, Amadeo Baldovino, Derek Simpson and the great RAPHAEL WALLFISCH, CELLO Russian cellist Gregor Piatigorsky. At the age of twenty-four he won the Gaspar RODION SHCHEDRIN, PIANO Cassadó International Cello Competition in Florence. Since then he has enjoyed a world-wide career playing. Teaching is one of Raphael Wallfi sch’s passions. He is in demand as a teacher all over the world holding the position of professor of cello in Switzerland at the Zürich Winterthur Konservatorium and in Germany at the Hochschule Mainz. Raphael has recorded nearly every major work for his instrument. His extensive discography on EMI, Chandos, Black Box, ASV, Naxos and Nimbus explores both the mainstream concerto repertoire and countless lesser-known works by Dohnanyi, Respighi, Barber, Hindemith and Martinu, as well as Richard Strauss, Dvorak, Kabalevsky and Khachaturian. He has recorded a wide range of British cello concertos, including works by MacMillan, Finzi, Delius, Bax, Bliss, Britten, Moeran, Walton and Kenneth Leighton. Britain’s leading composers have worked closely with Raphael Wallfi sch, many having written works especially for him. These include Sir Peter Maxwell Davies, Kenneth Leighton, James MacMillan, John Metcalf, Robert Simpson, Robert Saxton, Roger Smalley, Giles Swayne, John Tavener and Adrian Williams.
    [Show full text]
  • Symphony Sounds
    Symphony Sounds April, 2018 51st Season, Number 4 Terri Zinkiewicz Peninsula Symphony Concert The April 29 Concert Is Fast Approaching Sunday, April 29, 2018, at 7:00 PM It’s springtime, and that means it is time for the Peninsula Symphony’s next concert. Music Redondo Union High School Auditorium Director Gary Berkson has titled this concert A 222 North Pacific Coast Highway Redondo Beach, CA 90277 House Divided because he essentially split the orchestra into two groups: winds and strings. A HOUSE DIVIDED The first musical selection is for just wind instruments, while the second is for just strings and percussion. Hence, the orchestra has been “divided.” Händel Music for the Royal Fireworks (original version for winds), HWV 351 This edition of Symphony Sounds includes photos from the February 2018 concert and recent events, including the finals of the Edith Shchedrin Carmen Suite for Knox Young Artists Performance Competition, strings and percussion short previews of the two pieces and composers to be featured in the April 29 concert and other articles. We look forward to greeting you at the Concert Details Redondo Union High School Auditorium on April Doors open at 6:00 PM. Center-section seating 29. Remember that in addition to listening to reserved for Patron and higher members. Gary Berkson’s pre-concert lecture, you are also invited to remain in the auditorium after the Pre-concert lecture by Music Director Gary concert to join in informal conversation with Berkson begins at 6:15 PM for Symphony Berkson. Association members. The general public will be admitted at approximately 6:50 PM.
    [Show full text]
  • Rodion Shchedrin Concerto for Orchestra No. 1, Naughty Limericks Rodion Shchedrin Was Born in Moscow in 1932
    Rodion Shchedrin Concerto for Orchestra No. 1, Naughty Limericks Rodion Shchedrin was born in Moscow in 1932. He composed this work in 1963, and it was first performed in Warsaw by the USSR Radio and Television Large Symphony Orchestra under the direction of Gennady Rozhdestvensky the same year. The score calls for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, timpani, percussion, harp, piano, and strings. The death of Stalin did not immediately liberate Soviet composers, though many did breathe a little easier. Shchedrin came of age while Stalin was the lethal enforcer of artistic taste, but graduated from the Moscow Conservatory shortly after the dictator died. His early career rode the usual Soviet roller coaster of disapproval and approbation, but as the Soviet Union gradually opened up—and ultimately fell—his eclectic style gained both critical approval and official sanction. In later years he became part of the establishment itself, succeeding Shostakovich as the chairman of the Composers’ Union of Russia. His works are now played all over the world. The Russian title of this work—Ozornïye Chastushki—defies literal translation. It has been rendered variously as Mischievous Folk Ditties and Naughty Limericks, and the latter has stuck to it even though it’s a distant approximation at best. Shchedrin himself explained it this way: “In a chastushka there is always humor, irony, and a sharp satire of the status quo, its defenders and the ‘leaders of the people.’ Even such powerful or dreaded names as Marx, Lenin, and Stalin have been ridiculed in chastushki.
    [Show full text]