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RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No. -
Russian Piano Music Series, Vol. 13: Sergei Rachmaninov
Russian Piano Music Series, vol. 13: Sergei Rachmaninov Sergei Rachmaninov (1873-1943) 1 Etude-Tableau in A minor, Op. 39 No. 2 8:15 Moments Musicaux, Op. 16 31:21 2 No. 1 Andantino in B flat minor 8:50 3 No. 2 Allegretto in E flat minor 3:49 4 No. 3 Andante cantabile in B minor 4:42 5 No. 4 Presto in E minor 3:32 6 No. 5 Adagio sostenuto in D flat major 4:29 7 No. 6 Maestoso in C major 5:52 Piano Sonata No. 1 in D minor, Op. 28 40:20 8 I Allegro moderato 15:38 9 II Lento 9:34 10 III Allegro molto 15:06 total duration : 79:56 Alfonso Soldano piano Dedication I wish to dedicate this album to the great Italian pianist and professor Paola Bruni. Paola was a special friend, and there was no justice in her sad destiny; she was a superlative human being, deep, special and joyful always, as was her playing… everybody will miss you forever Paola! Alfonso Sergei Rachmaninov (1873-1943) “The Wanderer’s Illusions” by Rosellina de Bellis ".. What I try to do, when I write my music, is to say simply and directly what is in my heart when I compose. If there is love, or bitterness, or sadness, or religion, these moods become part of my music .. " The bitterness of the words spoken by Schubert about the connection between song and love, "... when I wanted to sing love it turned into pain, and if I wanted to sing pain, it became love; so both divide my soul.. -
Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr. -
Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler. -
Boston Symphony Orchestra Concert Programs, Summer, 1969
TANGLEWOQ ik O^r '^0k^s^\^^ , { >^ V BOSTON SYMPHONY ORCHESTRA 7 :ICH LEINSDORF Music Director v- '^vy^. 'vt 4j>*l li'?^ BERKSHIRE FESTimL Sometimes when a man has worked very hard and succeeded, he enjoys ordering things just because they're expensive. -''«4^. ^*fc.-' ri** ^itim YEARS OLD Johnnie Walker Black Label Scotch 12 YEAR OLD BLENDED SCOTCttJ^KY, 86.8 PROOF. IMPORTED BY SOMERSET IMMI^HtD., N.Y,, N.Y. vsPTm' CL'iPCLViay/^le i^ ^c^o<ym wia//idi ^yymxz'TtceA Btethoven Iwko^Swu SYMPHONY N0.4/LEONORE OVERTURE No. 2 IHI BOSTON SYMPHONY/ERICH LEINSDORF ^?^. PROKOFIEFF ^^I^M S^MPW Ifl. 7 ^^F^n Mn«( from ^^^^^^Hr ^^^^H ^^gpHH CORIOllN ROMEO AND ^k^^v -^^H \mi mnwi JULIET ^^k, <vT 4^R|| ^^^. ^^sifi ^RL'S^ BOSTON ^^T ^'%- flRK HiiHr n [[i^DORF, SYMPHONY ^^Lr- ..v^i^^^ ^^^^^^^^^B ^E^Hb # ERICH ^^B JH^^E^ LEINSDORF ^^PHj^^H|^ Conduclor 9SH|^V^^^^^K^^^^Bs . ^k }iiiMomi T^lH^B ^ Bfc/---^— LM/LSC-2969 LM/LSC-2994 LM/LSC-3006 Haydn BRHHins: svmPHonv no. 4 , ^ Symphony No. 93 ^m BOSTon svmPHonv orchestrii Symphony No. 96 ("Miracle") ERICH lEinSDORF ^t Boston Symphony Erich Leinsdorf, Conductor &L '^mlocmt(J§rc^f.i/m LSC-3030 LM/LSC-3010 Invite Erich Leinsdorf and the Boston Symphony Orchestra to your home ... transform a memory to a permanent possession! ncii RTA Distributors, Inc. (Exclusive Wholesale Distributor) • RTA Building • Albany, New York 12204 The gentle taste of Fundadoi^ PP^^^ ^ ^^^ ^^Y ^^ li^^ ^^ ^^^ ^^^^ISlA J'^^^^^T drinker. You raise the snifter to your lips. You have barely lived, yet life— :^"» you feel—has already passed you by. -
Scriabin (1872-1915) the Complete Piano Sonatas
ALEXANDER SCRIABIN (1872-1915) THE COMPLETE PIANO SONATAS SOMMCD 262-2 Peter Donohoe piano CD 1 [74:34] 1 – 4 Sonata No. 1 in F Minor, Op. 6 (1892) 23:58 5 – 6 Sonata No. 2 in G Sharp Minor, Op. 19, “Sonata-Fantasy” (1892-97) 12:10 7 – bl Sonata No. 3 in F Sharp Minor, Op. 23 (1897-98) 18:40 SCRIABIN bm – bn Sonata No. 4 in F Sharp Major, Op. 30 (1903) 7:40 bo Sonata No. 5, Op. 53 (1907) 12:05 THE COMPLETE CD 2 [65:51] 1 Sonata No. 6, Op. 62 (1911) 13:13 PIANO SONATAS 2 Sonata No. 7, Op. 64, “White Mass” (1911) 11:47 3 Sonata No. 8, Op. 66 (1912-13) 13:27 4 Sonata No. 9, Op. 68, “Black Mass” (1912-13) 7:52 5 Sonata No. 10, Op. 70 (1913) 12:59 6 Vers La Flamme, Op. 72 (1914) 6:29 TURNER Recorded live at the Turner Sims Concert Hall SIMS Southampton on 26-28 September 2014 and 2-4 May 2015 Recording Producer: Siva Oke ∙ Recording Engineer: Paul Arden-Taylor Peter Donohoe Front Cover: Peter Donohoe © Chris Cristodoulou Design & Layout: Andrew Giles piano DDD © & 2016 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Made in the EU SCRIABIN PIANO SONATAS DISC 1 [74:34] SONATA NO. 5, Op. 53 (1907) bo Allegro. Impetuoso. Con stravaganza – Languido – 12:05 SONATA NO. 1 in F Minor, Op. 6 (1892) [23:58] Presto con allegrezza 1 I. Allegro Con Fuoco 9:13 2 II. Crotchet=40 (Lento) 5:01 3 III. -
AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]). -
The a Lis Auth Szt P Hen Pian Ntic No T Cho Trad Opin Diti N an on Nd
THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 1 2 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION 3 4 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 5 Published in 2008 by Wensleydale Press ABN 30 628 090 446 165/137 Victoria Street, Ashfield NSW 2131 Tel +61 2 9799 4226 Email [email protected] Designed and printed in Australia by Wensleydale Press, Ashfield Copyright © Gerard Carter 2008 All rights reserved. This book is copyright. Except as permitted under the Copyright Act 1968 (for example, a fair dealing for the purposes of study, research, criticism or review) no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission. Enquiries should be made to the publisher. ISBN 978-0-9805441-2-1 This publication is sold and distributed on the understanding that the publisher and the author cannot guarantee that the contents of this publication are accurate, reliable, complete or up to date; they do not take responsibility for any loss or damage that happens as a result of using or relying on the contents of this publication and they are not giving advice in this publication. 6 7 8 CONTENTS Chapter 1: Introduction ... 11 Chapter 2: Chopin and Liszt as composers ...19 Chapter 3: Chopin and Liszt as pianists and teachers ... 29 Chapter 4: Chopin tradition through Mikuli ... 55 Chapter 5: Liszt tradition through Stavenhagen and Kellermann .. -
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia. -
Introduction the Works That Stand for the Time
Cambridge University Press 978-1-107-00914-1 - The Musical Work of Nadia Boulanger: Performing Past and Future Between the Wars Jeanice Brooks Excerpt More information Introduction The works that stand for the time On January 23, 1936, le Tout-Paris gathered for a concert at the count and countess de Beaumont’s luxurious salon on the rue Duroc. Étienne and Édith de Beaumont were well-known figures on the Parisian artistic scene, famous for hosting spectacular masked balls that often featured newly commissioned music. This concert was, in contrast, a more serious affair. A charity event for the worker relief programs of the Archbishop of Paris, it was conceived as a celebration of Epiphany, the revelation of Christ the son.1 The theme was the Nativity story, illustrated by tableaux vivants based on Byzantine, medieval and early modern religious art. The directors included the painter Marie Laurencin and the designer Christian Bérard; novelist Louise de Vilmorin provided original prose commentaries to gloss the biblical and liturgical citations announcing the scenes, which were acted by prominent figures of contemporary fashion, arts and letters (figure 0.1).2 While this kind of salon performance might be considered a largely irrelevant remnant of an earlier era – a nostalgic attempt to revive a world definitively destroyed by the Great War – it has long been recognized that in Parisian avant-garde musical circles, aristocratic patrons such as the Beaumonts were a major force throughout the interwar period. Private concerts could be part of a suite of activities that included organization or subvention of public concert series, commission of new works for public institutions, and other contributions to wider concert culture. -
View Russian Chamber Music Competition Schedule 2018
! Thank you for your participation! Please take a moment to read rules and etiquette guidelines on the next page. The 2018 competition will be held all day at: Mercer Island Presbyterian Church 3605 84th Ave. SE Mercer Island, WA 98040 on December 1st, 2018. Please PRINT this attachment and bring with you to see, hear and enjoy the miraculous playing of our wonderful young musicians. We look forward to seeing you! Please check in at the registration desk where you will receive a Certificate of Achievement. ! Welcome students, parents, teachers and Russian music lovers to the 2018 Russian Chamber Music Foundation of Seattle competition & festival! In this packet, you will see the room assignments, times and the name of the adjudicator. Some very important rules apply. Please be prepared prior to the competition so that your experience will be orderly, pleasant and efficient. ~ Dahae Cheong, competition coordinator & Dr. Natalya Ageyeva, founder & artistic director. 1. PLEASE ARRIVE 15 MINUTES TO 30 MINUTES PRIOR TO YOUR COMPETITION TIME. For example, if your time block starts at 10:30, you need to be in the building around 10 or 10:15. Rushing in from the cold is not a good idea. Please plan your trip and check the internet for any freeway or road closures. You can wait outside the doors to the judging room, but once your time block starts, you should be inside the room. There are no door monitors to find you or call you in. You may also choose to be outside if you don’t enjoy hearing others or if you need a little personal space, but please keep track of the order of the performers so that you do not miss your turn. -
The First Movements of Sergei Bortkiewicz's Two Piano Sonatas, Op. 9
THE FIRST MOVEMENTS OF SERGEI BORTKIEWICZ’S TWO PIANO SONATAS, OP. 9 AND OP. 60: A COMPARISON INCLUDING SCHENKERIAN ANALYSIS AND AN EXAMINATION OF CLASSICAL AND ROMANTIC INFLUENCES Yi Jing Chen, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2021 APPROVED: Gustavo Romero, Major Professor Timothy Jackson, Co-Major Professor Elvia Puccinelli, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Jaymee Haefner, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Chen, Yi Jing. The First Movements of Sergei Bortkiewicz’s Two Piano Sonatas, Op. 9 and Op. 60: A Comparison including Schenkerian Analysis and an Examination of Classical and Romantic Influences. Doctor of Musical Arts (Performance), August 2021, 79 pp., 1 figure, 47 musical examples, 1 appendix, bibliography, 57 titles. The purpose of this study is to analyze the first movements of Sergei Bortkiewicz’s two piano sonatas and compare them with works by other composers that may have served as compositional models. More specifically, the intention is to examine the role of the subdominant key in the recapitulation and trace possible inspirations and influences from the Classical and Romantic styles, including Mozart, Beethoven, and Schubert. The dissertation employs Schenkerian analysis to elucidate the structure of Bortkiewicz’s movements. In addition, the first movement of Mozart’s Piano Sonata K. 545, Beethoven’s Coriolan Overture, and the first movement of Schubert’s “Trout” Quintet in A, D. 667, are examined in order to illuminate the similarities and differences between the use of the subdominant recapitulation by these composers and Bortkiewicz.