Miki Aoki – Biography
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rus «Как дуб вырастает из желудя, так и вся русская симфоническая музыка повела свое начало из “Камаринской” Глинки», – писал П.И. Чайковский. Основоположник русской национальной композиторской школы Михаил Иванович Глинка с детства любил оркестр и предпочитал сим- фоническую музыку всякой другой (оркестром из крепостных музы- кантов владел дядя будущего композитора, живший неподалеку от его родового имения Новоспасское). Первые пробы пера в оркестро- вой музыке относятся к первой половине 1820-х гг.; уже в них юный композитор уходит от инструментального озвучивания популярных песен и танцев в духе «бальной музыки» того времени, но ориентируясь на образцы высокого классицизма, стремится освоить форму увертюры и симфонии с использованием народно-песенного материала. Эти опыты, многие из которых остались незаконченными, были для Глинки лишь учебными «эскизами», но они сыграли важную роль в формирова- нии его композиторского стиля. 7 rus rus Уже в увертюрах и балетных фрагментах опер «Жизнь за царя» (1836) Александр Сергеевич Даргомыжский был младшим современником и «Руслан и Людмила» (1842) Глинка демонстрирует блестящее вла- и последователем Глинки в деле становления и развития русской про- дение оркестровым письмом. Особенно характерна в этом отноше- фессиональной музыкальной культуры. На репетициях «Жизни за царя» нии увертюра к «Руслану»: поистине моцартовская динамичность, он познакомился с автором оперы; сам Глинка, отметив выдающиеся «солнечный» жизнерадостный тонус (по словам автора, она «летит музыкальные способности юноши, передал ему свои тетради музыкаль- на всех парусах») сочетается в ней с интенсивнейшим мотивно- ных упражнений, над которыми работал вместе с немецким теоретиком тематическим развитием. Как и «Восточные танцы» из IV действия, Зигфридом Деном. Даргомыжский известен, прежде всего, как оперный она превратилась в яркий концертный номер. Но к подлинному сим- и вокальный композитор; между тем оркестровое творчество по-своему фоническому творчеству Глинка обратился лишь в последнее десяти- отражает его композиторскую индивидуальность. -
On Russian Music Might Win It
37509_u01.qxd 5/19/08 4:04 PM Page 27 1 Some Thoughts on the History and Historiography of Russian Music A preliminary version of this chapter was read as a paper in a symposium or- ganized by Malcolm H. Brown on “Fifty Years of American Research in Slavic Music,” given at the fiftieth national meeting of the American Musicological Society, on 27 October 1984. The other participants in the symposium and their topics were Barbara Krader (Slavic Ethnic Musics), Milos Velimirovic (Slavic Church Music), Malcolm H. Brown (Russian Music—What Has Been Done), Laurel Fay (The Special Case of Soviet Music—Problems of Method- ology), and Michael Beckerman (Czech Music Research). Margarita Mazo served as respondent. My assigned topic for this symposium was “What Is to Be Done,” but being no Chernïshevsky, still less a Lenin, I took it on with reluctance. I know only too well the fate of research prospectuses. All the ones I’ve seen, whatever the field, have within only a few years taken on an aspect that can be most charitably described as quaint, and the ones that have attempted to dictate or legislate the activity of future generations of scholars cannot be so charitably described. It is not as though we were trying to find a long- sought medical cure or a solution to the arms race. We are not crusaders, nor have we an overriding common goal that demands the subordina- tion of our individual predilections to a team effort. We are simply curious to know and understand the music that interests us as well as we possibly can, and eager to stimulate the same interest in others. -
ONYX4090 Cd-A-Bklt V8 . 31/01/2012 16:49 Page 1 Page 16:49 31/01/2012 V8
ONYX4090_cd-a-bklt v8_. 31/01/2012 16:49 Page 1 p1 1 ONYX4090_cd-a-bklt v8_. 31/01/2012 16:49 Page 2 Variations on a Russian folk song for string quartet (1898, by various composers) Variationen über ein russisches Volkslied Variations sur un thème populaire russe 1 Theme. Adagio 0.56 2 Var. 1. Allegretto (Nikolai Artsybuschev) 0.40 3 Var. 2. Allegretto (Alexander Scriabin) 0.52 4 Var. 3. Andantino (Alexander Glazunov) 1.25 5 Var. 4. Allegro (Nikolai Rimsky-Korsakov) 0.50 6 Var. 5. Canon. Adagio (Anatoly Lyadov) 1.19 7 Var. 6. Allegretto (Jazeps Vitols) 1.00 8 Var. 7. Allegro (Felix Blumenfeld) 0.58 9 Var. 8. Andante cantabile (Victor Ewald) 2.02 10 Var. 9. Fugato: Allegro (Alexander Winkler) 0.47 11 Var. 10. Finale. Allegro (Nikolai Sokolov) 1.18 PYOTR ILYICH TCHAIKOVSKY (1840–1893) Album for the Young Album für die Jugend · Album pour la jeunesse 12 Russian Song 1.00 Russisches Lied · Mélodie russe p2 IGOR STRAVINSKY (1882–1971) 13 Concertino 6.59 ALFRED SCHNITTKE (1934–1998) 14 Canon in memoriam Igor Stravinsky 6.36 PYOTR ILYICH TCHAIKOVSKY Album for the Young Album für die Jugend · Album pour la jeunesse 15 Old French Song 1.52 Altfranzösisches Lied · Mélodie antique française ONYX4090_cd-a-bklt v8_. 31/01/2012 16:49 Page 3 16 Mama 1.32 17 The Hobby Horse 0.33 Der kleine Reiter · Le petit cavalier 18 March of the Wooden Soldiers 0.57 Marsch der Holzsoldaten · Marche des soldats de bois 19 The Sick Doll 1.51 Die kranke Puppe · La poupée malade 20 The Doll’s Funeral 1.47 Begräbnis der Puppe · Enterrement de la poupée 21 The Witch 0.31 Die Hexe · La sorcière 22 Sweet Dreams 1.58 Süße Träumerei · Douce rêverie 23 Kamarinskaya (folk song) 1.17 Volkslied · Chanson populaire p3 PYOTR ILYICH TCHAIKOVSKY String Quartet no.1 in D op.11 Streichquartett Nr. -
Lecture Slides
Lunch Lecture Inter-Actief will start at 12:50 ;lkj;lkj;lkj Modest Mussorgsky: Pictures at an Exhibition (orchestration: Maurice Ravel) Klaas Sikkel Münchner PhilharmonikerInter-Actief lunch conducted lecture, 15 Dec 2020 by Valery Gergiev 1 Pictures at an Exhibition and the Music of the Mighty Handful Inter-Actief Lunch Lecture 15 December 2020 Klaas Sikkel Muziekbank Enschede For Spotify playlist and more info see my UT home page (google “Klaas Sikkel”) Purpose of this lecture • Tell an entertaining story about a fragment of musical history • (hopefully) make you aware that classical music isn’t as boring as you thought, (possibly) raise some interest in this kind of music • Not a goal: make you a customer of the Muziekbank (instead, check out the Spotify playlist) Klaas Sikkel Inter-Actief lunch lecture, 15 Dec 2020 3 Classical Music in Russia around 1860 Two persons have contributed greatly to professionalization and practice of Classical Music in Russia: • Anton Rubinstein (composer, conductor, pianist) 4 Klaas Sikkel Inter-Actief lunch lecture, 15 Dec 2020 Classical Music in Russia around 1860 Two persons have contributed greatly to professionalization and practice of Classical Music in Russia: • Anton Rubinstein (composer, conductor, pianist) • Grand Duchess Yelena Pavlovna (aunt of Tsar Alexander II, patroness) 5 Klaas Sikkel Inter-Actief lunch lecture, 15 Dec 2020 Classical Music in 1859 Russia around 1860 Founding of the Two persons have contributed Russian greatly to professionalization and Musical Society practice of Classical -
The Negotiation of Nationalism in Nineteenth-Century Russian Opera
Not Russian Enough The Negotiation of Nationalism in Nineteenth-Century Russian Opera R H ©?=>> Rutger Helmers Print production by F&N Boekservice Typeset using: LATEX ?" Typeface: Linux Libertine Music typesetting: LilyPond Not Russian Enough: The Negotiation of Nationalism in Nineteenth-Century Russian Opera Niet Russisch genoeg: nationalisme en de negentiende-eeuwse Russische operapraktijk (met een samenvatting in het Nederlands) P ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magniVcus, prof. dr. G. J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op donderdag ? februari ?=>? des ochtends te >=.@= uur door Rutger Milo Helmers geboren op E november >FE= te Amersfoort Promotor: Prof. dr. E. G. J. Wennekes Co-promotor: Dr. M. V. Frolova-Walker Contents Preface · vii Acknowledgements · viii Preliminary Notes · x List of Abbreviations · xiii Introduction: The Part and the Whole · > Russia and the West · C The Russian Opera World · >= The Historiographical Legacy · >B Russianness RedeVned · ?> The Four Case Studies · ?A > A Life for the Tsar · ?F Glinka’s Changing Attitude to Italian Music · @@ The Italianisms of A Life for the Tsar · @F Liberties · BA Reminiscences · C> Conclusion · CB v vi CON TEN TS ? Judith · CD Serov the Cosmopolitan · D= Long-Buried Nationalities · E> Judith and Russianness · FE Conclusion · >=D @ The Maid of Orléans · >>> The Requirements of the Operatic Stage · >>C Schiller, The Maid, and Grand Opera Dramaturgy · >?> -
Chopin • Debussy Dussek • Gutmann Liszt • Schubert Live Recording
CHOPIN • DEBUSSY DUSSEK • GUTMANN LISZT • SCHUBERT LIVE RECORDING 1st Elisabeth Brauß • Tobias Koch Alexei Lubimov • Ewa Pobłocka François-Xavier Poizat • Hubert Rutkowski 1st Chopin Festival Hamburg 2018 Experiencing Piano Music Anew scales and characteristics could be tested intensively and Chopin • Debussy • Dussek • Gutmann • Liszt • Schubert The 1st Chopin Festival Hamburg 2018 is the first of its kind realised. in Europe. For the festival matinees, artist talks and evening Each tonality was, in different eras, attributed divergent Franz SCHUBERT (1797–1828) Polish Folk Melodies concerts, the Museum für Kunst und Gewerbe Hamburg characteristics. Schubert’s Allegretto, as well as Chopin’s Six Moments musicaux, D.780, Op. 94 (Composer unknown, arr. Fryderyk Chopin) (‘Museum of Arts and Crafts Hamburg’) granted the use of its Mazurka are both written in A flat major. For philologist 1 No. 6. Allegretto in A flat major (1824) 6:01 # Mazurka in D minor 0:36 unique collection of keyboards, allowing the pianists to Ferdinand Gotthelf Hand, A flat major is ‘the tonality, in which Fryderyk CHOPIN (1810–1849) $ Dąbrowski’s Mazurka 0:51 interpret works from the Classical, Romantic and the soul soars to celestial heights, and conceives of a divine 2 Mazurka in A flat major, Op. 24, No. 3 (1835) 1:46 Tobias Koch, Piano. Recorded 30 June 2018 Impressionist eras on the instruments for which they were punishment or an transcendent ecstasy […] and is intended, the majority of which were crafted during Chopin’s transfigured into an infinite spiritual sentiment […] The Ewa Pobłocka, Piano. Recorded 28 June 2018 Fryderyk CHOPIN lifetime, as well as on a modern Steinway piano from 2015. -
GLAZUNOV Orchestral Works Including the 8 SYMPHONIES
GLAZUNOV Orchestral works including THE 8 SYMPHONIES Tadaaki Otaka BBC NATIONAL ORCHESTRA OF WALES / TADAAKI OTAKA BIS-CD-1663/64 BIS-CD-1663/64 Glaz:booklet 13/3/07 10:43 Page 2 GLAZUNOV, Alexander Konstantinovich (1865-1936) Disc 1 [72'53] Symphony No. 1 in E major, Op. 5 (1881-82) 34'48 1 I. Allegro 10'48 2 II. Scherzo. Allegro 5'02 3 III. Adagio 8'55 4 IV. Finale. Allegro 9'41 Symphony No. 6 in C minor, Op. 58 (1896) 37'27 5 I. Adagio – Allegro passionato 10'25 6 II. Tema con variazioni 11'25 7 III. Intermezzo. Allegretto 5'18 8 IV. Finale. Andante maestoso – Moderato maestoso 9'55 Disc 2 [64'20] Symphony No. 2 in F sharp minor, Op. 16 (1886) 43'10 1 I. Andante maestoso – Allegro 13'07 2 II. Andante 9'45 3 III. Allegro vivace 7'42 4 IV. INDEX 1 Intrada 1'23 – INDEX 2 Finale. Allegro 10'47 12'10 5 Mazurka in G major, Op. 18 (1888) 9'44 6 Ot mraka ka svetu, Op. 53 (1894) 10'14 (From Darkness to Light), Orchestral Fantasy 2 BIS-CD-1663/64 Glaz:booklet 13/3/07 10:43 Page 3 Disc 3 [60'23] 1 Ballade in F major, Op. 78 (1902) 9'35 Symphony No. 3 in D major, Op. 33 (1888-90) 50'15 2 I. Allegro 13'42 3 II. Scherzo. Vivace 9'26 4 III. Andante 13'07 5 IV. Finale. Allegro moderato 13'35 Disc 4 [75'11] Symphony No. -
A Tradição Continua Um Projeto Inovador
ANO 23 245 OUTUBRO 2018 www.clubedoaudioevideo.com.br ARTE EM REPRODUÇÃO ELETRÔNICA UM CONFORTO EXUBERANTE CÁPSULA MC MURASAKINO SUMILE E MAIS TESTE DE ÁUDIO CABO DE FORÇA TIMELESS MAGGINI A TRADIÇÃO CONTINUA ENTREVISTA AMPLIFICADOR INTEGRADO AUDIO ANDRÉ MEHMARI RESEARCH VSI75 OPINIÃO COMPRANDO LPS EM SEBOS E ESPECIALISTAS DE SÃO PAULO CDS CLÁSSICOS SCHUBERT: OBRAS SINFÔNICAS UM PROJETO INOVADOR CAIXAS ACÚSTICAS Q ACOUSTICS 3050I MUSICIAN: ROMANTISMO - NACIONALISMO NA MÚSICA II - ESCOLA RUSSA - VOL. 8 568146_TALENT_Semp Toshiba_215x270 29/08/2018 - 14:17 ÍNDICE TESTES DE ÁUDIO 30 Amplificador integrado Audio Research VSI75 CÁPSULA MC MURASAKINO SUMILE 22 36 Caixas acústicas Q Acoustics 3050i 42 Cabo de força Timeless EDITORIAL 4 Maggini Afinal, dá para ouvir gravações tecnicamente ruins em um sistema hi-end? DESTAQUES DO MÊS - MUSICIAN NOVIDADES 6 Bibliografia: a musicalidade russa 48 Grandes novidades das e o Orientalismo principais marcas do mercado 30 Bibliografia: Romantismo - 60 Nacionalismo na música II - EScola Russa HI-END PELO MUNDO 10 Novidades Romantismo - Nacionalismo II - 64 Escola Russa - Vol. 8 ENTREVISTA 12 André Mehmari, CDS CLÁSSICOS 68 multi-instrumentista e compositor Schubert: Obras sinfônicas OPINIÃO 14 ESPAÇO ABERTO 70 Comprando LPs em sebos e especia- 36 listas de são paulo Quanto mais sofisticado O sistema, mais arriscado É seu ajuste + SAIBA MAIS 16 Como manter seus LPs em bom estado ESPAÇO ABERTO 72 Tenho ouvidos para um sistema estado da arte? TESTES DE ÁUDIO 22 VENDAS E TROCAS 74 Cápsula MC Murasakino Excelentes oportunidades Sumile de negócios 42 OUTUBRO . 2018 3 EDITORIAL AFINAL, DÁ PARA OUVIR GRAVAÇÕES TECNICAMENTE RUINS EM UM SISTEMA HI-END? Fernando Andrette [email protected] Essa foi a pergunta que o filho de um grande amigo me fez, ao diferencial importante a todos que desejam um sistema hi-end, mas nos visitar recentemente e sentar com o seu pai para escutar música não abrem mão de ouvir todos os seus discos. -
MERCER-MCCOLLUM DUO Lydia Mercer, Viola
MERCER-MCCOLLUM DUO Lydia Mercer, viola. Ethan McCollum, piano. Midwest Tour, June 2019 Our Repertoire Program Notes by Jackson Harmeyer Hélène Fleury (1876-1957) The Mercer-McCollum Duo is passionate about playing Fantaisie, Op. 18 for viola and piano undiscovered, underplayed, and newly written gems of the viola-piano repertoire. This duo, including Lydia Byard Alexander Glazunov (1865-1936) Mercer, viola, and Ethan James McCollum, piano, is based Elégie in G minor, Op. 44 for viola and piano in Louisville, Kentucky and shares with audiences original music written for their distinctive instrumentation. Formed Alexander Winkler (1865-1935) in spring 2019 by these graduates of the University of Sonata in C minor, Op. 10 for viola and piano Louisville, the Duo launches their first concert tour this I. Moderato June as they share their discoveries with audiences across Kentucky, Tennessee, Ohio, and upstate New York. Their II. Allegro agitato program features the music of three composers active at III. Variations sur un air breton the turn of the twentieth century—Hélène Fleury, Alexander Glazunov, and Alexander Winkler—each of whose music is tied to the Romantic tradition. Rich in its harmonic vibrancy, the relatively unknown viola-piano music of these three composers reveals an unfairly neglected realm still open to rediscovery. This music also reveals the idiomatic potential of the viola, apart from the commonplace transcriptions of violin and cello repertoire. We hope you will enjoy these selections and, through your voluntary support of our efforts, help us to revive more of this underappreciated repertoire! The career of Hélène Fleury (1876-1957) followed the pattern of so many female composers in the nineteenth and early twentieth centuries: after tremendous successes in their youths, these women found themselves unable to pursue composition as a fulltime profession and their prodigious outputs quickly fell into neglect. -
La Flûte Enchantée Works by Claude Debussy, César Franck and Joseph Jongen
La flûte enchantée Works by Claude Debussy, César Franck and Joseph Jongen Hans-Udo Heinzmann, Flute Elisaveta Blumina, Piano La flûte enchantée Works by Claude Debussy, César Franck and Joseph Jongen Hans-Udo Heinzmann, Flute Elisaveta Blumina, Piano Joseph Jongen (1873 –195 3 ) Sonata for Flute and Piano, Op. 77 (1924) 01 I. Prélude: Modéré ................................... [07'45] 02 II. Très animé ........................................ [05'44] 03 III. Modéré .......................................... [07'49] 04 IV. Gigue: Allegro ..................................... [08'14] César Franck (1822 –18 9 0 ) Sonata in A major for Flute and Piano (1886) Arr. for flute from Sonata for violin and piano 05 I. Allegretto ben moderato ............................ [06'01] 06 II. Allegro ........................................... [08'26] 07 III. Recitativo-Fantasia ............................... [07'12] 08 IV. Allegretto poco mosso ............................. [06'32] Claude Debussy (1862 –1918 ) 09 Prélude à l’après-midi d’un faune (1894) ................ [09'13] Edition for flute and piano from the original version by Karl Lenski Total Time ...................................................... [67'05] La flûte enchantée Works for Flute from France and Belgium erhaps more strongly than with other instruments, for the flute the nineteenth century was a century of change. The flute developed a new character, took on a new appearance and a new mechanical system was built for it. Theobald Böhm, a Munich goldsmith, flutist, composer and flute maker, developed the modern instrumentP as we know it today from its intimate, slender chamber music predecessor. It had a full and well-balanced tone, the possibility of achieving perfect intonation across all twelve notes of the octave, and offered considerable tonal versatility. It may be true that the Böhm flute is no longer considered the culminating high point in a process of development, and that Baroque and Classical flutes are now held in equally high regard. -
Bach-Marathon
Bach-Marathon MI 1. APR 2020 | KULTURPALAST PROGRAMM Johann Sebastian Bach (1685 – 1750) Konzert für drei Klaviere und Streicher d-Moll BWV 1063 (ohne Bezeichnung) Alla Siciliana Allegro Konzert für Klavier und Streicher f-Moll BWV 1056 (ohne Bezeichnung) Largo Presto Konzert für zwei Klaviere und Streicher c-Moll BWV 1060 Allegro Adagio Allegro PAUSE Konzert für zwei Klaviere und Streicher c-Moll BWV 1062 (ohne Bezeichnung) Andante Allegro assai Konzert für Klavier und Streicher g-Moll BWV 1058 (ohne Bezeichnung) Andante Allegro assai Konzert für drei Klaviere und Streicher C-Dur BWV 1064 Allegro Adagio Allegro Anna Vinnitskaya | Klavier ARTIST IN RESIDENCE Evgeni Koroliov | Klavier Ljupka Hadzigeorgieva | Klavier Philharmonisches Kammerorchester Dresden WOLFGANG STÄHR Für ein, zwei, drei Klaviere Ein Bach-Marathon KAFFEEHAUSMUSIK Als »Deutschlands größter Kirchenkom- ponist«, als »Erzkantor«, »Spielmann Gottes« und »fünfter Evangelist« sollte Johann Sebastian Bach in die Geschichte der Musik eingehen. Nicht von ungefähr: Den Maßstab setzte das Amt des Leipziger Thomaskantors, das er am längsten, wenngleich nicht am liebsten innehatte. Seine musikalisch anspruchsvollste und gewiss auch dankbarste Aufgabe aber fand Bach als Hofapellmeister im anhaltischen Köthen, als er dort eine Elite der exzellentesten Virtuosen und »CammerMusici« um sich versammelte. An diese Goldenen Jahre konnte Bach erst wieder anknüpfen, nachdem er 1729 in Leipzig (neben seinem Dienst an den Hauptkirchen) die Leitung des Collegium musicum übernommen hatte, eines -
Alexander Scriabin: Convergências E Divergências 54 Marcos Mesquita
LIA TOMÁS (Org.) SÉRIE PESQUISA EM MÚSICA NO BRASIL – VOLUME 6 FRONTEIRAS DA MÚSICA: FILOSOFIA, ESTÉTICA, HISTÓRIA & POLÍTICA 1ª edição São Paulo ANPPOM 2016 ASSOCIAÇÃO NACIONAL DE PESQUISA E PÓS-GRADUAÇÃO EM MÚSICA Diretoria 2015-2017 Sonia Regina Albano de Lima (UNESP), Presidente Martha Tupinambá de Ulhoa (UNIRIO), 1ª Secretária Fernando Lacerda Simões Duarte, 2º Secretário Marcos Fernandes Pupo Nogueira (UNESP), Tesoureiro Conselho Fiscal: José Augusto Mannis (UNICAMP), Titular Angela Elisabeth Luhning (UFBA), Titular Sonia Ray (UFG), Titular Lucyanne de Melo Afonso (UFAM), Suplente João Gustavo Kienen (UFAM), Suplente José Soares de Deus (UFU), Suplente Editora de Publicações da ANPPOM Marcos Holler (UDESC) FRONTEIRAS DA MÚSICA: FILOSOFIA, ESTÉTICA, HISTÓRIA & POLÍTICA SÉRIE PESQUISA EM MÚSICA NO BRASIL VOLUME 6 ANPPOM © 2016 os autores FRONTEIRAS DA MÚSICA: FILOSOFIA, ESTÉTICA, HISTÓRIA & POLÍTICA CAPA: XiloWeb (Verlaine Freitas) Reproduzido sob permissão FORMATAÇÃO E MONTAGEM João Paulo Costa do Nascimento Catalogação da Publicação Ficha catalográfica preparada pelo Serviço de Biblioteca e Documentação do Instituto de Artes da UNESP F935 Fronteiras da música : filosofia, estética, história e política / organizadora, Lia Tomás. São Paulo : ANPPOM, 2016. 472 p. - (Série Pesquisa em Música no Brasil; v. 6) ISBN: 978-85-63046-05-5 1. Política. 2. Estética musical. 3. Filosofia da música. 4. História da música. I. Título. CDD 780.1 ANPPOM Associação Nacional de Pesquisa e Pós-Graduação em Música www.anppom.com Printed in Brazil 2016