DOCSLIB.ORG

4932 Appendices Only for Online.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
4932 Appendices Only for Online.Indd APPENDIX I MUSIC AWARDS IN COMPOSITION Key to award cycles: 1941 for works from 1934–40 1942 for works from 1941 1943 for works from 1942 1946a for works from 1943–44 1946b for works from 1945 1947 for works from 1946 1948 for works from 1947 1949 for works from 1948 1950 for works from 1949 1951 for works from 1950 1952 for works from 1951 Not included here: 1953 for works from 1952, no awards made 1954 for works from 1952–53, no awards made (see Appendix IV) Table 1. Awards in Composition by Genre Unusually high numbers are in boldface ’41 ’42 ’43 ’46a ’46b ’47 ’48 ’49 ’50 ’51 ’52 Opera2121117 2 Cantata 1 2 1 2 1 5 32 Symphony 2 1 1 4 1122 Symphonic poem 1 1 3 2 3 Suite 111216 3 Concerto 1 3 1 1 3 4 3 Ballet 1 1 21321 Chamber music 1 1 3 4 11131 Piano pieces 1 1 Film scores 21 2111 1 4 APPENDIX I MUSIC AWARDS IN COMPOSITION Songs 2121121 6 3 Art songs 1 2 Marches 1 Incidental music 1 Folk instruments 111 Table 2. Composers in Alphabetical Order Surnames are given in the most common transliteration (e.g. as in Wikipedia); first names are mostly given in the familiar anglicized form. Name Alternative Spellings/ Dates Class and Year Notes Transliterations of Awards 1. Afanasyev, Leonid 1921–1995 III, 1952 2. Aleksandrov, 1883–1946 I, 1942 see performers list Alexander for a further award (Appendix II) 3. Aleksandrov, 1888–1982 II, 1951 Anatoly 4. Amirov, Fikret 1922–1984 II, 1949 5. Arakishvili, 1873–1953 I, 1950 Dmitry 6. Arutiunian, 1920–2012 I, 1949 Alexander 7. Ashrafiy, Mukhtor Ashrafi, 1912–1975 II, 1943 Mukhtar III, 1952 8. Babajanian, Arno Babadjanian 1921–1983 III, 1951 9. Balanchivadze, Andria 1906–1992 II, 1946a Andrei I, 1947 10. Balasanian, Sergei 1902–1982 II, 1949 11. Bely, Viktor 1904–1983 III, 1951 12. Blanter, Matvei 1903–1990 II, 1946b 13. Bogatyrev, Bogatyryov 1913–2003 II, 1941 Anatoly 14. Brusilovsky, 1905–1981 II, 1948 Yevgeny 15. Budashkin, 1910–1988 II, 1947 Nikolai I, 1949 16. Bunin, Vladimir 1908–1970 II, 1949 17. Chemberdzhi, 1903–1948 II, 1946a Nikolai 18. Chulaki, Mikhail 1941–2002 II, 1947 II, 1948 II, 1950 19. Dekhterev, Vasily Dekhteryov 1910–1987 III, 1950 STALIN’S MUSIC PRIZE 20. Dunayevsky, Isaak Dunaevsky, Isaac 1900–1955 I, 1941 II, 1951 21. Dvarionas, Balys 1904–1974 I, 1949 II, 1952 22. Dzerzhinsky, Ivan 1909–1978 III, 1950 23. Ernesaks, Gustav 1908–1993 III, 1951 see performers list for a further award (Appendix II) 24. Feinberg, Samuil Samuel 1890–1962 II, 1946a 25. Filippenko, Arkady 1912–1983 II, 1949 26. Galynin, German Herman 1922–1966 II, 1951 27. Glière, Reinhold Glier, Gliyer 1875–1956 I, 1946a I, 1948 I, 1950 28. Gnesin, Mikhail 1883–1957 II, 1946b 29. Gomolyaka, Gomoliaka 1914–1980 III, 1951 Vadim 30. Hajibeyov, Soltan Hajibekov, Gajibekov, 1919–1974 II, 1952 Gadzhibekov 31. Hajibeyov, Uzeyir Hajibekov, Gajibekov, 1885–1948 II, 1941 Gadzhibekov II, 1946b 32. Hajiyev, Ahmed Cövdǝt Hacıyev; 1917–2002 II, 1946b [Jovdat] Gadjiev, Gadzhiev III, 1952 33. Hasanov, Gotfrid Gasanov 1900–1965 II, 1949 III, 1951 34. He, Shi- De Shide 1910–2000 I, 1951 (China) 35. Ivanov- Radkevich, 1904–1962 II, 1943 Nikolai 36. Ivanovs, Jānis Ivanov 1906–1983 II, 1950 37. Jahangirov, Cahangirov, 1921–1992 III, 1950 Jahangir Djangirov, Jangirov 38. Kabalevsky, 1904–1987 I, 1946b Dmitry II, 1949 II, 1951 39. Kapp, Artur 1878–1952 II, 1950 40. Kapp, Eugen 1908–1996 II, 1946b II, 1949 II, 1952 41. Kapr, Jan 1914–1988 II, 1951 (Czechoslovakia) 42. Karayev, Kara Garayev, Gara 1918–1982 II, 1946b II, 1948 43. Kats, Sigizmund 1908–1984 III, 1950 44. Khachaturian, 1903–1978 II, 1941 Aram I, 1943 I, 1946a I, 1950 APPENDIX I MUSIC AWARDS IN COMPOSITION 45. Khojamyarov, Kuzhamyarov, 1918–1994 III, 1951 Quddus Kuddus 46. Khrennikov, 1913–2007 II, 1942 Tikhon II, 1946a II, 1952 47. Kiladze, Grigor Grigory, Grigol 1902–1962 II, 1941 see performers list for a further award (Appendix II) 48. Knipper, Lev 1898–1974 II, 1946b II, 1949 49. Kochurov, Yury 1907–1952 III, 1952 50. Korchmarev, Korchmariov, 1899–1958 II, 1951 Klimenty Korchmaryov 51. Kõrver, Boris 1917–1994 III, 1951 52. Kos- Anatolsky, 1909–1983 III, 1951 Anatoly 53. Koval [Kovalev], 1907–1971 I, 1943 Marian 54. Krasev, Mikhail 1897–1954 II, 1950 55. Kryukov, Nikolai 1906–1961 I, 1947 56. Leman, Albert 1915–1998 III, 1952 57. Levitin, Yury 1912–1993 III, 1952 58. Lukin, Filipp 1913–1994 III, 1952 59. Lyatoshinsky, Lyatoshynsky 1895–1968 II, 1946b Boris I, 1952 60. Lyuban, Isaak 1906–1975 I, 1946a 61. Machavariani, Aleksi, Aleksandre 1913–1995 III, 1951 Alexei 62. Maiboroda, Platon 1918–1989 III, 1950 63. Makarov, 1908–1952 II, 1950 Valentin II, 1951 64. Manevich, 1908–1976 III, 1950 Alexander 65. Mazayev, Arkady Mazaev 1909–1987 III, 1952 66. Meitus, Yuly 1903–1997 II, 1951 67. Milyutin, Georgy 1903–1968 II, 1949 [Yury] 68. Mokrousov, Boris 1909–1968 II, 1948 69. Morozov, Igor 1913–1970 II, 1948 70. Mshvelidze, Shalva 1904–1984 II, 1942 II, 1947 71. Mukhatov, Muhatov, 1916–2005 III, 1951 Velimukhamed Velimuhamed, Veli II, 1952 72. Muradeli, Vano 1908–1970 II, 1946b II, 1951 73. Muravlev, Alexei Muravlyov b. 1924 II, 1950 STALIN’S MUSIC PRIZE 74. Myaskovsky, 1881–1950 I, 1941 Nikolai I, 1946a I, 1946b II, 1950 I, 1951 (posth.) 75. Neaga, Ştefan Nyaga, Stepan 1900–1951 II, 1950 76. Novikov, Anatoly 1896–1984 II, 1946a II, 1948 77. Peyko, Nikolai Peiko 1916–1995 II, 1947 II, 1951 78. Pokrass, Dmitry 1899–1978 II, 1941 79. Popov, Gavriil 1904–1972 II, 1946a 80. Prokofiev, Sergei 1891–1953 II, 1943 I and I, 1946a I, 1946b I, 1947 II, 1951 81. Rakov, Nikolai 1908–1990 II, 1946a 82. Reimann, Villem 1906–1992 II, 1951 83. Revutsky, Lev Revutskyi, Levko 1889–1977 II, 1941 84. Rustamov, Said 1907–1983 III, 1951 85. Sadykov, Talib 1907–1957 III, 1951 this award was both for composition and conducting 86. Satian, Ashot 1906–1958 II, 1952 87. Shaporin, Yury 1887–1966 I, 1941 I, 1946a II, 1952 88. Shebalin, Vissarion 1902–1963 I, 1943 I, 1947 89. Shostakovich, 1906–1975 I, 1941 Dmitry I, 1942 II, 1946a I, 1950 II, 1952 90. Shtoharenko, Shtogarenko, Andrei 1902–1992 II, 1946a Andriy II, 1952 91. Skulte, Ādolfs Adolf 1909–2000 II, 1950 II, 1951 92. Solovyov- Sedoi, Solovyov- Sedoy 1907–1979 II, 1943 Vasily II, 1947 93. Starokadomsky, 1901–1954 III, 1952 Mikhail 94. Stepanian, Haro Aro 1897–1966 III, 1951 95. Stepanov, Lev 1908–1971 II, 1951 96. Svechnikov, 1908–1962 III, 1950 Anatoly APPENDIX I MUSIC AWARDS IN COMPOSITION 97. Sviridov, Georgy 1915–1998 I, 1946b (Yury) 98. Taktakishvili, 1924–1989 III, 1951 Otar II, 1952 99. Tallat- Kelpša, 1889–1949 I, 1948 Juozas 100. Toradze, David 1922–1983 II, 1951 101. Tsintsadze, 1925–1991 III, 1950 Sulkhan 102. Tulebaev, Mukan 1913–1960 II, 1949 103. Tulikov, Serafim 1914–2004 III, 1951 104. Vainiūnas, Stasys 1909–1982 III, 1951 105. Vasilenko, Sergei 1872–1956 I, 1947 106. Vasilyev- Buglai, Vasilyev- Buglay 1888–1956 III, 1951 Dmitry 107. Yudakov, Suleiman 1916–1990 III, 1951 Solomon 108. Zakharov, 1901–1956 II, 1942 see performers list Vladimir I, 1946a for a further award (Appendix II) 109. Zariņš, Marģeris Zarin, Marger 1910–1993 III, 1951 110. Zhiganov, Nazib Cihanov, Näcip 1911–1988 II, 1948 II, 1950 111. Zhukovsky, German 1913–1976 II, 1950 Herman III, 1951 (withdrawn) 112. Zolotarev, Vasily Zolotaryov 1872–1964 II, 1950 APPENDIX II OTHER MUSIC AWARDS (PERFORMANCE, NON- MUSICIANS IN PRODUCTION OR PERFORMANCE, MUSICOLOGY) Key to award cycles: 1941 for works from 1934–40 1942 for works from 1941 1943 for works from 1942 1946a for works from 1943–44 1946b for works from 1945 1947 for works from 1946 1948 for works from 1947 1949 for works from 1948 1950 for works from 1949 1951 for works from 1950 1952 for works from 1951 Not included here: 1953 for works from 1952, no awards made 1954 for works from 1952–53, no awards made (see Appendix IV) Table 3. Performers in Alphabetical Order Surnames are given in the most common transliteration (e.g. as in Wikipedia); first names are mostly given in the familiar anglicized form. Name Alternative Spellings/ Dates Class and Year Notes Transliterations of Awards 1. Abdullaev, Lutafali Abdullayev, Lütfǝli 1914–1973 II, 1946b (operetta singer) 2. Abdurakhmanov, 1910–1987 III, 1951 Gulyam (tenor) 3. Aleksandrov, 1883–1946 I, 1946b see composers list Alexander (choral for a further award conductor) (Appendix I) APPENDIX II OTHER MUSIC AWARDS 4. Aleksandrov, Boris 1905–1994 I, 1950 (choral conductor) 5. Aleksandrovich, 1914–2002 II, 1948 Mikhail (tenor) 6. Aleksandrovskaya, 1904–1980 II, 1941 Larisa (soprano) 7. Almazov, Arkady 1908–? II, 1951 (tenor) 8. Altunian, Tatul Altunyan 1902–1973 III, 1950 Armenian Song and (choral conductor) Dance Ensemble 9. Aminarashvili, Pyotr 1907–1976 I, 1947 (baritone) 10. Andguladze, David 1895–1973 I, 1947 (tenor) 11. Anikeyev, Serafim 1904–1962 II, 1950 (operetta singer) 12. Antonova, Yelizaveta 1904–1994 I, 1942 (contralto) 13. Aslamazian, Sergei Aslamazyan 1897–1978 II, 1946a Komitas Quartet (cellist) 14. Azmayparashvili, 1903–1957 I, 1947 Shalva (conductor) 15. Azrikan, Arnold 1906–1976 II, 1946b (tenor) 16. Babaev, Georgy ? I, 1950 Red Army Song and (soloist) Dance Ensemble 17. Baiseitova, Kulyash 1912–1957 II, 1948 (soprano) II, 1949 18. Balabanian, Nikita Balabanyan ? II, 1946a Komitas Quartet (violinist) 19. Barinova, Galina 1910–2006 II, 1949 (violinist) 20. Barnabishvili, Georgy ? III, 1952 Georgian Quartet (cellist) 21. Barsova, Valeria 1892–1967 I, 1941 (soprano) 22.
Load more

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]
  • Group Theoretical Methods in Physics GROUP - 27 Yerevan, Armenia, August 13 - 19, 2008 THIRD BULLETIN
    XXVII International Colloquium on Group Theoretical Methods in Physics GROUP - 27 Yerevan, Armenia, August 13 - 19, 2008 THIRD BULLETIN This is a last BULLETIN contains the scientific programme, information concerning the preparation of the Colloquium Proceedings and other useful information of the XXVII In- ternational Colloquium on Group Theoretical Methods in Physics. We also invite you to occasionally visit the Colloquium web page at "http://theor.jinr.ru/∼group27/" for updated information and news concerning the Colloquium. 1 Invited Speakers Allahverdyan, Armen YPhI, Yerevan Belavin, Alexander ITP, Chernogolovka Bieliavsky, Pierre Catholic University of Louvian, Louvain Daskaloyannis, Costantin Aristotel University of Thessaloniki, Thessaloniki Doebner, Heinz-Dietrich ASI, Clausthal Draayer, Jerry Baton Rouge Exner, Pavel Nuclear Physics Institute, Rez Fjelstad, Jens CTQMP, Aarhus Gazeau, Jean-Pierre University of Paris 7, Paris Isaev, Alexey JINR, Dubna Nahm, Werner DIAS, Dublin Sheikh-Jabbari, Mohammad IPM, Tehran van Moerbeke, Pierre Catholic University of Louvian, Louvain Vourdas, A. University of Bradford, Bradford 1 2 The GROUP27 Colloquium is supported by grants from: • International Union of Pure and Applied Physics (IUPAP) • International Association of Mathematical Physics (IAMP) • Joint Institute for Nuclear Research • Infeld - Bogolyubov programme • State Committee of Science of the Republic of Armenia • Yerevan State University 3 Timetable Tuesday, 12 August Arrival and Registration Wednesday, 13 August Talks begin in the morning Tuesday, 19 August Conference ends in the afternoon Wednesday, 20 August Departure 30 November Deadline for submission of manuscripts for the Proceedings 4 Special Events • Tuesday, August 12, Welcome Party will be held in the Ani Plaza Hotel (20.00-22.00). • Friday, August 15, 19.30 Weyl Prize Ceremony in Komitas Chamber Music Hall (Isahakian st.
    [Show full text]
  • PDF Pressemappe 2018/19
    DAS OPERNHAUS Pressekonferenz, Freitag, 20. April 2018 Es sprechen: Roland Geyer Intendant des Theater an der Wien Franz Patay SAISON Geschäftsführer der Vereinigten Bühnen Wien im morgengraua priori Gäste: Barbora Horáková-Joly SAISON Regisseurin Stefan Gottfried Dirigent a priori Die Pressekonferenz wird via Livestream übertragen: livestream.theater-wien.at facebook.com theateranderwien Hauptsponsor Theater an der Wien beyond | Herwig Zens THEATER AN DER WIEN: A priori – Die Saison 2018/19 Mit der Spielzeit 2018/19 startet das Opernhaus der Stadt Wien in seine dreizehnte Saison. Diese bringt 13 Premieren mit Werken voll Zauber und Emotion von Georg Friedrich Händel, Henry Purcell, Gioachino Rossini, Giuseppe Verdi, Carl Maria von Weber, Felix Mendelssohn Bartholdy, Jacques Offenbach und Maurice Ravel sowie Peter Iljitsch Tschaikowski und Leonard Bernstein mit sich. Seit der Wiedereröffnung des Theater an der Wien als Opernhaus und an der ab 2012 bespielten Kammeroper wurden bis dato über hundert verschiedene Opernproduktionen realisiert. Für die weiteren vier Jahre seiner Intendanz hat Roland Geyer ein Programmkonzept entwickelt, welches auf den Erkenntnissen aus den Spielplänen der vergangenen zwölf Saisonen fußt und diese damit als Ausgangspunkt für Neues nimmt. Die Zahl 4 - laut Pythagoras „die Erzeugerin der Erzeugerin des Alls“ – wirkt dabei als strukturelle Klammer. Inspiriert von der Grafik Im Morgengrauen des Wiener Malers Herwig Zens, der für den Programmkatalog der Saison 2018/19 einige seiner Kunstwerke zur Verfügung stellte, sollen die kommenden vier Saisonen als Tagesablauf gegliedert werden: 2018 beginnt A priori „Im Morgengrau“, die Tagesmitte 2019 steht unter dem Motto In medias res und der Vorabend zeigt 2020, was De facto auf einer Bühne und im Leben alles möglich ist, bevor die vierte Saison nächtens Summa summarum den Schlusspunkt setzt.
    [Show full text]
  • 02.12.14 Symphony FINAL.Indd
    UPCOMING EVENTS Symphonic Band Concert With CSU Faculty Peter Sommer, Saxophone & Special Guest Joel Puckett, Composer-in-Residence 2/20 • Griffin Concert Hall • 7:30 p.m. UNIVERSITY SYMPHONY ORCHESTRA Wind Ensemble Concert CONCERTO COMPETITION FINALS With Special Guest John Lynch, Conductor Star Search Comes to CSU 2/21 • Griffin Concert Hall • 7:30 p.m. Wes Kenney, Conductor CSU Honor Band Concert With Special Guest John Lynch, Conductor CA 2/22 • Griffin Concert Hall • 7:30 p.m. PROGRAM Virtuoso Series Concert Alexander Arutiunian Trumpet Concerto in A-flat Major CSU Faculty Tiffany Blake, Soprano & John Seesholtz, Baritone With Dr. Annie McDonald, Piano (1920-2012) (1950) 2/24 • Organ Recital Hall • 7:30 p.m. Soloist: Robert Bonner Virtuoso Series Concert nniversary With Special Guests Christine Rutledge, Viola & David Gompper, Piano Julius Conus Violin Concerto in E Minor (1869-1942) (1896) 2/25 • Organ Recital Hall • 7:30 p.m. A Soloist: Adrián Barrera Ramos event calendar • e-newsletter registration Sergei Prokofiev Piano Concerto No. 3 in C Major, Op. 26 www.uca.colostate.edu (1891-1953) (1921) I. Andante-Allegro 5th General information: (970) 491-5529 Soloist: Yolanda Tapia Hernandez Tickets: (970) 491-ARTS (2787) Meet Me at the UCA Season “Green” Sponsor www.CSUArtsTickets.com the U e at INTERMISSION Thank you for your continued support Pyotr Ilyich Tchaikovsky Symphony No. 5 in E minor M (1840-1893) (1888) I. Andante-Allegro con anima II. Andante Cantabile con alcuna licenza III. Valse. Allegro moderato IV. Finale. Andante maestoso-Allegro vivace eet Wednesday, February 12, 2014 M Griffin Concert Hall, University Center for the Arts PROGRAM NOTES Friends of the UCA at Colorado State University Trumpet Concerto Alexander Arutiunian connects you to students and faculty who inspire, teach, and heal at Colorado State.
    [Show full text]
  • Sharing Christmas Joy in Armenia and Artsakh
    AMYRIGA#I HA# AVYDARAN{AGAN UNGYRAGXOV:IVN ARMENIAN MISSIONARY ASSOCIATION OF AMERICA AMAA NEWS LI 1 Sharing Christmas Joy in Jan-Feb-March 2017 Armenia and Artsakh P. 11 CONTENTS January•February•March 2017 /// LI1 3 Editorial Against the Tide By Zaven Khanjian 4 Inspirational Corner A Resurrection Reflection By Rev. Haig Kherlopian 1918 2018 5 Around the Globe Armenian Evangelical Church of New York By Peter Kougasian, Esq. 6 Almost a Hundred Years Later By Heather Ohaneson, Ph.D. 7 In Memoriam: Samuel Chekijian 8 Meet Our Veteran Pastors Rev. Dr. Joseph Alexanian AMAA NEWS 9 Remembering Hrant Dink By Zaven Khanjian is a publication of 10 Stitched With Love By Betty Cherkezian The Armenian Missionary Association of America 11 AMAA Shares Christmas Joy with Children in Armenia and Karabagh 31 West Century Road, Paramus, NJ 07652 Tel: (201) 265-2607; Fax: (201) 265-6015 12 AMAA's Humanitarian Aid to the Armenian Army E-mail: [email protected] 13 Armenian Children's Milk Fund Website: www.amaa.org (ISSN 1097-0924) 14 A Time of Ending and Sending By Jeannette Keshishian 15 New Missionaries Go Into the World to Preach, To Serve By Zaven Khanjian The AMAA is a tax-exempt, not for profit 17 God's Faithfulness By Nanor Kelenjian Akbasharian organization under IRS Code Section 501(c)(3) 18 Relief is Still Needed in Syria Zaven Khanjian, Executive Director/CEO 19 AMAA's Syria LifeLine Relocates 113 Families to the Homeland Levon Filian, West Coast Executive Director David Aynejian, Director of Finance 20 First Armenian Evangelical Church of Montreal
    [Show full text]
  • High-Fidelity-1955-Nov.Pdf
    November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm.
    [Show full text]
  • 28Apr2004p2.Pdf
    144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.
    [Show full text]
  • Download Booklet
    95782 The cello concerto genre has a relatively short history. Before the 19th century, the only composers a few other works, including Monn’s fine, characterful Cello Concerto in G minor. Monn died of of stature who wrote such works were Vivaldi, C.P.E. Bach, Haydn and Boccherini. Considering the tuberculosis at the age of 33. problem inherent in the cello’s lower register, the potential difficulty of projecting its tone against Joseph Haydn (1732–1809) made phenomenal contributions to the history of the symphony, the weight of an orchestra, it is rather ironic that most of the great concertos for the instrument the string quartet, the piano sonata and the piano trio. He generally found concerto form less were composed later than the Baroque or Classical periods. The orchestra of these earlier periods stimulating to his creative imagination, but he did compose several fine examples. In 1961 the was smaller and lighter – a more accommodating accompaniment for the cello – whereas during unearthing of a set of parts for Haydn’s Cello Concerto in C major in Radenín Castle (now in the 19th century the symphony orchestra was significantly expanded, so that composers had to the Czech Republic) proved to be one of the most exciting discoveries in 20th-century musicology. take more care to avoid overwhelming the soloist. Probably dating from the early 1760s, the concerto is believed to have been composed for Joseph Antonio Vivaldi (1678–1741) composed several hundred concertos while employed as a violin Weigl, principal cellist of Haydn’s orchestra. This is the more rhythmically arresting of Haydn’s teacher (and, from 1716, as ‘maestro dei concerti’) at the Venetian girls’ orphanage known as authentic cello concertos.
    [Show full text]
  • “Music Is Music”: Anton Ivanovich Is Upset (1941) and Soviet Musical Politics
    “Music is Music”: Anton Ivanovich is Upset (1941) and Soviet Musical Politics PETER KUPFER Abstract In this article I analyze the musical politics of the 1941 Soviet film Anton Ivanovich serditsya (Anton Ivanovich Is Upset), directed by Aleksandr Ivanovsky, original score by Dmitry Kabalevsky. The film tells the story of the musical “enlightenment” of the eponymous Anton Ivanovich Voronov, an old, stodgy organ professor who is interested only in the “serious” music of J.S. Bach. His daughter, Sima, however, wishes to become an operetta singer and falls in love with a composer of “light” music, Aleksey Mukhin, which upsets the professor greatly. Thanks to a miraculous intervention by Bach himself, Anton Ivanovich ultimately sees his error and accepts Muhkin, going so far as to perform the organ part in Mukhin’s new symphonic poem. While largely a lighthearted and fun tale, the caricature and censure of another young, but veiled “formalist” composer, Kerosinov, reflects the darker side of contemporary Soviet musical aesthetics. In the way that it does and does not work out the uneasy relationship between serious, light, and formalist music, I argue that Anton Ivanovich serditsya realistically reflects the paradoxical nature of Soviet musical politics in the late 1930s. Alexander Ivanovsky’s 1941 film Anton Ivanovich serditsya (Anton Ivanovich is Upset, hereafter AIS) tells the story of Anton Ivanovich Voronov (from voron, “raven”), a venerated professor at the conservatory who idolizes the music of “serious” composers, particularly J.S. Bach.1 His earnestness is established from the very start: we first see him in deep contemplation and reverence performing Bach’s somber Passacaglia and Fugue in C minor, BWV 582, which accompanies the film’s opening credits.
    [Show full text]
  • The Man Who Found the Nose'
    SPECIAL INTERVIEW The Man who found The Nose’ An Interview with Gennady Nikolayevich Rozhdestvensky By Alan Mercer Born in Moscow on 4 May 1931, (1974-1977 and 1992-1995), and Rozhdestvensky grew up with his the Vienna Symphony (1980-1982). spritely 85 years of age at conductor father Nikolai Anosov Also in the 1970s, Rozhdestvensky the time of our encounter at (1900-1962) and his singer mother worked as music director and con­ the Paris-based Shostakovich Natalia Rozhdestvenskaya (1900- ductor of the Moscow Chamber ACentre, Gennady Rozhdestvensky’s1997). After graduating from the Music Theatre, where together with demeanour has barely changed from Central Music School at the Mos­ director Boris Pokrovsky he revived that of the 1960s, when Western con- cow Conservatory as a pianist in Shostakovich’s 1920s opera The Nose. cert-goers were first treated to his the class of L.N. Oborin, he began Rozhdestvensky has focused individualistic podium style, not to studying what was to become his much of his career on music of mention his highly affable manner career vocation under the guidance the twentieth century, including with audiences and orchestras alike. of his father. In 1951, he trained at premieres of works by Shchedrin, As one of the few remaining artists the Bolshoi Theatre, and went on to Slonimsky, Eshpai, Tishchenko, to have worked closely with the 20th work at the famous venue at vari­ Kancheli, Schnittke, Gubaidulina, century’s music elite—Shostakovich ous periods between 1951 and 2001, and Denisov. included—the conductor’s career is when he became the establishment’s Prior to our conversation, the imbibed with both the traditions General Artistic Director.
    [Show full text]
  • 111071-73 Bk Igor EU 11/03/2005 11:57Am Page 8
    111071-73 bk Igor EU 11/03/2005 11:57am Page 8 Synopsis CD 2 CD 1 Act II BORODIN Prologue 1 In the Polovtsian camp girls sing a hymn to the evening, 2 and dance to entertain Konchakovna, 2 The scene is the market-place of Putivl’. The people daughter of Khan Konchak. 3 Konchakovna sings of gather before their ruler, Igor Svyatoslavich, Prince of her planned meeting with Vladimir. She tells her Prince Igor Seversk. 3 He urges battle against the Polovtsians, 4 women to give the Russian prisoners, returning from but the people are anxious at an eclipse of the sun, a bad their labours, water to drink. 4 Their Polovtsian guards, omen. 5 Prince Igor insists on his campaign, 6 and his together with the baptized Polovtsian Ovlur, sing of the MELIK men leave for battle against their traditional Tartar end of the day. Ovlur remains behind, as they pass on. ER -P enemies. 5 Vladimir expresses his feelings twoards D A N SH Konchakovna. 6 She appears, and they sing together of A A Act I their love. 7 They leave as Prince Igor enters, X Y lamenting his captivity and separation from Yaroslavna. E E Scene 1 8 Ovlur steps forward, proposing a plan of escape. L V Prince Igor finds the suggestion dishonourable, but then A 7 At the court of Prince Vladimir Galitsky, brother of starts to demur. 9 He is greeted by his captor, Khan Prince Igor’s wife, Yaroslavna, the people praise him, Konchak, who offers him further hospitality, and appointed now by his brother-in-law to guard the suggests even an alliance between them, rejected by kingdom and the Princess, led by Skula and Yeroshka, Prince Igor.
    [Show full text]
  • Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
    Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled
    [Show full text]