Marche Slave

Total Page:16

File Type:pdf, Size:1020Kb

Marche Slave Marche Slave Wind Band / Concert Band / Harmonie / Blasorchester / Fanfare Arr.: John Glenesk Mortimer Pyotr Ilyitch Tchaikovsky EMR 11043 st + 1 Score 2 1 Trombone nd + 1 Piccolo 2 2 Trombone + 8 Flute 1 Bass Trombone + 1 Oboe (optional) 2 Baritone 1 Bassoon (optional) 2 E Bass 1 E Clarinet (optional) 2 B Bass st 5 1 B Clarinet 2 Tuba nd 4 2 B Clarinet 1 String Bass (optional) rd 4 3 B Clarinet 1 Timpani 1 B Bass Clarinet (optional) 1 Snare Drum 1 B Soprano Saxophone (optional) 1 Cymbals 2 1st E Alto Saxophone 1 Bass Drum 2 2nd E Alto Saxophone 2 B Tenor Saxophone 1 E Baritone Saxophone (optional) Special Parts Fanfare Parts 1 E Trumpet / Cornet (optional) st 2 1st Flugelhorn st 1 1 B Trombone 3 1 B Trumpet / Cornet nd 2 2nd Flugelhorn nd 1 2 B Trombone 3 2 B Trumpet / Cornet 2 3rd Flugelhorn rd 1 B Bass Trombone 3 3 B Trumpet / Cornet 1 B Baritone 2 1st F & E Horn 1 E Tuba 2 2nd F & E Horn 1 B Tuba 2 3rd F & E Horn Print & Listen Drucken & Anhören Imprimer & Ecouter www.reift.ch Case Postale 308 • CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 • Fax +41 (0) 27 483 42 43 • E-Mail : [email protected] • www.reift.ch DISCOGRAPHY Majestic Marches 1 Track Titel / Title Time N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Concert Band 1 Coronation March (Meyerbeer) 3’59 EMR 11061 EMR 3862 2 Epic March (Ireland) 7’41 EMR 11077 EMR 3863 3 Procession Of The Sardar (Ippolitov-Ivanov) 4’06 EMR 11014 EMR 3864 4 Carmen March (Bizet) 3’18 EMR 11069 EMR 3865 5 The Love Of Three Oranges (Prokofiev) 2’14 EMR 11073 EMR 3866 6 March Slave (Tchaikovsky) 8’59 EMR 11043 EMR 3867 7 Entry Of The Boyars (Halvorsen) 4’28 EMR 10997 EMR 3868 8 Jubilee March (Strauss) 4’56 EMR 11074 EMR 3869 9 Marche Militaire (Schubert) 4’34 EMR 10254 EMR 3032 Zu bestellen bei • A commander chez • To be ordered from: Editions Marc Reift • Route du Golf 150 • CH-3963 Crans-Montana (Switzerland) • Tel. +41 (0) 27 483 12 00 • Fax +41 (0) 27 483 42 43 • E-Mail: [email protected] • www.reift.ch Recorded on CD - Auf CD aufgenommen - Enregistré sur CD | Photocopying Pyotr Ilyitch Tchaikovsky is illegal! Marche Slave Arr.: John Glenesk Mortimer 2 3 4 5 6 7 Tempo di marcia moderato q = 116 Piccolo Flute Oboe Bassoon pp 1st Bb Clarinet p 2nd B Clarinet b 3rd B Clarinet b Bb Bass Clarinet pp 1st Eb Alto Saxophone mp 2nd Eb Alto Saxophone mp B Tenor Saxophone b mp Eb Baritone Saxophone 1st Bb Trumpet / Cornet 2nd Bb Trumpet / Cornet 3rd Bb Trumpet / Cornet 1st F Horn mp 2nd F Horn mp 3rd F Horn p 1st Trombone pp 2nd Trombone pp Bass Trombone pp Baritone pp Tuba in C pp String Bass Timpani pp Snare Drum Cymbals Bass Drum EMR 11043 www.reift.ch © COPYRIGHT BY EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND) ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED 4 8 9 10 11 12 A 13 14 15 16 Picc. Fl. mp Ob. mp Bsn. p Cl.1 mp Cl.2 p Cl.3 B.Cl. A.Sax.1 A.Sax.2 T.Sax. p B.Sax. Tpt./ Cnt.1 Tpt./ Cnt.2 Tpt./ Cnt.3 Hn.1 Hn.2 Hn.3 Tbn.1 p Tbn.2 B.Tbn. Bar. p Tba. pizz. Str.B. Timp. S.D. Cym. pp B.D. pp www.reift.ch EMR 11043 17 18 19 20 21 22 23 24 25 5 Picc. mf Fl. mf Ob. mf Bsn. mp Cl.1 mf Cl.2 mf mp mp Cl.3 mf mp mp B.Cl. p A.Sax.1 p mf mp mp A.Sax.2 mf T.Sax. mp mp mf B.Sax. mp Tpt./ Cnt.1 Tpt./ Cnt.2 Tpt./ Cnt.3 Hn.1 p mp Hn.2 mp Hn.3 mp Tbn.1 Tbn.2 B.Tbn. mp Bar. mp Tba. Str.B. Timp. S.D. Cym. B.D. www.reift.ch EMR 11043 6 26 27 28 B 29 30 31 32 Picc. Fl. f ma dolce Ob. f ma dolce Bsn. Cl.1 f ma dolce 3 3 3 3 3 3 3 3 Cl.2 3 333 3 333 mp Cl.3 B.Cl. A.Sax.1 3 3 mp 333 333 A.Sax.2 333 333 3 3 T.Sax. mp B.Sax. Tpt./ Cnt.1 3 333 3 333 mp 33 33 33 33 Tpt./ Cnt.2 mp Tpt./ Cnt.3 3 3 3 3 3 3 Hn.1 mp 3 3 3 333 3 333 Hn.2 mp Hn.3 Tbn.1 Tbn.2 B.Tbn. Bar. .
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]
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • Iolanta Bluebeard's Castle
    iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today.
    [Show full text]
  • Peter Tchaikovsky Symphony No. 4 in F Minor, Op. 36
    PROGRAM NOTES by Phillip Huscher Peter Tchaikovsky Born May 7, 1840, Viatka, Russia. Died November 18, 1893, Saint Petersburg, Russia. Symphony No. 4 in F Minor, Op. 36 Tchaikovsky began this symphony in May 1877 and completed it on January 19, 1878. The first performance was given in Moscow on March 4, 1878. The score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, triangle, cymbals, bass drum, and strings. Performance time is approximately forty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Tchaikovsky’s Fourth Symphony were given at the Auditorium Theatre on November 3 and 4, 1899, with Theodore Thomas conducting. Our most recent subscription concert performance was given at Orchestra Hall on November 10, 2006, with Ludovic Morlot conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 17, 1936, with Willem van Hoogstraten conducting, and most recently on July 31, 1999, with Christoph Eschenbach conducting. The Chicago Symphony Orchestra recorded Tchaikovsky’s Fourth Symphony under Rafael Kubelík in 1951 for Mercury, under Sir Georg Solti for London in 1984, under Claudio Abbado for CBS in 1988, and under Daniel Barenboim for Teldec in 1997. Tchaikovsky was at work on his Fourth Symphony when he received a letter from Antonina Milyukova claiming to be a former student of his and declaring that she was madly in love with him. Tchaikovsky had just read Pushkin’s Eugene Onegin, hoping to find an opera subject, and he saw fateful parallels between Antonina and Pushkin’s heroine, Tatiana.
    [Show full text]
  • BIO-Sulimsky AUG20.Pdf
    Vladislav Sulimsky Baritone Belarussian Verdi baritone Vladislav Sulimsky has rapidly become one of the leading singers of the world. In the summer of 2018, he made his debut at the Salzburg Festival as Tomsky (Queen of the Spades) under the baton of Mariss Jansons, followed by Count Luna (Il trovatore) at the Berlin State Opera, Jago (Otello) at the Vienna State Opera, and his role debut as Scarpia (Tosca) at the Malmö opera. He also made his house debut at the Munich State Opera with Count Luna and will appear for the first time at the Frankfurt Opera in the role of Siriex (Fedore) in January 2021, as well as with the Berlin Philharmonic and Kyrill Petrenko as Lanceotto Malatesta in Rachmaninov’s Francesca da Rimini. His house debut at the Paris Opera was cancelled due to the Covid-19 pandemic. Since 2004, baritone Vladislav Sulimsky has been a member of the Mariinsky Theatre in St. Petersburg, where he has sung countless parts including the title roles in Eugen Onegin and Gianni Schicchi, Ibn-Hakia (Iolanta), Kovalev (The Nose), Rodrigo (Don Carlo), Silvio (Pagliacci), Andrei Bolkonsky (War and Peace), Enrico (Lucia di Lammermoor), Giorgio Germont (La Traviata), Renato (Un ballo in maschera) and Ford (Falstaff). In 2010 Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina, followed by Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in Enchantress by Tchaikovsky and his parade title role Eugen Onegin.
    [Show full text]
  • Tchaikovsky Violin Concerto
    Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem.
    [Show full text]
  • A Tchaikovsky Spectacular: "1812" ・ Romeo and Juliet ・ Marche Slave Mp3, Flac, Wma
    Tchaikovsky A Tchaikovsky Spectacular: "1812" ・ Romeo And Juliet ・ Marche Slave mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: A Tchaikovsky Spectacular: "1812" ・ Romeo And Juliet ・ Marche Slave Country: Netherlands Released: 1987 Style: Romantic MP3 version RAR size: 1760 mb FLAC version RAR size: 1866 mb WMA version RAR size: 1721 mb Rating: 4.2 Votes: 216 Other Formats: AUD WAV MMF AAC DXD DTS XM Tracklist 1 Overture "1812" Op. 49 16:25 2 Marche Slave, Op. 31 9:34 3 Romeo And Juliet (Fantasy Overture) 20:34 Credits Art Direction – Marvin Schwartz Composed By – Tchaikovsky* Design – Marvin Schwartz Painting [Uncredited; "Battle Of Moscow, 7th September 1812"] – Louis-François Lejeune Photography By – Clive Barda Barcode and Other Identifiers Barcode: 7 24347 95352 1 Other versions Category Artist Title (Format) Label Category Country Year London Symphony London Symphony Orchestra* Conducted Orchestra* Angel S-36890 By André Previn - A S-36890 US 1973 Conducted By Records Tchaikovsky Spectacular André Previn (LP) Tchaikovsky*, André Tchaikovsky*, Previn, The London André Previn, The Symphony Orchestra - Hi-Q HIQLP007 HIQLP007 UK 2011 London Symphony 1812 Overture / Romeo Records Orchestra And Juliet / Marche Slave (LP) Orquesta Sinfónica De Londres* Dirigida Por Orquesta Sinfónica 1 J André Previn - 1 J De Londres* La Voz De 065-02.365 Tchaikovsky Obertura 065-02.365 Spain 1974 Dirigida Por André Su Amo Q "1812" Romeo Y Julieta - Q Previn Marcha Eslava (LP, Album, Quad, SQ ) London Symphony London Symphony Orchestra* Orchestra* Conducted His Q4ASD Q4ASD Conducted By By André Previn / Master's UK 1973 2894 2894 André Previn / Tchaikovsky* - 1812 Voice Tchaikovsky* Overture (LP, Quad) London Symphony London Symphony Orchestra* Conducted Orchestra* His TC ASD By André Previn / TC ASD Conducted By Master's UK 1973 2894 Tchaikovsky* - 1812 2894 André Previn / Voice Overture Etc.
    [Show full text]
  • PETER TCHAIKOVSKY Arr. ROBERT LONGFIELD Highlights from 1812
    KJOS CONCERT BAND TRADITION OF EXCELLENCE™ GRADE 3 EXCELLENCE IN PERFORMANCE WB466F $7.00 PETER TCHAIKOVSKY arr. ROBERT LONGFIELD Highlights from 1812 Overture Correlated with TRADITION OF EXCELLENCE™ Book 3, Page 30 Correlated with TRADITION OF EXCELLENCE™ Books 1, 2, & 3 when performed as a mass band with all available parts. SAMPLE NEIL A. KJOS MUSIC COMPANY • PUBLISHER 2 SAMPLE WB466 3 About the Composer Peter Ilyich Tchaikovsky (1840–1893) was a Russian composer of the Romantic era whose compositions remain popular to this day. Among his most popular works are three ballets, Swan Lake, Sleeping Beauty, and Te Nutcracker, six symphonies, eleven operas, the tone poems Romeo and Juliet Fantasy Overture, Marche Slave, Capriccio Italien, and 1812 Overture, a concerto for violin, and two concertos for piano. Tchaikovsky’s music was the frst by a Russian composer to achieve international recognition. Later in his career, Tchaikovsky made appearances around the globe as a guest conductor, including the 1891 inaugural concert of Carnegie Hall in New York City. In the late 1880s, he was awarded a lifetime pension by Emperor Alexander III of Russia. But, Tchaikovsky batled many personal crises and depression throughout his career, despite his popular successes. Nine days afer he conducted the premiere of his Sixth Symphony, “the Pathétique,” Tchaikovsky died. Te circumstances of his death are shrouded in ambiguity. Te ofcial report states that he contracted cholera from drinking contaminated river water. However, at this time in St. Petersburg, a death from cholera was practically unheard of for someone Tchaikovsky’s wealth. For this reason, many people, including members of his family, believe that his death is the result of suicide related to the depression he batled during his life.
    [Show full text]
  • Tchaikovsky Concerto #1
    Tchaikovsky Concerto #1 Friday, March 29, 2019 at 11 am Francesco Lecce-Chong, Guest conductor Tchaikovsky Piano Concerto No. 1 in B‐flat Major, Op. 23 Andrew von Oeyen, piano Shostakovich Symphony No. 10 in E minor, Op. 93 (select movements) Tchaikovsky concerto #1 According to Gerard The Composers McBurney in a 2006 article for The Guardian: “At the heart of both Tchaikovsky's Pyotr Ilyich Tchaikovsky and Shostakovich's music is (1840—1893) superlative technique and fluency, coupled with a pro- Pyotr Tchaikovsky was born on May 7, 1840 in nounced fondness for mix- Votkinsk, Russia, the second son of Ilya and Al- ing highbrow contexts, ide- exandra. Ilya was a mine inspector and this was the second marriage for as and tunes with a some- Ilya whose first wife times startlingly lowbrow Mariya had died leaving him with a young flavor (scraps of operetta, daughter, Zinaida. At pop tunes, cheap marches the time, Votkinsk Pyotr Tchaikovsky and barrel-organ noises). (about 600 miles south- east of Moscow) was This combination of high- famous for its ironworks and Ilya had considera- brow and kitsch is not ble authority as the factory manager of the Kam- theirs alone, of course. sko-Votkinsk Ironworks. Both Ilya and Alexan- dra had interests in the arts and had purchased an Many composers have orchestrion (a type of barrel organ that could The Tchaikovsky family in joined in the fun, including simulate orchestral effects) after moving to the remote Votkinsk. Tchaikovsky was particularly 1848 Mozart, Schubert and Mah- entranced by the instrument that played works of Mozart as well as the ler.
    [Show full text]
  • Repertoire: Symphonic Music
    Stanislav KOCHANOVSKY – Repertoire: Symphonic Music: Agazhanov Way of Poet, vocal-symphony poem Albrechtsberger Concerto for Alto Trombone and Orchestra Arensky Variations on Theme by Tchaikovsky Fantasy for Piano on Theme by Riabinin Arutiunian Concerto for Trumpet and Orchestra Concerto for Trombone and Orchestra Bach Toccata en Fuga d-moll (arr. L. Stokowski) Brandenburg Concertos No.3 & No.4 Concerto E-dur for violin and strings, BWV 1042 Concerto for Oboe and Violin BWV 1060 Orchestral Suite No.2, BWV 1067 Barber Adagio for String Orchestra Concerto for Cello and Orchestra School of scandal, overture Bartok Concerto for Orchestra Divertimento for Strings Six Rumanian dances Concerto for Piano and Orchestra No.3 Concerto for Violin and Orchestra No.2 Beethoven Symphonies No.1-9 Overtures: Coriolan, King Stephen, Leonore No.3, Weihe des Hauses, Prometheus Egmont, Incidental music after Goethe's play Wellington's Victory, Op 91 Concertos for Piano and Orchestra No.1-5 Berg Lulu—symphony Concerto for Violin and Orchestra Berlioz Symphonique Fantastique Roman Carnival, overture Les Francs Juges, overture Romeo et Juliette, Scène d'amour (Love scene) Bernstein Candide, overture Serenade for Violin Bizet Carmen Suite No.1 L’Arlesienne Suites Bloch Rhapsody for cello and Orchestra “Schelomo” Borne Carmen-fantasy for Flute and Orchestra Borodin Symphony No.2 Polovtsian dances from Prince Igor Brahms Symphonies No.1-4 Tragic Overture Variations on the Theme by Haydn Concerto for Violin and Orchestra Concertos for Piano and Orchestra No.1 &
    [Show full text]
  • New Releasesreleases
    NEWNEW RELEASESRELEASES ANATOLE FISTOULARI RUSSIAN ORCHESTRAL SUITES 1951 & 1953 Anatole Fistoulari was an exceptionally gifted Russian conductor, who made his debut at the age of seven conducting Tchaikovsky’s ‘Pathetique’ Symphony from memory, and who became one of the most important conductors of Russian music in the West after the 1917 Revolution. On this most valuable CD release, he is heard in orchestral suites from infrequently heard Russian operas, played by some of the finest orchestras, and Fistoulari brings to this rare music all the qualities of empathy and excellence for which he was famous. Now an unjustly neglected figure, this important CD will reawaken interest in one of the great 20th-century interpreters of Russian music. GHCD 2408 Mikhail Glinka (1804-1857) Pyotr Ilyich Tchaikovsky (1840-1893) (arr. Constantine Saradjeff) Russlan and Ludmilla Suite The Tsarina’s Slippers Suite 1 I. Overture 5:09 9 I. Introduction to Act 1 - Exorcism and Snow Storm - Minuet 7:59 2 II. Fairy Dances, Act III 9:12 10 II. Introduction to Act 3 - Russian Dance 5:37 3 III. Oriental Dances, Act IV 6:46 11 III. Cossack Dance 3:13 4 IV. Tchernomor’s March, Act IV 4:21 12 IV. Finale 1:17 Nicolai Rimsky-Korsakov (1844-1908) Nicolai Rimsky-Korsakov (1844-1908) Ivan the Terrible Suite 13 May Night’ - Overture 8:34 5 I. Overture 6:52 Philharmonia Orchestra conducted by Anatole Fistoulari 6 II. Intermezzo No. 1 2:14 7 III. Intermezzo No. 2 4:03 8 IV. Royal Hunt and Storm 6:22 London Symphony Orchestra conducted by Anatole Fistoulari SIR MALCOLM SARGENT TCHAIKOVSKY 1955 & 1960 Sir Malcolm Sargent was one of four great contemporary conductors - alongside Barbirolli, Beecham and Boult - who dominated the British musical scene in the decades following World War II, and exceptionally he was invited by Toscanini to give four concerts in New York with the NBC Symphony - a measure of Sargent’s quality.
    [Show full text]
  • Download Booklet
    554844 bk Grishko2 EC 5|12|02 3:29 PM Page 20 Nikolay Andreyevich Rimsky-Korsakov Mikhail Ivanovich Glinka DDD (1844-1908) (1804-1857) Sadko Ruslan and Lyudmila Russian Opera Arias 8.554844 1 Introduction 2:24 9 Bayan’s song 4:22 2 Sadko’s Melismatic Song 3:47 There is a deserted land Ah, you dark oak grove! A Life for the Tsar Sadko • Prince Igor • Rusalka • A Life for the Tsar 0 Krakowiak 7:02 Pyotr Il’yich Tchaikovsky ! Sobinin’s aria 6:03 Vladimir Grishko, Tenor (1840-1893) Brothers. Into the snow storm! The Slippers 3 Danse des cosaques 3:20 Nikolay Andreyevich Rimsky-Korsakov 4 Vakula’s aria 2:51 (1844-1908) Does your heart not hear my terrible grief? The Tsar’s Bride @ Lïkov’s Arioso (Act I) 2:54 Sergey Rachmaninov It is all different (1873-1943) # Lïkov’s Arioso (Act III) 2:47 Aleko The thundercloud has scurried past 5 Men’s dance 4:31 6 The young gypsy’s romance 1:25 Pyotr Il’yich Tchaikovsky See, beneath yon firmament (1840-1893) The Maid of Orleans Alexander Sergeyevich Dargomïzhsky $ Entr’acte (Act II) 3:16 (1813-1869) Iolanta Rusalka % Vaudémont’s Romance 3:41 7 Prince’s cavatina (Act III) 5:44 No! The charm of a feisty beauty’s embraces Involuntarily I am drawn 8 Gypsy dance 2:58 Alexander Porfir’yevich Borodin (1833-1887) Prince Igor ^ Polovtsian March 5:04 & Vladimir’s Aria 5:34 Slowly the day was fading 8.554844 20 554844 bk Grishko2 EC 5|12|02 3:29 PM Page 2 Vladimir Grishko Zhdyosh’ li? wafting dreams of love, Russian Opera Arias, Vol.
    [Show full text]