Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete Works in MP3-Format Details

Total Page:16

File Type:pdf, Size:1020Kb

Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete Works in MP3-Format Details Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete works in MP3-Format Details P. I. Tchaikovsky (1840 – 1893) - Sämtliche Werke als MP3 / Complete works - Gesamtspielzeit / Time total 61:20:48 Titel/Title Zeit/Time Titel/Title Zeit/Time 1.Ballett /Ballet 6:13:12 op.20 Schwanensee / Swan Lake 2:26:50 Act 1 0:51:19 1 Scene 0:05:49 6 Pas d'action 0:02:24 2 Valse 0:07:33 7 Sujet 0:02:37 3 Scene 0:03:54 8 Danse des coupes 0:04:12 4 Pas de trois 0:10:24 9 Finale 0:03:31 5 Pas de deux 0:10:55 Act 2 0:33:13 10 Scene 0:03:23 13 Danses des cygnes 0:17:19 11 Scene 0:05:51 14 Scene. Moderato 0:03:11 12 Scene 0:03:29 Act 3 0:44:59 15 Danses de fantailles 0:02:46 20 Danse hongroise. Czardas 0:02:32 16 Danses du corps de ballet et des nains 0:02:24 21 Danse espagnole 0:02:25 17 Scene. Sortie des invites et valse 0:07:54 21a Danse russe 0:04:33 18 Scene 0:01:39 22 Danse napolitaine 0:01:55 19 Pas de six 0:05:46 23 Mazurka 0:04:12 19a Pas de six 0:05:17 24 Scene 0:03:36 Act 4 0:17:19 25 Entr'acte 0:01:53 29 Scene finale 0:09:13 26 Scene. Danses des petits cygnes 0:06:13 Montreal Symphony Orchestra - Charles Dutoit, 1990 op.66 Dornröschen / The Sleeping Beauty 2:18:22 Act 1 1:01:25 1.Introduction 0:02:58 3. Prolog-10. Coda 0:01:27 2. Prolog-1.Marche 0:04:40 4. Prolog-11.Finale 0:08:46 2. Prolog-2.Scene dansante 0:04:11 5.Scene 0:05:28 2. Prolog-3.Pas de six- I. Introduction 0:04:24 6.Valse 0:04:35 3. Prolog-4.Var.I-Candite 0:00:46 7.Scene 0:01:34 5.Var.II-Coulante.Fleur de Farine 0:00:33 8.1.Pas d'action-Introduction 0:05:58 3. Prolog-6.Var.III-Miettes qui tombent 0:00:57 8.2.Danse des demoiselles d'honneur et 0:01:46 3. Prolog-7.Var.IV-Canrai qui chante 0:00:31 des pages 3. Prolog-8.Var.V-Violente 0:01:03 8.3.Variation d'Aurore 0:03:02 3. Prolog-9.Var.VI-La Fee des Lilas 0:00:58 9.Finale 0:09:15 2 - P. Tchaikovsky complete MP3 - Titel/Title Zeit/Time Titel/Title Zeit/Time Act 2 0:38:47 1.Entr'acte et scene 0:02:07 7.Scene 0:04:10 2.Colin-laillard 0:01:07 8.1.Pas d'action-I.d'Aurore et de Desire. 0:05:07 3.Scene 0:00:44 8.2.Variation d'Aurore 0:01:29 4.1.Danse des duchesses 0:00:56 8.3.Coda 0:01:27 4.2.Danse des baronnes 0:00:44 9.Scene 0:00:31 4.3.Danse des comtesses 0:00:37 10.Panorama 0:02:51 4.4.Danse des marquises 0:00:47 11.Entr'acte 0:06:29 5.Farandole. Scene 0:00:17 12.Entr'acte symphonique- Le Sommeil 0:08:01 6.Danse 0:01:23 Act 3 0:38:10 1.Marche 0:01:38 6.1.Pas de caractere - 0:01:15 2.Polacca 0:02:41 Le Petit Chaperon rouge et le loup 3.1.Pas de quatre-Introduction 0:01:35 6.2.Cendrillon et le prince Fortune 0:02:36 3.2.Var.I-La Fee-Or 0:00:47 7. Pas berrichon - 0:01:18 3.3.Var.II-La Fee-Argent 0:00:54 Le Petit Poucet, ses freres et l'Ogre 3.4.Var.III-La Fee-Saphir 0:00:46 8.1.Pas des deux-Aurore et Desire 0:00:09 3.5.Var.IV-La Fee-Diamant 0:00:45 8.2.Entrée 0:01:19 3.6.Coda 0:00:45 8.3.Adagio 0:04:41 4. Pas de caractere - 0:02:09 8.4.Var.I-Desire 0:00:53 Le Chat botte et la chatte blanche 8.5.Var.II-Aurore 0:01:41 5.1.Pas de quatre-Introduction 0:02:05 8.6.Coda 0:01:17 5.2.Var.I-Cendrillon et Fortune 0:00:40 9.Sarabande 0:01:26 5.3.Var.II-L'Oiseau bleu et la princesse Florine 0:00:51 10.1.Finale-Introduction 0:03:08 5.4.Coda 0:00:59 10.2.Finale-Apotheose 0:01:52 2002, BBC Symphony Orchestra - Gennady Nikolayevich Rozhdestvensky op.71 Nussknacker / The Nutcracker 1:26:33 Act 1 0:44:34 0.Miniature Overture 0:02:58 5.Tanz des Grossvaters/Dance of grandfather 0:06:51 1.Dekoration des Weihnachtsbaums/Christmas tree 0:03:51 6.Scene-Clara & Nussknacker/Nutcracker 0:05:48 2.Marsch / March 0:02:14 7.Scene - Battle 0:03:10 3.Kindergalopp / Children's gallop 0:02:21 8.Scene - Im Kiefernwald / in the forest 0:04:10 4.Ankunft von Dosselmeyer / Dosselmeyer's arrival 0:05:28 9.Walzer der Schneeflocken / Snowflakes 0:07:43 Act 2 0:39:38 1.Scene-Königreich der Süssigkeiten/Kingdom of sweetness 0:04:54 3e.Flötentanz / Flute dance 0:02:21 2.Scene-Clara & Prinz / Prince 0:04:30 3f.Mutter Gigogne / Mother Gigogne 0:02:51 3a.Schokolade-Spanischer Tanz / 0:01:05 4.Blumenwalzer / Flower waltz 0:06:55 Chocolate-Spanish dance 5.Pas De Deux 0:04:46 3b.Kaffee-Arabischer Tanz / Coffee-Arabian dance 0:03:12 6a.Var I-Tarantella 0:00:45 3c.Tee-Chinesischer Tanz / Tea-Chinese dance 0:01:10 6b.Var II-Sugar-Plum Fairy 0:03:10 3d.Trepak-Russischer Tanz / Trepak-Russian dance 0:01:07 7.Finale Valse & Apotheose 0:05:13 1989, Berlin Philhamonic Orchestra - Andrei Gavrilov, Vladimir Ashkenazy - Piano 3 - P. Tchaikovsky complete MP3 - Titel/Title Zeit/Time Titel/Title Zeit/Time 2.Instrument & Orchester / Instrument & Orchestra 4:06:28 op.19 Nocturne f. Cello & Orchestra 0:04:01 1997, Ensemble Instrumental Musica Viva - Nicolai Alexeiev, Alexander Rudin - Cello op.26 Sérénade Mélancolique in b 0:08:17 1996, Orpheus Chamber Orchestra - Edward Elgar, Gil Shaham - Violin op33 Rococo-Variations for Cello & Orchstra 0:17:14 1.Moderato quasi Andante 0:00:52 6.Variazione IV.Andante grazioso 0:01:55 2.Thema.Moderato semplice 0:01:30 7.Variazione V.Allegro moderato 0:02:12 3.&4.Variazione I.Tempo del Tema 0:02:07 8.Variazione VI.Andante 0:02:52 5.Variazione III.Andante soste 0:03:50 9.Variazione VII.Allegro vivo 0:01:56 1997, Orpheus Chamber Orchestra, Mischa Maisky - Violoncello op.35 Violinkonzert in D 0:35:12 1.Allegro moderato 0:18:25 3.Finale,Allegro vivacissimo 0:10:15 2.Canzonetta,Andante 0:06:32 1992, London Symphony Orchestra - Emil Tchakarov, Augustin Dumay - Violin op.42 'Souvenir d'un Lieu Cher' f. Violin & Orchestra 0:28:52 1. Méditation in d 0:10:42 3.Mélodie in Eb 0:14:47 2.Scherzo in c 0:03:23 1981, USSR State Symphony Orchestra - Mariss Janson, Viktor Tretiakov - Violin op.56 Fantasie de Concert Piano & Orch. in G 0:28:02 1.Quasi Rondo 0:14:47 2.Contrastes 0:13:15 1991, Prague Symphony Orchestra - Richard Kapp, Michael Ponti - Piano op.62 Pezzo Capriccioso f. Cello & Orchestra 0:06:54 1997, Ensemble Instrumental Musica Viva - Nicolai Alexeiev, Alexander Rudin - Cello op.66 Andante Cantabile f. Cello & Orchestra (from Sleeping Beauty) 0:06:54 1997, Ensemble Instrumental Musica Viva - Nicolai Alexeiev, Alexander Rudin - Cello op.posth. 11,2 Andante cantabile f. Cello & Strings 0:05:46 1997, Ensemble Instrumental Musica Viva - Nicolai Alexeiev, Alexander Rudin - Cello Piano Concerto No.1 op.23 in b 0:32:22 1.Allegro non troppo-Allegro con spirto 0:19:23 3.Allegro con fuoco 0:06:16 2.Andante semplice-Prestissimo-Tempo I 0:06:43 1986, Moscow Radio Symphony Orchestra - Vladimir Fedoseev 4 - P. Tchaikovsky complete MP3 - Titel/Title Zeit/Time Titel/Title Zeit/Time Piano Concerto No.2 op.44 in G 0:40:47 1.Allegro brillante 0:18:45 3.Allegro con fuoco 0:07:38 2.Andante non troppo 0:14:24 1991, Prague Symphony Orchestra - Richard Kapp, Michael Ponti - Piano Piano Concerto No.3 op.75 in Eb - Allegro brillante 0:14:48 Piano Concerto No.3 op.79 - Andante & Finale 0:17:19 1.Andante 0:09:27 2.Allegro maestoso 0:07:52 1991, Orchestra of Radio Luxembourg - Luis de Froment, Michael Ponti - Piano 3.Oper / Opera 22:10:56 oop. Charodeika / Die Zauberin / The Enchantress 3:10:51 Act 1 1:16:39 Ouverture 0:06:34 6 Kuma-Nun also hier ist das verrufne Nest! 0:10:19 1-2 Volksscene-Unser Wirtshaus zum Fluss 0:07:04 7 Finale,Kuma-Mir hat er diesen Ring gegeben! 0:10:59 2-3 Chorus Guest & Scene-Sei gegruesst Gevatterin 0:03:33 8 Arioso Kuma-Ist dir nicht auch vom Wein 0:13:27 4 Scene & Arioso Kuma-Jetzt,wo alle beten! 0:05:58 9 Duet Kuma,Lukash-Gibt es noch was lust'gers! 0:13:11 5 Chorus-Dort kommt der junge Fürst vom Jagen 0:05:34 Act 2 0:23:54 1 Intermezzo 0:06:01 3 Paisi,Juri-Ich bin hier weil man mich rief! 0:06:43 2 Scene & Arioso Nenila-Mich flieht der Schlaf 0:06:20 4 Duet Fuerstin,Fuerst-Du hast mich herbefohlen 0:04:50 Act 3 0:41:35 1 Chorus,Kuma-Du blickst,Herr,zur Erde nieder 0:14:31 3 Duet Juri,Zhuran-Lass sehn! Ist sie nicht hier 0:21:37 2 Kuma,Foka-Wo schöpfte ich,als er mich fasste 0:05:27 Act 4 0:48:43 1 Scene,Chorus Kudma-Horch,Hörnerklang! 0:11:32 4 Scene & Duet Princess,Kuma-Dies' Weib 0:04:33 2 Duet Parisi-Den Baeren haben wir gehoben 0:07:45 5 Quartet Juri,Kudma,Kuma,Prinz-Nastja! 0:02:22 3 Arioso Kuma,Lukash,Prince-An dieser Stelle 0:06:26 6 Finale Juri,All-Was fehlt dir,Nasty 0:16:05 1955, Moscow Philharmonic Orchestra Orchestra & Moscow Radio Chorus - Samuel Samosud, Kuma - Natalia Sokolova (Soprano), Prince Kurliatov - Mikhail Kisselev (Bariton), Princess Kurliatova - Veronika Borisenko (Mezzo Soprano), Prince Juri - Georgei Nelepp (Tenor), Mamyrov - Alexej Korolev (Bass), Nenila - Anna Matushina (Mezzo Soprano), Ivan Zhuran - Mikhail Skazin (Bass), Paisi - Pavel Pontriagin (Tenor), Kudma - Pavel Korobkov (Bariton), Polya - Varvara Gradova (Soprano), Foka - Alexander Tikhonov (Bariton), Balakin - Serafim Sladkopevtzev (Tenor), Potap - Levon Khachaturov (Bariton), Lukash - Alexej Usmanov (Tenor), Kichiga - Genadi Troitzky (Bass) 5 - P.
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • All Or Write: P.O
    Tangtewqpd i 8 . - • .. lil • M -• * •'•-- . in if § H i Visit Tanglewoods Neighbor . White Pines at Stockbridge, the only luxury condominium in Stockbridge. You'll find us a short walk down the road among whispering pines; sunny, rolling meadows; quiet, cool woodlands ... a truly uncommon condominium community on 95 acres of a turn-of-the- century estate. Half our luxurious, contemporary units have been completed in and around the original French Provincial buildings. (A very few of these are available for immediate occupancy.) A third of the remaining 34 units . duplex country villas . will also be ready this summer. White Pines homeowners are already enjoying their on-site private recreation facilities . year-round swimming pool, Har-Tru tennis courts, exercise facilities, sauna and lakefront beach. We invite you to visit our furnished model, open seven days a week. Featured in Sfye JfeUf JJork Sinter For information, call or write: P.O. Box 529 White Hawthorne Street Stockbridge, MA 01262 (413)637-1140 Pines Our sales agent is: country estate Reinholt Realty condominiums Main Street, Lenox (413) 637-1251 or Main Street, Stockbridge (413) 298-3664. at Stockbridge Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President Vice-Chairman J. P. Barger, Vice -Chairman Mrs. John M. Bradley, George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs.
    [Show full text]
  • Tchaikovsky's Romeo and Juliet
    Tchaikovsky’s Romeo and Juliet: A Schleiermacherian Interpretation Emer Nestor This article will discuss the application of Friedrich Daniel Ernst Schleiermacher’s (1768-1834) hermeneutical methods to a general reading of Tchaikovsky’s fantasy-overture, Romeo and Juliet. The German philosopher gave a lecture series on hermeneutics at the University of Berlin in 1819, and from his research on the subject he invariably redefined this field of philosophical thinking. The central elements of his ‘whole and parts’ theory will be discussed as an alternative mode of investigative music analysis. Richard E. Palmer presents six modern definitions of hermeneutics as follows: 1) The theory of biblical exegesis 2) General philological methodology 3) The science of all linguistic understanding 4) The methodological foundation of Geisteswissenschaften 5) Phenomenology of existence and of existential understanding 6) The systems of interpretation, both recollective and iconoclastic used by man to reach the meaning behind myths and symbols.1 The term ‘hermeneutics’ is a word which is prominent in theological, philosophical and literary circles but relatively new to the discipline of musicology.2 Ian Bent asserts that it ‘came to prominence in writing about music implicitly in the nineteenth century and explicitly in the early twentieth century’.3 He remarks that no author in the nineteenth century 1 Richard E. Palmer.: Hermeneutics: Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer (Evanstown: Northwestern University Press, 1969), 3 3 - Hereafter referred to as Palmer: Hermeneutics. 2 For a more in-depth discussion of hermeneutics see Kurt Mueller-Vollmer: The Hermeneutics Reader: Texts of the German Tradition from the Enlightenment to the Present (Oxford: Basil Blackwell, 1986).
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • MUSICWEB INTERNATIONAL Recordings of the Year 2018 This
    MUSICWEB INTERNATIONAL Recordings Of The Year 2018 This is the fifteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2017-November 2018). The 130 selections have come from 25 members of the team and 70 different labels, the choices reflecting as usual, the great diversity of music and sources - I say that every year, but still the spread of choices surprises and pleases me. Of the selections, 8 have received two nominations: Mahler and Strauss with Sergiu Celibidache on the Munich Phil choral music by Pavel Chesnokov on Reference Recordings Shostakovich symphonies with Andris Nelsons on DG The Gluepot Connection from the Londinium Choir on Somm The John Adams Edition on the Berlin Phil’s own label Historic recordings of Carlo Zecchi on APR Pärt symphonies on ECM works for two pianos by Stravinsky on Hyperion Chandos was this year’s leading label with 11 nominations, significantly more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2400 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year the choice was a little easier than usual. Pavel CHESNOKOV Teach Me Thy Statutes - PaTRAM Institute Male Choir/Vladimir Gorbik rec. 2016 REFERENCE RECORDINGS FR-727 SACD The most significant anniversary of 2018 was that of the centenary of the death of Claude Debussy, and while there were fine recordings of his music, none stood as deserving of this accolade as much as the choral works of Pavel Chesnokov.
    [Show full text]
  • YULIA MENNIBAEVA Mezzosoprano
    YULIA MENNIBAEVA mezzosoprano Yulia Mennibaeva has begun her musical studies under the guidance of Victor Minakov; then, from 2005 to 2010, she has studied with the soprano Galina Pisarenko at the Moscow Tchaikovsky Conservatory and as conclusion of her studies' path she has graduated at the Academy of Choral Arts with Dmitry Vdovin. Her career has begun thanks to the debut in the opera Orfeo ed Euridice. Furthermore, since 2010 she has been performing as soloist at the Kolobov Novaya Opera Theatre in Moscow where she has sung such important roles as Fenena in Nabucco, Dido in Dido and Aeneas, Maddalena in Rigoletto, Third Nymph in Rusalka, Olga in Eugeny Onegin, Kontchakovna in Prince Igor, Tisbe in La Cenerentola, Feodor in Boris Godunov, Spring in The Snow Maiden, Myrtale in Thais, the little robber girl in The Story about Kay and Gerda and Laura in Iolanta. Besides the opera repertoire, she has also been involved in lots of concert, among which we remember the Coronation Cantata by Glazunov at the Festival of the World Orchestras in Moscow (2012), the Mass of the world Armed Man by Karl Jenkins in the Great Hall of the Moscow Conservatory (2014), the Gloria by Vivaldi and Mozart's Requiem at the Moscow Philharmonic (2014), the Petite Messe Solennelle by Rossini at the Yaroslavl Philharmonic (2014), the Alexander Nevsky cantata by Sergei Prokofiev at the Novaya Opera (2016) and the final winners concert of Viñas Competition at the Teatro Real de Madrid (2016). During the Season 2016/2017 of the Opernhaus Zurich Yulia has been soloist of the International Opera Studio.
    [Show full text]
  • Pavel Lisitsian Discography by Richard Kummins
    Pavel Lisitsian Discography By Richard Kummins e-mail: [email protected] Rev - 17 June 2014 Composer Selection Other artists Date Lang Record # The capital city of the country (Stolitsa Agababov rodin) 1956 Rus 78 USSR 41366 (1956) LP Melodiya 14305/6 (1964) LP Melodiya M10 45467/8 (1984) CD Russian Disc 15022 (1994) MP3 RMG 1637 (2005 - Song Listen, maybe, Op 49 #2 (Paslushai, byt Anthology Vol 1) Arensky mozhet) Andrei Mitnik, piano 1951 Rus MP3 RMG 1766 (2006) 78 USSR 14626 (1947) LP Vocal Record Collector's Armenian (trad) Armenian girls (Hayotz akhchikner) Matvei Sakharov, piano 1947 Arm Society 1992 Armenian girls (Hayotz akhchikner) LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG 1766 (2006) Armenian girls (Hayotz akhchikner) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Crane (Groong) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Russian Folk Instrument Orchestra - Crane (Groong) Central TV and All-Union Radio LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) - Vladimir Fedoseyev 1968 Arm MP3 RMG 1766 (2006) LP DKS 6228 (1955) Armenian (trad) Dogwood forest (Lyut kizil usta tvoi) Matvei Sakharov, piano 1955 Arm MP3 RMG 1766 (2006) Dream (Yeraz) (arranged by Aleksandr LP Melodiya 45465/6 (1984) Armenian (trad) Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG
    [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]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [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]
  • 2016-17 Winter Program Book 138Th
    2016-17 WINTER PROGRAM BOOK138TH SEASON // UNIVERSITY OF MICHIGAN | ANN ARBOR You have a part to play. Uncommon Your gift will help in the following areas: and engaging ACCESS AND INCLUSIVENESS experiences. Helping make tickets more affordable. Helping create free educational events and A sense of community-building activities. Providing connection opportunities for all to experience the transformative power of the arts. between audience and artist. ENGAGED LEARNING THROUGH THE ARTS Integrating performing arts into the Moments of clarity, student experience. Creating meaningful connections between the arts and life. inspiration, and Encouraging creative thinking, collaboration, reflection. The and experimentation. performing arts BOLD ARTISTIC LEADERSHIP provide us with Commissioning work that reflects our commitment to tradition and innovation. these elemental Solidifying and elevating our position as experiences, a recognized national and international artistic leader. Unique and bold offering a shortcut programming. to our creative As a Leader and Best among arts presenters, selves. UMS wants anyone and everyone, students and community alike, to experience the transformative power of the performing arts. We seek generous partners who want to help us achieve our goal. UMS.ORG/SUPPORT Visit us online or call the UMS Development 734.764.8489 Office to make your gift today. BE PRESENT Be Present UMS unleashes the power of the WINTER 2017 performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences. The Winter 2017 season is full of exceptional, world-class, and truly inspiring performances. Welcome to the UMS experience. We’re glad you’re present. Enjoy the performance. 1 When you attend a UMS performance, you’re part of a larger equation: nonprofit ARTS +CULTURE = ECONOMIC PROSPERITYin the greater Ann Arbor Area $100 million annually Together, we invest in our local community’s vibrancy.
    [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]