DOCSLIB.ORG

28-03 Noseda.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
28-03 Noseda.Indd Thursday 28 March 2019 7.30–9.30pm Barbican LSO SEASON CONCERT RUSSIAN ROOTS Rachmaninov Piano Concerto No 2 Interval SHOST Balakirev arr Casella Islamey Shostakovich Symphony No 1 Gianandrea Noseda conductor Seong-Jin Cho piano OVICH Streamed live at youtube.com/lso and on medici.tv Welcome Latest News On Our Blog Shostakovich’s First Symphony completes OUR 2019/20 SEASON ORA SINGERS LAUNCH RESIDENCY AT the concert, an early work by the prodigious LSO ST LUKE’S teenage composer which, at its 1926 premiere, The LSO’s 2019/20 season is now on sale. promised one of the most prolific and varied Sir Simon Rattle continues his exploration of Suzi Digby, music director of the ORA Singers, careers of any symphonic composer. the roots and origins of music, including a explains how the choir launched their Design look back to the influence of Beethoven in Series – collaborating with stage designer At tonight’s concert we welcome the LSO’s his 250th anniversary year and a focus on Nicky Shaw earlier this month – and discusses wide family of generous supporters, so how folk music inspired Bartók and Percy how government funding has given rise to that members of the Orchestra can thank Grainger. François-Xavier Roth conducts a significant revival of singing in schools. them personally for their commitment to complementary programmes of Bartók our work. I add my thanks to theirs – you and Stravinsky, while Gianandrea Noseda elcome to tonight’s LSO concert make our achievements possible and we continues his survey of Russian works. WATCH THE LSO ON YOUTUBE at the Barbican. Principal Guest are immensely grateful. We also take the opportunity to celebrate Conductor Gianandrea Noseda the 50th anniversary of LSO Conductor Tonight’s concert will be streamed live continues his survey of Shostakovich’s Thank you to our media partner medici.tv, Laureate Michael Tilson Thomas’ first on our YouTube Channel and medici.tv. symphonies with the First, in an all-Russian who will be broadcasting this concert live to appearance with the Orchestra. The broadcast will be available to watch programme showcasing the expressive range an international audience on their channel, online for 90 days after the concert, with of this rich orchestral repertoire. as well as the LSO’s YouTube channel. • lso.co.uk/201920season an introduction from Rachel Leach and interviews with musicians during the Korean pianist Seong-Jin Cho makes his I hope that you enjoy the concert and that interval. The next live stream will be on concert debut with the LSO in Rachmaninov’s you will join us again soon. In April, Sir Mark WELCOME TO TONIGHT’S GROUPS Sunday 5 May, when Sir Simon Rattle Second Piano Concerto – a welcome return Elder conducts a programme of Charles Ives conducts two vast masterpieces: after his recording of Chopin’s First Piano and Beethoven, and François-Xavier Roth We are delighted to welcome the groups John Adams’ Harmonielehre and Berlioz’s Concerto made with the Orchestra in 2016. presents a triple-bill of Ravel’s Spanish- attending tonight’s concert: Symphonie fantastique. Gianandrea Noseda pairs the Concerto inspired masterpieces. with Casella’s orchestral arrangement of Noble Tours • youtube.com/lso the piano showpiece Islamey by Balakirev, Adele Friedland and Friends • medici.tv picking up the theme of folk music which Joanna Lewis and Friends runs through the LSO’s 2018/19 season. Kathryn McDowell CBE DL Managing Director 2 Welcome 28 March 2019 Tonight’s Concert In Brief Coming Up achmaninov’s Second Piano PROGRAMME CONTRIBUTORS Sunday 31 March 7–8.45pm Thursday 25 April 7.30–9.20pm Concerto opens tonight’s concert; Barbican Barbican it is one of the most popular Andrew Huth is a musican, writer and works in a concert pianist’s repertoire, translator who writes extensively on French, DAMRAU SINGS STRAUSS BOLÉRO and the success of its Moscow premiere Russian and Eastern European music. in 1901 enabled Rachmaninov to return Strauss Don Juan Ravel Rhapsodie espagnole to composition after a period self-doubt Andrew Stewart is a freelance music Iain Bell The Hidden Place (world premiere) Ravel Boléro brought on by the public failure of his journalist and writer. He is the author of The Strauss Till Eulenspiegel Ravel L’heure espagnole First Symphony. LSO at 90, and contributes to a wide variety Strauss Closing Scene from ‘Capriccio’ of specialist classical music publications. François-Xavier Roth conductor Afterwards comes Balakirev’s Islamey, Gianandrea Noseda conductor Isabelle Druet Conception a virtuoso piano fantasy translated Diana Damrau soprano Jean-Paul Fouchécourt Torquemade for orchestra in Alfredo Casella’s vivid Thomas Dolié Ramiro arrangement of 1912. The piece develops two Sunday 14 April 7–8.45pm Edgaras Montvidas Gonzalves related themes which Balakirev heard on a Barbican Nicolas Cavallier Gomez visit to the Caucasus mountains. IVES SYMPHONY NO 2 Wednesday 1 May 7.30–9.10pm Shostakovich composed his First Symphony Barbican at the age of 19 as his graduation piece at Beethoven Piano Concerto No 3 the Petrograd Conservatory, and shortly after Ives Symphony No 2 JOHN ADAMS & HARRISON BIRTWISTLE its premiere with the Leningrad Philharmonic it was programmed and performed by Sir Mark Elder conductor Stravinsky the Berlin Philharmonic and Philadelphia Kirill Gerstein piano Symphonies of Wind Instruments (1920) Orchestra. The atmospheric mood shifts of Harrison Birtwistle Shadow of Night the opening reflect Shostakovich’s work as a John Adams Harmonielehre silent film accompanist, and the Symphony’s mournful third movement joins onto a Sir Simon Rattle conductor frenetic finale with hardly a pause for breath. LSO Platforms: Guildhall Artists 6pm, Barbican Hall Free entry Tonight’s Concert 3 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 1900–01 / note by Andrew Huth 1 Moderato — • RACHMANINOV’S PIANO CONCERTO 2 Adagio sostenuto – PiÙ animato – ‘Despite all the virtuosity demanded of the soloist, the piano is rarely NO 2 IN POPULAR CULTURE Tempo I 3 Allegro scherzando heard alone … the two elements are blended in an Rachmaninov's Second Piano Concerto ever-changing symphonic texture.’ is perhaps best known as the soundtrack Seong-Jin Cho piano — to David Lean's 1945 film Brief Encounter, which narrates the consequences of a love he Second Piano Concerto was the throughout the concerto, the lasting image is confessional intimacy. Rachmaninov always affair between two strangers after a chance major work marking Rachmaninov’s that of piano and orchestra playing together; maintained that the difficulties of the meeting at a train station. But it has also return to composition after the for despite all the virtuosity demanded of Second Concerto were just as great as those been widely quoted in popular culture over period of silence and self-doubt that followed the soloist, the piano is rarely heard alone, of the formidable Third, composed nine the course of the 20th century. the failure of his First Symphony in 1897. and the two elements are blended in an years later, but were of a different order: He wrote the second and third movements ever-changing symphonic texture. it is not a question of the technique needed The 1955 film The Seven Year Itch with quickly in the summer of 1900, but ran into to master the notes, but of judging the Marilyn Monroe uses the first movement in problems with the first movement and rather In the slow movement, after a hushed exact sonority and weight of the notes in a fantasy scene where Monroe's character is surprisingly he was persuaded by his cousin, string introduction, it is the sound of piano different registers to produce the gradations overcome by the music (although in reality the pianist and conductor Alexander Siloti, and solo wind instruments that sets the of tone that made the composer’s own she much prefers Chopsticks). to give a public performance of the concerto mood, the varied textures masking the close performances so outstanding. • in its incomplete form – surely a risky venture relationships between the themes of the The Concerto has even influenced pop music, for a composer so sensitive to criticism. first two movements. The introduction to the twice quoted by singer Eric Carmen in All By The success of the two completed movements finale hints at a march, but what emerges Myself (1975) and Never Gonna Fall in Love at a Moscow concert in December 1900 did after the opening orchestral gestures and a Again (1976). Rock band Muse, known for much to re-establish Rachmaninov’s self- brief piano cadenza is more in the nature of a their classical influences, also quoted the confidence, and the premiere of the completed vigorous dance which alternates with a long, piece in their 2001 song Space Dementia. concerto followed on 27 October 1901. vocal melody closely related to the big tune of the first movement. Each of the concerto’s three movements begins with an idea which leads subtly The Second Piano Concerto quickly became Interval – 20 minutes into the main theme. In the first movement one of the most popular works • in the There are bars on all levels. it is the magical wide-spread piano chords, repertory. The piano writing draws on all Visit the Barbican Shop to see our increasing in intensity until they plunge the resources of a late-Romantic keyboard range of Gifts and Accessories. into a great surging string melody. Here, as style, ranging from dazzling bravura to 4 Programme Notes 28 March 2019 Sergei Rachmaninov in Profile 1873–1943 / by Andrew Stewart elody is music,’ wrote Rachmaninov, the classic film Brief Encounter. Thereafter, ̒ ‘the basis of music as a whole, his creative imagination ran free to produce since a perfect melody implies a string of unashamedly romantic works and calls into being its own harmonic divorced from newer musical trends.
Load more

Recommended publications
  • The Russian Five Austin M
    Masthead Logo Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2019 yS mposium Apr 3rd, 1:30 PM - 2:00 PM The Russian Five Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Art Practice Commons, Audio Arts and Acoustics Commons, and the Other Classics Commons Doub, Austin M., "The Russian Five" (2019). The Research and Scholarship Symposium. 7. https://digitalcommons.cedarville.edu/research_scholarship_symposium/2019/podium_presentations/7 This Podium Presentation is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Austin Doub December 11, 2018 Senior Seminar Dr. Yang Abstract: This paper will explore Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the Moguchaya Kuchka, or The Russian Five, sought to influence Russian culture and develop a pure school of Russian music. Comprised of César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimksy-Korsakov, this group of inspired musicians, steeped in Russian society, worked to remove outside cultural influences and create a uniquely Russian sound in their compositions. As their nation became saturated with French and German cultures and other outside musical influences, these musicians composed with the intent of eradicating ideologies outside of Russia. In particular, German music, under the influence of Richard Wagner, Robert Schumann, and Johannes Brahms, reflected the pan-Western-European style and revolutionized the genre of opera.
    [Show full text]
  • Songs of the Mighty Five: a Guide for Teachers and Performers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me.
    [Show full text]
  • A Tribute to the Mighty Handful the Russian Guitar Quartet
    A Tribute to the Mighty Handful The Russian Guitar Quartet DE 3518 1 DELOS DE DELOS DE A Tribute to the Mighty Handful The Russian Guitar Quartet 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO César Cui: Cherkess Dances ♦ Cossack Dances Modest Mussorgsky: Potpourri from Boris Godunov Mily Balakirev: Mazurka No. 3 ♦ Polka ♦ “Balakireviana” Alexander Borodin: Polovtsian Dances Nikolay Rimsky-Korsakov: Scheherazade in Spain Total playing time: 64:38 ORIGINAL ORIGINAL DIGITAL DIGITAL A Tribute to the Mighty Handful The Russian Guitar Quartet Dan Caraway, Alexei Stepanov, Vladimir Sumin, Oleg Timofeyev CÉSAR CUI (arr. Oleg Timofeyev): 1. Cherkess Dances (5:53) 2. Cossack Dances (5:24) 3. MODEST MUSSORGSKY (arr. Timofeyev): Potpourri from Boris Godunov (13:25) MILY BALAKIREV (arr. Viktor Sobolenko): 4. Mazurka No. 3 (4:54) 5. Polka (3:17) 6. ALEXANDER BORODIN (arr. Timofeyev): Polovtsian Dances (14:02) MILY BALAKIREV (arr. Alexei Stepanov): “Balakireviana” 7. I – Along the meadow (1:19) 8. II – By my father’s gate (1:49) 9. III – I am tired of those nights (2:54) 10. IV – Under the green apple tree (1:24) 11. NIKOLAY RIMSKY-KORSAKOV (arr. Sobolenko): Scheherazade in Spain (10:12) Total playing time: 64:38 2 NOTES ON THE PROGRAM In a certain way, this album is an attempt to reinvent history. We took the alliance of clas- erious connoisseurs of classical music as sical Russian composers known as “The Mighty well as more superficial listeners usually Handful “ or “The Five” and built a musical trib- Shave a certain image of (if not a prejudice ute to them with our quartet of four Russian about) Russian music.
    [Show full text]
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • Program Note to File
    Abstract Title of Dissertation : Dance Based Music on Piano You Sang Kim, Doctor of Musical Art, 2015 Dissertation dirented by: Professor Larissa Dedova School of Music, Piano Division According to the Merriam-Webster dictionary, the definition of dance is “to move your body in a way that goes with the rhythm and style of music that is being played.” 1 As you can see in that definition, these two important ways of expressing human feelings, music and dance, are very closely related. Countless pieces of music have been composed for dance, and are still being composed. It is impossible and useless to count how many kinds of dances exist in the world. Different kinds of dances have been developed according to their purposes, cultures, 1 Merriam-Webster Dictionary. “Dance.” http://www.merriam-webster.com/dictionary/dance rhythm and tempo. For this reason, the field of dance-related music necessarily expanded significantly. A great deal of dance music has been written for orchestras, small ensembles, or vocals. Along with them, keyboard music also has a huge repertoire of dance pieces. For example, one of the most famous form in Baroque period was suites. Suites usually include 5 or more dance movements in the same key, such as Minuet, Allemende, Courant, Sarabande, Gigue, Bourree, Gavotte, Passepied, and so on. Nationalistic dances like waltz, polonaise, mazurka, and tarantella, were wonderful sources for composers like Chopin, Brahms, and Tchaikovsky. Dance-based movements were used for Mozart and Beethoven’s piano sonatas, chamber works and concertos. Composers have routinely traveled around the world to collect folk and dance tunes from places they visit.
    [Show full text]
  • Nov 23 to 29.Txt
    CLASSIC CHOICES PLAYLIST Nov. 23 - Nov. 29, 2020 PLAY DATE: Mon, 11/23/2020 6:02 AM Antonio Vivaldi Concerto for Viola d'amore, lute & orch. 6:15 AM Wolfgang Amadeus Mozart Divertimento for Winds 6:29 AM Georg Muffat Sonata No.1 6:42 AM Marianne Martinez Sinfonia 7:02 AM Georg Philipp Telemann Concerto for 2 violas 7:09 AM Ludwig Van Beethoven Eleven Dances 7:29 AM Henry Purcell Chacony a 4 7:37 AM Robert Schumann Waldszenen 8:02 AM Johann David Heinichen Concerto for 2 flutes, oboes, vn, string 8:15 AM Antonin Reicha Commemoration Symphony 8:36 AM Ernst von Dohnányi Serenade for Strings 9:05 AM Hector Berlioz Harold in Italy 9:46 AM Franz Schubert Moments Musicaux No. 6 9:53 AM Ernesto de Curtis Torna a Surriento 10:00 AM Wolfgang Amadeus Mozart Rondo for horn & orch 10:07 AM Wolfgang Amadeus Mozart Divertimento No. 3 10:21 AM Wolfgang Amadeus Mozart Piano Sonata 10:39 AM Wolfgang Amadeus Mozart Allegro for Clarinet & String Quartet 10:49 AM Wolfgang Amadeus Mozart Divertimento No. 8 11:01 AM Aaron Copland Appalachian Spring (Ballet for Martha) 11:29 AM Johann Sebastian Bach Violin Partita No. 2 12:01 PM Bedrich Smetana Ma Vlast: The Moldau ("Vltava") 12:16 PM Astor Piazzolla Tangazo 12:31 PM Johann Strauss, Jr. Artist's Life 12:43 PM Luigi Boccherini Flute Quintet No. 3 12:53 PM John Williams (Comp./Cond.) Summon the Heroes 1:01 PM Ludwig Van Beethoven Piano Trio No. 1 1:36 PM Margaret Griebling-Haigh Romans des Rois 2:00 PM Johann Sebastian Bach Konzertsatz (Sinfonia) for vln,3 trpts.
    [Show full text]
  • Symphonic Dances, Op
    CONCERT PROGRAM Friday, October 21, 2016, 8:00PM Saturday, October 22, 2016, 8:00PM Sunday, October 23, 2016, 3:00PM Cristian Măcelaru, conductor Orli Shaham, piano BALAKIREV/arr. Lyapunov Islamey (1869) (1837–1910) BEETHOVEN Piano Concerto No. 4 in G major, op. 58 (1806) (1770–1827) Allegro moderato Andante con moto – Rondo: Vivace Orli Shaham, piano INTERMISSION RACHMANINOFF Symphonic Dances, op. 45 (1940) (1873–1943) Non allegro Andante con moto (Tempo di valse) Lento assai; Allegro vivace 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. These concerts are presented by The Thomas A. Kooyumjian Family Foundation. Cristian Măcelaru is the Ann and Lee Liberman Guest Artist. Orli Shaham is the Bruce Anderson Memorial Fund Guest Artist. The concert of Friday, October 21, is underwritten in part by a generous gift from Mr. and Mrs. Walter G. Shifrin. The concert of Saturday, October 22, is underwritten in part by a generous gift from Dr. and Mrs. Philip Needleman. The concert of Sunday, October 23, is underwritten in part by a generous gift from Dr.* and Mrs. W. R. Konneker. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of Bellefontaine Cemetery and Arboretum and are located at the Customer Service Table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. BRAHMS REIMAGINED: Fri, Oct 28, 10:30am | Sat, Oct 29, 8:00pm Jun Märkl, conductor; Jeremy Denk, piano LISZT Prometheus MOZART Piano Concerto No.
    [Show full text]
  • Piano Works V
    Милий Балакирев Mily Balakirev (1837 – 1910) Vol. 1 : Piano works I Vol. 2 : Piano works II Vol. 3 : Piano works III Vol. 4 : Piano works IV Vol. 5 : Piano works V Complete Works for Pianoforte solo Original settings Vol. 1 : Scherzo - Islamey Page Remembrence on the Opera „A Life for the Tsar“ 4 Scherzo No.1 30 Sonata I. 47 II.Mazur 64 III. 71 Polka Vol. 1 Page 75 Mazurka No.1 80 Mazurka No.2 86 The Lark 88 Islamey. Orientical Fantasy 95 Comments 121 Picture of M.Balakirev 124 Vol.2:In the garden-Gondolier's song In the garden Page 4 Mazurka No.3 11 Mazurka No.4 19 Nocturne No.1 27 Scherzo No.2 34 Complainte 51 Vol. 2 Page Mazurka No.5 57 Valse di bravura 68 Valse mélancholique 85 Gondolier's song 93 Comments 102 Vol. 3 : Nocturne 2 - Valse 4 Page Nocturne No.2 4 Scherzo No.3 12 Tarantella 27 Valse-Impromptu 45 Capriccio 54 Vol. 3 Page Spanish Melody 75 Spanish Serenada 81 Berceuse 92 Valse No.4 99 114 Comments Vol. 4 : Toccata - Dreams Page Toccata 4 Nocturne No.3 14 Mazurka No.6 22 Fantasy-piece 33 Tirolian dance 40 Vol. 4 l z N .5 Wa t o Page 52 Humoresque 65 Waltz No.6 80 Fisherman's song 90 Dreams 96 Comments 106 Vol. 5 : Sonata - Impromptu Sonata Page I. 4 II. 14 III. 25 IV. 32 Novelletta 54 Waltz No.7 66 Vol. 5 The Spinner Page 83 Mazurka No.7 91 Impromptu on Themes of a Prélude by F.Chopin 102 Appendix Sonatina I.
    [Show full text]
  • Musically Russian: Nationalism in the Nineteenth Century Joshua J
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis.
    [Show full text]
  • Proquest Dissertations
    The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu
    The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Music 1988 December The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris The Russian piano concerto could not have had more inauspicious beginnings. Unlike the symphonic poem (and, indirectly, the symphony) - genres for which Glinka, the so-called 'Father of Russian Music', provided an invaluable model: 'Well? It's all in "Kamarinskaya", just as the whole oak is in the acorn' to quote Tchaikovsky - the Russian piano concerto had no such indigenous prototype. All that existed to inspire would-be concerto composers were a handful of inferior pot- pourris and variations for piano and orchestra and a negligible concerto by Villoing dating from the 1830s. Rubinstein's five con- certos certainly offered something more substantial, as Tchaikovsky acknowledged in his First Concerto, but by this time the century was approaching its final quarter. This absence of a prototype is reflected in all aspects of Russian concerto composition. Most Russian concertos lean perceptibly on the stylistic features of Western European composers and several can be justly accused of plagiarism. Furthermore, Russian composers faced formidable problems concerning the structural organization of their concertos, a factor which contributed to the inability of several, including Balakirev and Taneyev, to complete their works. Even Tchaikovsky encountered difficulties which he was not always able to overcome. The most successful Russian piano concertos of the nineteenth century, Tchaikovsky's No.1 in B flat minor, Rimsky-Korsakov's Concerto in C sharp minor and Balakirev's Concerto in E flat, returned ii to indigenous sources of inspiration: Russian folk song and Russian orthodox chant.
    [Show full text]
  • Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.
    [Show full text]