De 3520 Original Delos De 3520 Gleb Ivanov Digital

Total Page:16

File Type:pdf, Size:1020Kb

De 3520 Original Delos De 3520 Gleb Ivanov Digital DE 3520 DELOS DE 3520 GLEB IVANOV DELOS DE 3520 GLEB IVANOV Gleb Ivanov “A young super-virtuoso, with musical sensitivity and an appreciation of style to go with the thunder and lightning” The New York Times STRAUSS-GRÜNFELD: Soirée de Vienne, Op. 56 RESPIGHI: Notturno, P 011 SCHUBERT-LISZT: Liebesbotschaft; Aufenthalt; Am Meer; Erlkönig SCHUBERT: Sonata in A Major, D. 664, Op. 120 CHOPIN: 4 Mazurkas, Op. 41 LISZT: Die Lorelei, S. 532 RACHMANINOFF: Mélodie, Op. 3; Humoresque, Op. 10 GRIEG-GINZBURG: In the Hall of the Mountain King GLEB IVANOV, piano Total Playing Time: 70:55 ORIGINAL ORIGINAL DIGITAL DIGITAL GLEB IVANOV piano 1. STRAUSS-GRÜNFELD: Soirée de CHOPIN: Mazurkas, Op. 41 Vienne, Op. 56 (Arr. Ivanov) (5:53) 10. No. 1 in C-sharp Minor (2:52) 11. No. 2 in E Minor (1:50) 2. RESPIGHI: Notturno in G-flat 12. No. 3 in B Major (1:13) Major, P 011 (6:11) 13. No. 4 in A-flat Major (1:39) SCHUBERT-LISZT 14. LISZT: Die Lorelei, S.532 (5:59) 3. Liebesbotschaft, S.560/10 (3:07) 4. Aufenthalt, S.560/3 (3:02) RACHMANINOFF 5. Am Meer, S.560/6 (5:01) 15. Mélodie, Op. 3, No. 3 (3:51) 6. Erlkönig, S.558/4 (4:34) 16. Humoresque, Op. 10, No. 5 (3:20) SCHUBERT: Sonata in A Major, GRIEG-GINZBURG D.664, Op. 120 17. In the Hall of the Mountain 7. Allegro (7:53) King (2:16) 8. Andante (4:52) 9. Allegro (7:16) Total Playing Time: 70:55 2 ussian pianist Gleb Ivanov is stems from a deep connection to the deeply sensitive to his musical emotional triggers great technique Rancestry. It informs every aspect can unlock. Ivanov listens to record- of his playing, from his choice of rep- ings obsessively. More interestingly, ertoire to his stage presence. Indeed, it is rarely the work that fascinates his noble bearing and posture recall him, as much as the performer. His musicians such as György Cziffra CD shelves are crammed with hun- (who barely moved even during the dreds of recordings by Glenn Gould, most physically exacting passages) or Horowitz, Rachmaninoff, William Vladimir Horowitz (whose expression Kapell, György Cziffra, and others when playing was nearly blank except (among them Jascha Heifetz, Maria for his exceedingly expressive eye- Callas, and Paco di Lucia). There are brows). Ivanov’s technical prowess is few recordings of living performers. no less than theirs; he has the ability to play highly challenging music so To Ivanov, the piano is a vocal instru- effortlessly that we may forget its pia- ment. Even when playing the works of nistic difficulty and revel in its musical Prokofiev – a composer-pianist who virtues. believed the piano to be a true per- cussion instrument – Ivanov seeks to Ivanov’s fascination with the great pi- produce a human voice. His earliest anists of the twentieth century reveals performances were accompanying a dedication to the tradition of piano his father, the baritone Vladimir Ivan- virtuosity. It is not enough for Ivanov ov, and the sound of opera permeat- to play a brilliant virtuoso piece, for ed his childhood. It reached his sister, that is not what he feels made Rach- harpist Varvara Ivanova, and brother, maninoff a great pianist, nor Horow- cellist Danila Ivanov, and his mother, itz. That last stretch of greatness harpist Zoya Slootskovskaya. When comes from an electricity that only Gleb and his siblings weren’t at their 3 instruments, they were usually listen- bring forth the embedded vocal part ing to recordings of nineteenth-cen- is the great challenge in performing tury Italian opera, music resplendent these works. with broad, soaring vocalism. The first three transcriptions Therefore, for Ivanov to have chosen come from Schubert’s song cycle a program redolent with vocal music Schwanengesang, D.957, which in- transcribed by some of history’s finest cludes texts by three different poets pianists seems natural. The four Liszt and was published posthumously. In transcriptions here of some of Franz this performance, Ivanov brings to- Schubert’s lieder are familiar to many gether the songs Liebesbotschaft, pianists, but Die Lorelei, a transcrip- where our narrator invites a brook tion Liszt made of one of his own to deliver a message of love, Aufen- songs, is known by few pianists even thalt, where he compares his emo- as it has been familiar repertoire to tional turmoil to forces of nature, and some of the greatest singers. Am Meer, where he describes a sea- side meeting of anguished lovers. Franz Liszt himself was enamored of great vocal music, and his transcrip- In this recital Erlkönig is a wonder- tions span both art song and opera. ful companion piece to In the Hall The Schubert transcriptions here of the Mountain King. Schubert were chosen from Liszt’s nearly one wrote the song at the age of eigh- hundred based upon the great Ger- teen, which tells of a father riding man songwriter (comprising less than madly with his child, who is being a sixth of Liszt’s output of transcrip- terrified and chased by the evil Erl- tions). Liszt deftly treats Schubert’s King. But there is no escape: when accompaniments with equal impor- they reach home, his child is dead. tance to the vocal line. To elegantly Schubert’s accompaniment features 4 relentlessly repeating octaves, evok- Liszt’s Die Lorelei is set to a Heinrich ing the horse’s desperate galloping. Heine poem with a steady meter. Liszt Liszt’s transcription is true to the dra- abandons Heine’s rhythm and pur- ma in Schubert’s evocative setting. sues a melodic line governed by the meaning of the text, pausing on high Ivanov chose to include Schubert’s notes paired with words of greater Sonata in A Major, D. 664, Op. 120 meaning. The song must have been for its pristine vocal line. Ivanov feels an important one to Liszt. He first that “Schubert writes with varied wrote the song in 1841, arranged speech textures. To me, the mu- it for solo piano in 1843, revised sic represents a human conversation, it in 1854, orchestrated it in 1860, speech, real words; some of them are and revised the piano arrangement shorter and others are longer.” again in 1861. It is this final version that Ivanov plays. The story of Die This sonata is believed to have been Lorelei is of a beautiful maiden who written in 1819. Schubert was vaca- combs her golden hair with a golden tioning with his friend, the acclaimed comb. She sings on the cliffs, luring singer Johann Michael Vogl, when boatmen to their doom. he met Sylvester Paumgartner, a wealthy iron miner and amateur cel- The Notturno in G-flat Major by Ital- list, who commissioned Schubert to ian composer Ottorino Respighi was write the quintet now known as “The written around 1905 as one of a set Trout.” This piano sonata, published of six small works for piano. The com- posthumously in 1829, was com- poser was at this time in St. Peters- missioned at the same time by one burg as the principal violist of the Im- of Paumgartner’s friends for his wife. perial Opera. During his three years The manuscript is missing. in Russia, he studied composition 5 with Nikolai Rimsky-Korsakov, whose in the progressively dissonant mu- influence on Respighi was profound. sic being written by his contemporar- ies. Yet all seem to be in agreement For years Respighi’s Notturno has that he is one of classical music’s been a staple of Ivanov’s perfor- greatest melodists. mance repertoire, appearing fre- quently as an encore work when not Mélodie, Op. 3, No. 3 and Humor- programmed. Respighi was, after esque, Op. 10, No. 5 represent com- all, only one generation removed plementary sides to Rachmaninoff’s from Puccini, that most lionized op- lyrical and pianistic imagination. The era composer of his time, and even Mélodie, a less-often performed work Verdi had died only four years prior from the same opus as the famous to the composition of the Notturno. Prelude in C-sharp Minor, is really a Though Respighi’s operas may not be tenor aria, occasionally strengthened often performed today, it is worth re- by octaves, but unwavering in its membering that he wrote at least ten broad melody set upon a pulsating that were premiered. Meanwhile, he orchestral accompaniment. It is a re- played the substantially difficult piano minder that in addition to his many part at the premiere of his Toccata for famous works for piano, Rachmani- Piano and Orchestra. noff was also the composer of more than eighty wonderful songs. The One can hear the pianism on Rach- Humoresque, following those writ- maninoff’s many recordings to expe- ten by Schumann, Tchaikovsky, and rience his noble and poetic musical Dvořák, is a playfully moody work vision. During his lifetime, he was with many quick musical surprises. often criticized for writing sentimen- tal music in the Romantic tradition, “You know I have four new Mazur- and it is fair to note his disinterest kas, one from Palma, in E minor; 6 three from here, in B major, A-flat dition, and not just for dancing. It major and C-sharp minor. They seem makes extended appearances in Leo to me pretty, as the youngest chil- Tolstoy’s Anna Karenina and War and dren usually do when the parents Peace, and Arkady reserves the ma- grow old.” These were the words of zurka for Madame Odintsova, the Frédéric Chopin, not yet thirty years object of his affections, in Ivan Tur- old, in poor health and depressed at genev’s Fathers and Sons.
Recommended publications
  • Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
    ‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London.
    [Show full text]
  • Soviet Music in the International Arena, 1932–41
    02_EHQ 31/2 articles 26/2/01 12:57 pm Page 231 Caroline Brooke Soviet Music in the International Arena, 1932–41 Soviet musical life underwent radical transformation in the 1930s as the Communist Party of the Soviet Union began to play an active role in shaping artistic affairs. The year 1932 saw the dis- banding of militant factional organizations such as the RAPM (Russian Association of Proletarian Musicians) which had sprung up on the ‘musical front’ during the 1920s and had come to dominate Soviet musical life during the period of the first Five Year Plan (1928–32). 1932 was also the year that saw the con- solidation of all members of the musical profession into centralized Unions of Soviet Composers. Despite such compre- hensive administrative restructuring, however, it would be a mis- take to regard the 1930s as an era of steadily increasing political control over Soviet music. This was a period of considerable diversity in Soviet musical life, and insofar as a coherent Party line on music existed at all at this time, it lacked consistency on a great many issues. One of the principal reasons for the contra- dictory nature of Soviet music policy in the 1930s was the fact that the conflicting demands of ideological prejudice and politi- cal pragmatism frequently could not be reconciled. This can be illustrated particularly clearly through a consideration of the interactions between music and the realm of foreign affairs. Soviet foreign policy in the musical sphere tended to hover between two stools. Suspicion of the bourgeois capitalist West, together with the conviction that Western culture was going through the final stages of degeneration, fuelled the arguments of those who wanted to keep Soviet music and musical life pure and uncontaminated by such Western pollutants as atonalism, neo- classicism and the more innovative forms of jazz.
    [Show full text]
  • Samuil Feinberg: an Evolution of Style
    SAMUIL FEINBERG: AN EVOLUTION OF STYLE by Sean Cavanaugh Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee _________________________________________ Karen Shaw, Chair _________________________________________ Evelyne Brancart _________________________________________ Norman Krieger ii Copyright © 2019 Sean Cavanaugh iii Dedicated to Edmund Battersby, who taught me that good performers have an obligation to be good scholars. Thank you, Teacher. And to Karen Shaw, who taught me that good performers need to perform well. iv Acknowledgements I’d like to thank many people who helped me along my journey with Feinberg. First, I wouldn’t have been able to accomplish this project without the countless resources available to me through Indiana University, the Cook Library, and many interlibrary loans. One of the most difficult aspects of this project was the fact that many of my sources are in Russian, a language I do not speak. I owe a thank you to Lydia Melnikov for her help translating when translation tools failed. To the members of my doctoral committee, Evelyne Brancart – for coming to all my recitals, thank you. And to Norman Krieger, for agreeing to step in once professor Battersby passed away. I wouldn’t have been able to complete this project without the love and support of my friends and family, who I’m sure are tired of hearing me talk about this obscure Russian composer… To my former teacher Read Gainsford: I heard Read play one of Feinberg’s sonatas many years ago and I’ve been hooked ever since.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Peculiarities of G. Ginzburg’s Pedagogical Principles Formation in the Context of His Performing Work Rimma Ulyanova Glinka Nizhny Novgorod State Conservatoire Nizhniy Novgorod, Russia E-mail: [email protected] Abstract—The article reveals the problems in the sphere of of G. Ginzburg’s ideas and findings for highly qualified musical pedagogy and performance. Theoretical works in the professional musicians’ upbringing is evident nowadays. sphere of general and musical pedagogy and piano performance are presented. Research of G. Ginzburg’s To realize pedagogical principles successfully in performing art based on archive materials was carried out. performing arts and training of professional concert pianists Pedagogical principals of the outstanding pianist and teacher Ginzburg selected the most active and productive methods. of the XX century were analyzed. His performing and Interest to Ginzburg’s pedagogy in the context of the pedagogical writing was characterized to reveal specific pianist's performing work is not accidental. For any musician features of their formation which played an important role in a concert performance is the summary, the aim, the result of emergence of native musical pedagogy and performance. his activities. Besides the analysis of the state of art and pedagogical literature indicates that the research reveals the Keywords—pedagogical principals; performing art; teacher problems of a purely artistic nature which are often far from and musician; mastery; content the actual paradigms of modern music pedagogy. I. INTRODUCTION II. PEDAGOGICAL PRINCIPALS: DEFINITION, ANALYSIS, At the beginning of the XX century changes in the sphere METHODOLOGY of professional musical pedagogy and performance put some Pedagogical principals are based on pedagogical laws tasks concerning formation of the most effective pedagogical and regularities.
    [Show full text]
  • The Russian School of Piano Playing
    Ideas on Tone Production in the Twentieth Century Russian Piano School: A Survey of Pedagogical Literature. Polina Golubkova Faculty mentor: Dr. Scott Price University of South Carolina The research object Pedagogical literature in Russian Russian pianists of the twentieth-century Russian musicologist and pianist, Unknown to English-speaking Pedagogical Thoughts: Selected have left behind a wealth of resources Alexandr Nikolaev, created the piano audiences is the treatise Art of Being A articles and observations by Dmitry about Russian teaching approaches. One method The Russian School of Piano Pianist by Samuel Feinberg. It consists of Kabalevsky, who was a Russian educator Playing, where tone production is the of the most important features of the four articles by the master: interpretation and composer and one of the main figures Russian Piano School is tone production. primary tool for learning to play the piano. in music education in the Soviet Union The majority of sources were written The focus on tone production starts from of Bach’s works, about Beethoven’s piano and Russia. His method books for piano during the Soviet Union period when the first song a child learns. This method style, about teaching the main methods of are still popular in Russia. Kabalevsky borders were closed to interactions with was actively used for decades in the piano and about motion automation. Each shows various ideas about tone foreigners, and these treatises have never Russian music education system that has article has ideas about tone production. production in his treatise. been translated in English. This poster national standards approved by The session will give an overview of important Ministry of Education.
    [Show full text]
  • Composers R-Z
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers R-Z ERKEGALI RAKHMADIEV (1932-2013, KAZAKHSTAN) Born in Semipalatinsk. He graduated from Alma-Ata (now Almaty) State Conservatory where he studied composition with Yevgeny Brusilovsky. He continued his studies at the Moscow Conservatory with Genrikh Litinsky and then joined the faculty of the Alma-Ata Conservatory. His work mixes elements of classical and Kazakh musical styles. He has composed operas, orchestral and choral music, including a Trumpet Concerto (1982). Violin Concerto (1985) Aiman Musakodzhaeva (violin)/Pavel Kogan/Moscow Symphony Orchestra (rec. 1990) ( + Kudash-Duman, Dairabay and Martinu: Rhapsody-Concerto for Viola and Orchestra) CONSONANCE 81-0003(1995) Scherzo for Trumpet and Orchestra (1966) Yuri Klushkin/I.Ostrovsky/Kazakh State Symphony Orchestra ( + Kuzhamyarov: Chintomur - Ballet Excepts) MELODIYA D 027971-2 (LP) (1970) NIKOLAI RAKOV (1908-1990) Born in Kaluga. He studied under Reinhold Glière and Sergei Vasilenko at the Moscow Conservatory. He then spent 58 years at this school where he became a professor of composition and the head of the orchestration department. He composed in various genres but concentrated on orchestral, chamber and solo instrumental works and produced a lot of music suitable for performance by children and teenagers. His Piano Concertos Nos. 3 (1973) and 4 (1977) and 4 Pieces for 2 Violins and String Orchestra (1964) have not been recorded. Concerto No. 1 for Piano and String Orchestra in G major (1969) Alexei Nasedkin (piano)/Nikolai Rakov/Moscow Radio Symphony Orchestra Strings ( + Piano Concerto No. 2 and Haydn: Piano Concerto in D) MELODIYA 33S 10-053339-40 (LP) (1974) Concerto No.
    [Show full text]
  • I Russi;, I ?Ianist Grigory Ginzburg Was Barely Known in the West During
    Mgay Ghnbwg:'a true poet of planistic craft', pictured hwe after his last concert in Moscow, 1960-61 ith the passing of time it is becoming increas- ingly clear that the art of the Russian pianist Grigory Ginzburg (1904-61) belongs to the inost significant pages of 20th-century pianism. The ease and flair with which he could dispatch a Liszt rhapsody or a inost challenging transcrip- tion, all the while maintaining graceful ~ - poise, are legendary. To cite but one example, when Elnil Gilels had to turn down record- ing the Liszt-Busoni Figavo Fantasy in 1948, Ginzburg stepped in at the last moment and went on to record this pyrotechnical work in one take (it is issued on BMGNelodiya). At the same time the refined poetry of Ginzburg's pianism, his aristocratic phrasing and exquisite palette of colours emphasise the lnestnerising effect of the music's time- less nzagic. where every note lives and every phrase breathes. This is particularly evident in such recordings as the Bach-Galston Sicilic~iio,Chopin's op.25 Etudes, his F minor Ballade and some of the mazurkas and waltzes, and Liszt's Les cloches de Geni.vc to mentionjust a few. The piano historian and critic Grigory Kogan called Ginzburg 'a true poet of pianis- tic craft', while Ginzburg's junior colleague Tatiana Nikolaeva remembered: 'Grigory Romanovich was known as a high-calibre virtuoso, and that was certainly true. For me, however, it wasn't just the impeccable polish I of his keyboard mastery that struck me most; the insightful depth of his playing equally Russi;, I ?ianist Grigory Ginzburg was barely known in the deserved the highest praise: he was a true West during his lifetime, yet he was one ofthe 20th century's artist, not given his due, not even now.' I For Alexander Goldenweiser's second wife, most insightful pianists.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Contemporary Russian Piano School Pedagogy and Performance Wan, Blanc Chun Pong Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 1 CONTEMPORARY RUSSIAN PIANO SCHOOL: PEDAGOGY AND PERFORMANCE Blanc Chun Pong Wan A thesis submitted for the Degree of Doctor of Philosophy King’s College London University of London July 2016 The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement.
    [Show full text]
  • Piano Performance in a Semiotic Key Acta Semiotica Fennica Approaches to Musical Semiotics
    Piano Performance in a Semiotic Key Acta Semiotica Fennica Approaches to Musical Semiotics Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board (ASF) Pertti Ahonen Henri Broms † Jacques Fontanille André Helbo Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Kari Salosaari Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Costin Miereanu Gino Stefani Ivanka Stoianova Department of Philosophy, History, Culture and Art Studies Faculty of Arts University of Helsinki PIANO PERFORMANCE in a Semiotic Key Society, musical canon and novel Discourses Lina Navickaitė-Martinelli Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki, in auditorium XII, University main building, on 14 November 2014 at 12 o’clock Helsinki 2014 This book is a publication of The Semiotic Society of Finland E-mail orders: [email protected], [email protected] Reviewed by Prof. Dr. Jean-Marie Jacono Prof. Habil. Dr. Leonidas Melnikas Cover photo by the author Cover design by Dario Martinelli Layout by Rima Bukaveckienė © Lina Navickaitė-Martinelli 2014 ISBN 978-952-68257-0-0 (paperback) ISBN 978-952-68257-1-7 (PDF) ISSN: 1235-497X Acta Semiotica Fennica XLV ISSN: 1458-4921 Approaches to Musical Semiotics 18 Printed by “BMK Leidykla”, Vilnius 2014 PIANO PERFORMANCE in a Semiotic Key Society, musical canon and novel Discourses Lina Navickaitė-Martinelli Acta Semiotica Fennica XLV Approaches to Musical Semiotics 18 Semiotic Society of Finland Helsinki 2014 To Dario Abstract In an attempt to expand and enrich the existing trends of musical performance studies, as well as exploit the potentials of semiotic analysis, this dissertation offers the theoretical perspective that would enable us analyzing and unfolding the multiple (musical, cultural, as well as social) meanings generated by and communicated through the performer’s art.
    [Show full text]