DOCSLIB.ORG

Beethoven, Chopin, Liszt & Tchaikovsky

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beethoven, Chopin, Liszt & Tchaikovsky SSIANPIANOTR THE ITIONTHERUSS IGUMNOV SCHOOL USIANPIANOTR ADITIONTHERU SSIANPIANOTRLev ADITIONTHERUOborin ERUSSIANPIANBEETHOVEN OTRADITIONTHEcossaises ERUSSIANPIANSonata in A, Op 2 No 2 CHOPIN IANPIANOTRADÉtudes, Op 25 Nos 2, 3 & 5 ITIONTHERUSSMazurka, Op 50 No 1 IANPIANOTRADSonata No 3, Op 58 LISZT OTRADITIONTHHungarian Rhapsody No 2 ERUSSIANPIANTCHAIKOVSKY RADITIONTHEU 3 pieces from ‘The Months’, Op 37b SSIANPIANOTR ADITIONTHERU SSIANPIANOTR Lev Nikolayevich Oborin (11 November 190 7– 5 January 1974) EV OBORIN was born in Moscow and Polish contestants. Overnight, Oborin became entered that city’s Gnesin Music School in the foremost Soviet pianist of his generation. L1914 where he studied composition with On his triumphant return to Moscow he became Alexander Gretchaninov and piano with Yelena Igumnov’s assistant at the Conservatoire, Gnesina. A pupil of Ferruccio Busoni, Gnesina simul taneously teaching chamber music, a was known for her ‘progressive’ methods, in genre to which he was much drawn – as would particular her emphasis upon musicianship become abundantly evident in his future part - as opposed to repetitive exercises, which she ner ships with the violinists Dmitri Tziganov pursued by insisting pupils should frequently and, from 1935, David Oistrakh. (In 1941 perform concerts and recitals from memory. In Oistrakh and Oborin formed an internationally 1921, the fourteen-year-old Oborin moved on to respected trio with the cellist Sviatoslav the Moscow Conservatoire, joining the piano Knushevitsky which ceased only with the death class of the celebrated pedagogue Konstantin of the latter in 1963.) When Igumnov died in Igumnov and furthering his compositional 1948, Oborin was his natural successor having studies with Georgi Catoire, Georgi Conus by then acquired a reputation as a sympathetic and Nikolai Myaskovsky. Oborin even flirted and illuminating teacher. One of his earliest with conducting, working with Konstantin protégés was Vladimir Ashkenazy; other Saradzhev and seeking advice from Hermann prominent pupils include Alexander Bakhchiev, Abendroth and Bruno Walter. However, there Boris Berman, Andrei Egorov, Tamara Gusyeva, was no question that the piano lay at the very Dmitri Sakharov and Mikhail Voskresensky, heart of Oborin’s musical being and, two years Oborin’s assistant for some fifteen years. after his 1924 Leningrad debut, he graduated Voskresensky has fond recollections of his from the Conservatoire with distinction. mentor: his ‘stout figure, his comfortable At Igumnov’s insistence, Oborin began posture at the piano, his famous manner of pre paring for the inaugural International throwing up his hands, his easy movements’. Frederick Chopin Piano Competition, announ - We learn that Oborin ‘would not tolerate a ced to take place at Warsaw in January 1927, vulgar, banal or sentimental approach in months before his graduation. The nineteen- music. Everything was austere. Warm and year-old Oborin and his friend Grigory tender but austere.’ Oborin was also a man of Ginzburg, three years his senior, ultimately immense culture: ‘He knew practically every - made the journey to Poland along with thing that there was to know. He had a fellow entrants Yuri Bryushkov and Dmitri profound knowledge of painting and literature, Shostakovich. Oborin captured first prize – not particularly poetry. ’ 1 surprisingly, given the quality of his Chopin Surviving black-and-white film confirms recordings presented here – with the more Voskresensky’s recollections of a pianist mercurial Ginzburg placed fourth behind two totally at one with the piano, a bespectacled 2 and undeniably rotund figure, his playing severe stroke in the late 1960s that he had no always the epitome of style and elegance. option but to withdraw from the concert Dmitri Paperno, a keen observer of musical life platform. He continued to teach until his death in Moscow, considered Oborin’s pianistic style in 1974, the same year as David Oistrakh, his to resemble ‘the performances of his teacher illustrious chamber partner of almost forty Igumnov, except perhaps that it was more years. consistent. Besides, Oborin’s technical facility Oborin’s repertoire was all-encompassing. was immeasurably higher. ’ 2 Even this assess - He was a generous promulgator of new Soviet ment is surely something of an understatement music, giving first performances of music given Oborin’s towering technique, which was by Babadzhanyan, Myaskovsky, Prokofiev, never employed for the sake of vanity and Shebalin, Shostakovich and, most famously always to musical ends. Perhaps it was the perhaps, Khachaturian’s Piano Concerto composer in him that determined his con - (which, together with the later Piano Sonata, is viction that the score should always be dedicated to him). But Oborin was capable of paramount. Oborin, like Emil Gilels, somehow much more than subtly refining Khachaturian’s managed to remain apart from the lethal – even gaudy colours into delicate hues; he was the at times literally murderous – intrigues and consummate stylist equally at home in Mozart machinations that were part of life at the and Beethoven, Chopin, Schumann and Liszt, Moscow Conservatoire during the post-war Ravel and Debussy. His own compositions years. In short, he was a dedicated, fastidious include suites of short pieces and an impres - and supremely accomplished musician who, sive sonata for his own instrument as well as also a thoroughly decent man, was doing much a number of orchestral works. Although he for his fellow musicians. appears not to have made any commercial Besides bringing him early fame, Oborin’s recordings of his own music, Oborin’s Melodiya Chopin Competition win transformed him into discography is comparatively comprehensive, a musical ambassador for the USSR. As the even if it does merely hint at the true extent first of that new breed, ‘the Soviet pianist’, he of his repertoire. As solo pianist there is toured Poland and East Germany after his an impres sive list of 78-rpm recordings, initial success and, once peace had been mostly confined to Beethoven, Chopin, Liszt, restored after the Second World War, travelled Rachmaninov and Tchaikovsky. Given his extensively across continents. However, he did standing, there is a surprisingly modest LP not make his British debut until 1958, by which legacy. Concerto recordings include contem po - time he had suffered a heart attack, and when rary works by Balanchivadze and Khachaturian, he made his only appearance in the USA during also the Second and Third Rachmaninov the 1963/4 season he was a mere shadow of concertos (both included in The First Soviet his former self. Sadly, he was well aware that Rachmaninov Recordings – APR 6005) as declining health was sapping his powers, well as Mozart’s G major Concerto K453 and though it was not until he suffered a second Beethoven’s 5th and Triple Concertos. The solo 3 piano repertoire is confined to four Beethoven breath taking in their combination of technical Sonatas and LP programmes devoted to security and musical insights, although by the Brahms, Chopin, Liszt, Schumann, Tchaikovsky, time he recorded the B minor Sonata (1951) Rachmaninov and Scriabin. His chamber there is a noticeably different approach. Here recordings with Oistrakh and Knushevitsky is a more mature musician, one who is aware are more numerous and include the complete he is essaying an ‘Everest’ of the sonata Beethoven Violin Sonatas and an impressive repertoire. However, serious and sober as it array of Russian/Soviet piano trios. (Not to be is, Oborin’s interpretation is never less than forgotten are Oborin’s recordings made in the magisterial, the cumulative power of his West, almost all as a member of the trio led by interpretation proving overwhelming by the Oistrakh.) sonata’s conclusion. (A pity he had the This programme opens with what appears additional challenge of an obviously worn and to be Oborin’s first commercial recording, tired-sounding instrument – Ginzburg’s valiant Beethoven’s Ecossaises . Coupled with Ginzburg’s efforts to get quality pianos into the Soviet recording of Anton Rubinstein’s transcription Union during the mid 1950s had obviously paid of the Ruins of Athens March (included on dividends by the time Oborin recorded the Grigory Ginzburg: His early recordings Beethoven Sonata in 1957.) The shellac recor - Volume 1 – APR 5667) the disc served to ding of Liszt’s Second Hungarian Rhapsody is promote their respective triumphs at the 1927 yet another demonstration of supreme virtu - Chopin Competition. Despite the recording’s osity allied to natural musicianship, and the primitive sound, the hallmarks of Oborin’s closing sequence of three movements from playing are everywhere to be heard. He also Tchaikovsky’s The Months , issued in 78-rpm positively revels in the delights of Beethoven’s LP format (the complete suite later appeared Second Sonata Op 2 No 2, enchanting the on LP) reveal the extent of Igumnov’s influence listener with mercurial finger-work and wide upon one of his pre-eminent pupils. dynamic contrasts, all within a beautifully © 2009 Bryan Crimp structured and stylish framework. As with Beethoven, the sequence of Chopin recordings 1 Olga Bobrova ‘The Piano’s Living Soul’ also spans several years; the earlier 78-rpm (from Russian Culture Navigator ) recordings of the Études and Mazurka are 2 Dmitri Paperno ‘Notes of a Moscow Pianist’ 4 Lev Nikolaevich Oborine (11 novembre 190 7– 5 janvier 1974) EV OBORINE naquit à Moscou où il entra, se voir attribuer la quatrième place derrière
Load more

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]
  • STATE SYMPHONIC KAPELLE of MOSCOW (Formerly the Soviet Philharmonic)
    UNIVERSITY MUSICAL SOCIETY in association with Manufacturers Bank STATE SYMPHONIC KAPELLE OF MOSCOW (formerly the Soviet Philharmonic) GENNADY ROZHDESTVENSKY Music Director and Conductor VICTORIA POSTNIKOVA, Pianist Saturday Evening, February 8, 1992, at 8:00 Hill Auditorium, Ann Arbor, Michigan The University Musical Society is grateful to Manufacturers Bank for a generous grant supporting this evening's concert. The box office in the outer lobby is open during intermission for tickets to upcoming concerts. Twenty-first Concert of the 113th Season 113th Annual Choral Union Series PROGRAM Russian Easter Festival Overture, Op. 36 ......... Rimsky-Korsakov Piano Concerto No. 3 in D minor, Op. 30 .......... Rachmaninoff Allegro ma non tanto Intermezzo: Adagio Finale: Alia breve Viktoria Postnikova, Pianist INTERMISSION Orchestral Suite No. 3 in G major, Op. 55 .......... Tchaikovsky Elegie Valse melancolique Scherzo Theme and Variations The pre-concert carillon recital was performed by Bram van Leer, U-M Professor of Aerospace Engineering. Viktoria Postnikova plays the Steinway piano available through Hammell Music, Inc. Livonia. The State Symphonic Kapelle is represented by Columbia Artists Management Inc., New York City. Russian Easter Festival Overture, Sheherazade, Op. 35. In his autobiography, My Musical Life, the composer said that these Op. 36 two works, along with the Capriccio espagnoie, NIKOLAI RIMSKY-KORSAKOV (1844-1908) Op. 34, written the previous year, "close a imsky-Korsakov came from a period of my work, at the end of which my family of distinguished military orchestration had attained a considerable and naval figures, so it is not degree of virtuosity and warm sonority with­ strange that in his youth he de­ out Wagnerian influence, limiting myself to cided on a career as a naval the normally constituted orchestra used by officer.R Both of his grandmothers, however, Glinka." These three works were, in fact, his were of humble origins, one being a peasant last important strictly orchestral composi­ and the other a priest's daughter.
    [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]
  • Festival Artists
    Festival Artists Cellist OLE AKAHOSHI (Norfolk competitions. Berman has authored two books published by the ’92) performs in North and South Yale University Press: Prokofiev’s Piano Sonatas: A Guide for the Listener America, Asia, and Europe in recitals, and the Performer (2008) and Notes from the Pianist’s Bench (2000; chamber concerts and as a soloist electronically enhanced edition 2017). These books were translated with orchestras such as the Orchestra into several languages. He is also the editor of the critical edition of of St. Luke’s, Symphonisches Orchester Prokofiev’s piano sonatas (Shanghai Music Publishing House, 2011). Berlin and Czech Radio Orchestra. | 27th Season at Norfolk | borisberman.com His performances have been featured on CNN, NPR, BBC, major German ROBERT BLOCKER is radio stations, Korean Broadcasting internationally regarded as a pianist, Station, and WQXR. He has made for his leadership as an advocate for numerous recordings for labels such the arts, and for his extraordinary as Naxos. Akahoshi has collaborated with the Tokyo, Michelangelo, contributions to music education. A and Keller string quartets, Syoko Aki, Sarah Chang, Elmar Oliveira, native of Charleston, South Carolina, Gil Shaham, Lawrence Dutton, Edgar Meyer, Leon Fleisher, he debuted at historic Dock Street Garrick Ohlsson, and André-Michel Schub among many others. Theater (now home to the Spoleto He has performed and taught at festivals in Banff, Norfolk, Aspen, Chamber Music Series). He studied and Korea, and has given master classes most recently at Central under the tutelage of the eminent Conservatory Beijing, Sichuan Conservatory, and Korean National American pianist, Richard Cass, University of Arts.
    [Show full text]
  • Liszt and Russia" TABLE of CONTENTS by Dmitry Rachmanov, Host
    Founded in 1964 Volume 31, Number 2 An officiAl publicAtion of the AmericAn liszt society, inc. 2016 Festival: "Liszt and Russia" TABLE OF CONTENTS by Dmitry Rachmanov, host The theme of the American Liszt Society’s 2016 festival and conference is “Liszt and Russia.” The festival is being presented by the Department of Music at California State 1 "Liszt and Russia" University, Northridge, June 2 - 5. 2016 ALS Festival/Conference, The genesis of the festival theme goes back to Liszt’s tours of Russia in the 1840s by Dmitry Rachmanov and his contacts with Russian musicians. Liszt’s influence and support of music and musicians in Russia lasted throughout his mature life. This opens a fertile ground of 2 President's Message exploration of Franz Liszt’s legacy and lasting mark on Russian musical culture and musicians. Liszt’s impact on Russian music history and its development is hard to overestimate; during his heyday as the world's preeminent piano virtuoso, he made 3 Letter from the Editor three tours of Russia (1842 - 1847), leaving an indelible and powerful impression in all circles of Russian society. Subsequently, many Russian musicians made their pilgrimage to visit Liszt in Weimar and other places where he resided. On his part, 4 2016 ALS Festival Schedule Liszt encouraged and supported many Russian composers by performing their music, making piano transcriptions of their works, and popularizing them in other ways. The festival will feature eclectic and stimulating programming. Special events 5 A Conversation with include solo recitals by the most recent Van Cliburn Gold Medalist, Vadym Dmitry Rachmanov Kholodenko, with works by Liszt and Scriabin; the Italian pianist Antonio Pompa- Baldi, one of ALS's regular featured artists, performing works by Liszt and Anton Rubinstein; and a senior professor of the Moscow Conservatory, Mikhail Voskresensky, 8 In Memoriam: Maurice Hinson, presenting music by Liszt, Borodin, Glinka-Balakirev, Tchaikovsky, Medtner, and by Wesley Roberts Prokofiev.
    [Show full text]
  • Felix Mendelssohn (1809-1847, Germany) Prepared by David Barker
    The Piano Trio Repertoire Discography & Review Index: Felix Mendelssohn (1809-1847, Germany) Prepared by David Barker Project Index Notes 1. Arrangements of the C minor trio originally scored for violin, viola and piano are not included. 2. There are numerous reissues of recordings by ensembles including Cortot, Oistrakh, Heifetz and other famous performers on both mainstream and short-lived budget labels. I have not attempted to include them all. Trio 1 in d, op. 49 ATOS Trio (+ Trio 2) Abbot Trio CPO 7775052 [review] (+ Haydn 43, Ravel) Afka 544 Bamberg Piano Trio (+ Trio 2) Abegg Trio Thorofon CTH2345 (+ Fanny Mendelssohn) Tacet 091 Barbican Piano Trio (+ Bush: Concert studies, Ireland: Phantasie) Trio Alba ASV CDDCA646 (+ Trio 2) MDG 90317936 [review] Trio di Barcelona (+ Trio 2) Trio Albeneri Harmonia Mundi 901335 (+ Brahms 2, Martinu 2) Forgotten Records FR995 Beaux Arts Trio (+ Dvorak 4) Altenburg Trio Wien Ades 20337 (+ Trio 2) Philips 4162972 Challenge Classics SACC72097 [review] Doron DRC4021 Warner Classics 2564614922 [review] Klaviertrio Amsterdam (in “Philips Recordings 1967-74”) (+ Trio 2) Philips 4751712 Brilliant Classics 94039 (in “Mendelssohn: The Masterworks”) Beethoven Trio Wien Brilliant Classics 93164 or 92393 or 93672 (+ Trio 2) Camerata 32CM141 Arden Trio (+ Trio 2) Benvenue Fortepiano Trio Canal Grande 9217 (+ Trio 2) Avie AV2187 Argenta Trio (+ Trio 2) Borodin Trio Bridge 9338 (+ Trio 2) Chandos CHAN8404 Atlantis Trio Chandos CHAN10535 [review] (+ Sextet) Musica Omnia MO0205 Canadian Piano Trio (+ Trio 2) IBS 1011 MusicWeb International Last updated: July 2020 Piano Trios: Mendelssohn Profil PH08027 Trio Carlo Van Neste (+ Trio 2) Florestan Trio Pavane ADW7572 (+ Trio 2) Hyperion CDA67485 [review] Ceresio Trio (+ Trio 2, Viola trio) Trio Fontenay Doron 3060 (+ Trio 2) Teldec 44947 Chung Trio (in “Mendelssohn Edition Vol.
    [Show full text]
  • RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia.
    [Show full text]
  • Sonatas for Cello and Piano BRUNO PHILIPPE JÉRÔME DUCROS FRANZ LISZT
    RACHMANINOV MYASKOVSKY Sonatas for cello and piano BRUNO PHILIPPE JÉRÔME DUCROS FRANZ LISZT NIKOLAÏ MIASKOVSKI (1881-1950) Sonate no 1, op. 12, pour violoncelle et piano Ré majeur / D major / D-Dur 1 | I. Adagio - Andante 7’10 2 | II. Allegro passionato 12’12 © Le Chant du Monde SERGEÏ RACHMANINOV (1873-1943) 2 Pièces pour violoncelle et piano, op. 2 3 | Prélude. Commodo (Fa majeur / F major / F-Dur) 3’39 4 | Danse orientale. Andante cantabile (la mineur / A minor / a-Moll) 5’26 Prélude pour piano seul Extrait des Morceaux de Fantaisie, op. 3, no2 5 | Lento (ut dièse mineur / C-sharp minor / cis-Moll) 4’38 Sonate pour violoncelle et piano, op. 19 sol mineur / G minor / g-Moll 6 | |. Lento - Allegro moderato 13’54 7 | II. Allegro scherzando 6’34 8 | III. Andante 5’54 9 | IV. Allegro mosso 11’19 © Boosey and Hawkes Bruno Philippe, violoncelle Tononi (Prêté par la Beare’s International Violin Society) Jérôme Ducros, piano Steinway existe des œuvres emblématiques dont les auteurs eux-mêmes ne faisaient pas nécessairement grand cas. Nikolaï Miaskovski (1881-1950), élève de Liadov et de Rimski-Korsakov au Conservatoire de Saint-Pétersbourg, Il C’est le cas du Prélude en ut dièse mineur, second des cinq Morceaux de fantaisie op. 3 composés par Serge puis professeur à Moscou, est l’auteur d’une production abondante où prédomine la musique instrumentale, Rachmaninov, âgé de dix-neuf ans, en automne 1892. Sa popularité fut immédiate et tout au long de sa vie, le avec notamment le gigantesque corpus de ses vingt-sept symphonies.
    [Show full text]
  • Frédéric Chopin, Sviatoslav Richter, Martha Argerich, Mstislav
    Frédéric Chopin Sonate Op.65, Polonaise Brillante, Ballades no. 3 & no. 4 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Sonate Op.65, Polonaise Brillante, Ballades no. 3 & no. 4 Country: Germany Style: Romantic MP3 version RAR size: 1401 mb FLAC version RAR size: 1220 mb WMA version RAR size: 1211 mb Rating: 4.5 Votes: 864 Other Formats: MMF TTA MP4 AC3 AU AAC DTS Tracklist Hide Credits Sonata For Piano And Violoncello In G Minor, Op. 65 Piano – Martha ArgerichVioloncello – Mstislav Rostropovich 1 Allegro Moderato 15:15 2 Scherzo. Allegro Con Brio 4:50 3 Largo 3:41 4 Finale. Allegro 5:27 5 Polonaise Brillante In C Major, Op.3 8:09 Ballade No. 3 In A Flat Major, Op. 47 6 7:15 Piano – Sviatoslav Richter 7 Ballade No. 4 In F Minor, Op. 52 11:25 Barcode and Other Identifiers Barcode: 028943158329 Other versions Category Artist Title (Format) Label Category Country Year Frédéric Chopin / Martha Argerich, Mstislav Frédéric Chopin / Rostropovich, Svjatoslav Martha Argerich, Richter* - Cellosonate Deutsche 431 583-2 Mstislav 431 583-2 US 1991 Op.65 • Polonaise Grammophon Rostropovich, Brillante • Balladen Svjatoslav Richter* Op.47 & Op.52 (CD, Album) Related Music albums to Sonate Op.65, Polonaise Brillante, Ballades no. 3 & no. 4 by Frédéric Chopin Moscow Radio Orchestra With Mstislav Rostropovich And Sviatoslav Richter - Saint-Saens Cello Concerto Op.33, Prokofiev Cello Sonata Op.119 Various - The Originals - Highlights Argerich • Rostropovitch - Schumann • Chopin - National Symphony Orchestra Of Washington - Klavierkonzert Beethoven - Mstislav Rostropovich ‧ Sviatoslav Richter - The Complete Sonatas For Piano And Cello L.v.
    [Show full text]
  • Volume LIV, No 1, January-March 2016
    CyprusTODAY Volume LIV, No 1, January-March 2016 Contents Editorial .................................................................................2 Towards Digital Cultural Heritage in Cyprus .......................4 Excellence in Letters, Arts and Sciences ............................12 World Heritage of Cyprus: history, myth and religion .......19 16th Cyprus Contemporary Dance Platform ........................30 Vestiges 1991-2016 .............................................................36 The Conservation of the Creative Process ..........................39 Niki Marangou, 1948-2013: In Memoriam ........................40 Elena Zymara at Contemporary Space Athens ...................42 The Cyprus Symphony Orchestra .......................................44 The Cyprus Theatre Organisation .......................................46 The Pharos Arts Foundation ................................................49 International Short Film Festival Oberhausen ....................58 O!PLA ACROSS THE BORDERS ....................................60 2nd Ayia Napa Street Art Festival .........................................62 Creative Plates .....................................................................64 Volume LIV, No 1, January - March 2016 A quarterly cultural review of the Ministry of Education and Editorial Assistance: Culture published and distributed by the Press and Information Renos Christoforou Office (PIO), Ministry of Interior, Nicosia, Cyprus. [email protected] Press and Information Office Address: Ministry of
    [Show full text]
  • Franz Schubert Franz Schubert - Trio Nr.1, B-Dur Op.99 Mp3, Flac, Wma
    Franz Schubert Franz Schubert - Trio Nr.1, B-dur op.99 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Franz Schubert - Trio Nr.1, B-dur op.99 Country: Germany Style: Romantic MP3 version RAR size: 1341 mb FLAC version RAR size: 1813 mb WMA version RAR size: 1276 mb Rating: 4.8 Votes: 146 Other Formats: AC3 VOX MIDI VOC MP2 MP1 AHX Tracklist A1 Allegro Moderato A2 Andante un poco mosso B1 Scherzo (Allegro) B2 Rondo (Allegro vivace) Barcode and Other Identifiers Matrix / Runout (on labels): 33 WSX 553 Other versions Category Artist Title (Format) Label Category Country Year Schubert* / SAXF Schubert* / TrioDavidOistrakh* - SAXF Columbia France Unknown 2281 TrioDavidOistrakh* Trio No. 1 In B Flat 2281 (LP, Album) Schubert* / David Schubert* / David Oistrakh* / Sviatoslav Oistrakh* / Sviatoslav Knushevitsky / Lev SAX 2281 Columbia SAX 2281 France 1960 Knushevitsky / Lev Oborin - Trio No. 1 In Oborin B Flat D. 898 (Op. 99) (LP, Album, RE) David Oistrakh Trio / David Oistrakh Trio / Schubert* - Schubert Angel 35713 35713 UK Unknown Schubert* Trio Op. 99 (LP, Records Album) Schubert* / David Schubert* / David Oistrakh* / Sviatoslav Oistrakh* / Sviatoslav SAX 2281 Knushevitsky / Lev Columbia SAX 2281 UK Unknown Knushevitsky / Lev Oborin - Trio No. 1 In Oborin B Flat (LP, Album) Franz Schubert, Franz Schubert, David STC 80 David Oistrakh*, Oistrakh*, Sviatoslav STC 80 Columbia, 543, C 80 Sviatoslav Knushevitzky*, Lev 543, C 80 Germany Unknown Columbia 543 Knushevitzky*, Lev Oborin - Klaviertrio B- 543 Oborin dur Op.99 (LP) Related Music albums to Franz Schubert - Trio Nr.1, B-dur op.99 by Franz Schubert Franz Schubert, The Busch-Serkin Trio - Trio No.
    [Show full text]
  • Season 2016/2017 Friday, 2 September and Saturday, 3
    Season 2016/2017 Friday, 2 September and Saturday, 3 September 2016 Ilija M. Kolarac Foundation, 8 PM PRE-MOSCOW NIGHTS Conductor: Daniel Raiskin Soloist: Nemanja Radulović, violin Nikolai Rimsky-Korsakov Fantasia on Serbian Themes, Op. 6 Duration: approx. 7 minutes Aram Khachaturian Concerto for violin and orchestra Allegro con fermezza Andante sostenuto Allegro vivace Duration: approx. 35 minutes --- Antonin Dvořák Symphony No. 9, Op. 95 in E minor (From the New World) Adagio. Allegro molto Largo Scherzo. Molto vivace Allegro con fuoco Duration: approx. 40 minutes Concertmasters: Tijana Milošević and Miroslav Pavlović At the proposal of the composer and member of the renowned Mighty Handful Mily Balakirev, the young artist Nikolai Rimsky-Korsakov (1844– 1908) wrote Fantasia on Serbian Themes in 1867. Balakirev wanted to include another piece to be performed at a pan-Slavic music concert in addition to his Overture on Czech Themes. For this purpose, he had collected several Serbian themes, which he handed over to Korsakov for further elaboration. The composer wrote the piece instantly, and later declared that it was not so much the feeling of pan-Slavism that had inspired him, but rather the beauty of the themes. The piece premiered on 24 May 1867, under the baton of Mily Balakirev, and achieved great success. A year later, in a concert review, Tchaikovsky commended the orchestration and structural inventiveness of the composition, which finally opened the door of the already influential Mighty Handful for young Korsakov. Twenty years alter, Rimsky-Korsakov revised the piece, which was subsequently published in the version still performed today.
    [Show full text]