DOCSLIB.ORG

GENNADY ROZHDESTVENSKY CHAN 10354 BOOK.Qxd 15/9/06 1:46 Pm Page 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GENNADY ROZHDESTVENSKY CHAN 10354 BOOK.Qxd 15/9/06 1:46 Pm Page 2 CHAN 10354X Booklet cover 10/7/05 1:19 PM Page 1 CHANDOS CLASSICS Danish National Symphony Orchestra / DR CHAN 10354 X GENNADY ROZHDESTVENSKY CHAN 10354 BOOK.qxd 15/9/06 1:46 pm Page 2 Hans Christian Lumbye (1810–1874) Festival at Tivoli 1 Champagne Galop 2:19 2 Dronning Louise 5:36 Queen Louise The Royal Library, Copenhagen Library, The Royal Waltz 3 Københavns Jernbane Damp Galop 4:07 Copenhagen’s Steam Railway Galop Andante – Allegretto 4 Concert Polka for To Violiner 4:55 for Two Violins Kim Sjøgren • Anton Kontra violins 5 Mon Salut à St Pétersbourg 3:09 March 6 Petersborgerinden 2:30 The Lady of St Petersburg Polka 7 Drømmebilleder 9:47 Dream Pictures Fantasy Allegretto – Moderato – Tempo di valzer 8 Polonaise med Cornet Solo 4:15 with Cornet Solo Hans Christian Lumbye Christer Nilsson cornet 3 CHAN 10354 BOOK.qxd 15/9/06 1:46 pm Page 4 Lumbye: Festival at Tivoli 9 Britta Polka 2:37 Hans Christian Lumbye was born in and he became attached to the Horse Copenhagen on 2 May 1810. His father was Guards. In 1832 he married, and in order to 10 Finale Galop af balletten ‘Napoli’ 4:35 a corporal in the army, but Hans Christian improve his finances he had to look round from the ballet Napoli was only six years old when the family was for extra work. He was taken on as an Allegro con spirito transferred to the regiment in the Jutish apprentice to the stadsmusikant Carl Füssel, market town of Randers. Here Hans and soon aroused attention as an 11 Columbine Polka Mazurka 4:29 Christian grew up and received his first music extraordinarily skilled musician whom the lessons from the local organist, who taught stadsmusikant could permit to lead the 12 Salut for August Bournonville 1:56 Salute to August Bournonville him to read music and to play the violin. players he despatched to balls or brass band Already when the boy was twelve his concerts. Lumbye began to compose new 13 Amélie Vals 10:45 father was transferred to The Funen dances and marches, which appealed to Amélie Waltz Regiment in Odense, where the local audiences, and soon a small group of Presto – Poco allegretto stadsmusikant now became Hans musician friends took shape around him, Christian’s teacher. The latter immediately who enjoyed playing his music. 14 Finale Galop af balletten ‘Livjægerne på Amager’ 3:31 recognised the boy’s considerable talent for In 1839 Copenhagen was visited by an from the ballet The Life Guards on Amager music, and as a child in a garrison town it Austrian orchestra, ‘The Steiermark Music was only natural that he would take up the Society’ under the leadership of Music 15 Petersborg Champagne Galop 2:52 trumpet; he learned so quickly that at the age Director Siegl from Vienna, which played St Petersburg Champagne Galop of only fourteen he achieved appointment as music by Joseph Lanner and Johann Strauss TT 68:27 a trumpeter with his father’s regiment. the Elder among others. Lumbye and his Five years later, in 1829, Lumbye had friends became captivated by this new style Danish National Symphony Orchestra /DR become a highly accomplished exponent of of light music and decided to perform similar Gennady Rozhdestvensky both the trumpet and the violin, and had pieces, and as H.C. Lumbye was capable of composed a few bits and pieces which composing new dances and marches of this showed his musical gifts. He applied for a kind, they soon started playing in a modest transfer to Copenhagen, which was granted, kind of way at various of Copenhagen’s 4 5 CHAN 10354 BOOK.qxd 15/9/06 1:46 pm Page 6 inns, variety theatres and some of the many From 1841 onwards, amusements in wonderful stretch of the abandoned extensive journey abroad, and when Tivoli had new establishments of entertainment that Copenhagen really grew apace. The editor of fortifications, with moats and ponds and closed its gates at the end of the 1844 season, were shooting up at this time. the periodical Figaro, Lieutenant Georg huge trees, abutting the western quarter of Lumbye in November set off to Paris. Here he The debut concert proper was now due to Carstensen, was a man with an insatiable Copenhagen. Carstensen immediately began heard works by Jean-Baptiste-Joseph Tolbecque take place. H.C. Lumbye placed an desire for activity. He arranged concerts, to equip the grounds with restaurants, and Philippe Musard, and himself gave a advertisement in Adresseavisen to announce exhibitions, people’s festivals and, in the shooting galleries, pavilions and places of concert featuring his own compositions. The that on 5 December there would be a month of July, a great ‘Vauxhall and amusement, but most importantly of all, a concert proved successful beyond all Concert à la Strauss in the elegant hall of the Concert’ in the gardens of Rosenborg concert hall. He brought Lumbye in as expectations, and no less a figure than Berlioz, Hôtel d’Angleterre. Palace. There were coloured lanterns, pools Music Director, and it was a well-organised who had been present, wrote a well-disposed But alas! On 2 December 1839 King with fountains, banners and tastefully Tivoli that could open its gates to the public review in the Journal des Débats: Frederick VI of Denmark died. National illuminated decorations. But first and on 15 August 1843. M. Lumbye’s waltzes are not only attractive mourning put a stop to all entertainments, foremost, Lumbye’s orchestra played not only Here at Tivoli Lumbye found his true and beautiful, but also well-written and and all the music faded. For two months Lumbye’s own musical pieces, but also the occupation. Every evening was to be like a expertly orchestrated, free of excessive noise, Copenhageners mourned the death of the latest music by Lanner and by Strauss, father party, and music was to have pride of place. with no striving for effect and no charlatanism. Father of the Country, but immediately after, and son. Lumbye’s own orchestra numbered twenty- Before his departure Lumbye made a thorough they started relishing life’s pleasures again. Georg Carstensen arranged several such two men, the brass band seventeen, at the study of one of the new dance forms, the Lumbye could give his concert, the success of summer festivals, and in winter he received theatre played eight musici, and the carousel quadrille, which at just that time was being which exceeded all expectations, and as a permission to give concerts with Lumbye’s ground had six ‘wind instruments’. cultivated with great enthusiasm in Paris. result he was able to arrange a total of six orchestra in the Riding Hall of Lumbye composed diligently; audiences The next stop was Vienna. It was with concerts in the course of that winter. Christianborg Palace. He also facilitated certainly loved the waltz, the galop and the some trepidation that he gave a concert at In the next few years Lumbye enjoyed balloon ascents and firework parties. march, but first among the favourites were one of the city’s largest theatres, the great success as an independent composer The time was now ripe for Copenhagen, the newer dances: the polka and the polka Leopoldstadt Theater. But it went well. The and orchestral conductor, and it is testimony too, to have an amusement park, just as mazurka; furthermore, the new waltz style, audience was well-disposed, and became to the respect he inspired that when August Vienna had its Prater and other European with the longer concert waltz which was captivated by the exotic-sounding melodies. Bournonville, the great ballet master of The large cities had parks with a Jardin-turc, somewhat slower, had begun to make The waltz La Résignation gave particular Royal Theatre, in 1842 was collecting music Lunapark, Bazaar or Nuit vénitienne. headway. Lumbye felt a necessity to travel pleasure, and earned him the applause of for Napoli, perhaps his most successful and In 1842 Carstensen was granted a abroad, put his abilities to the test and seek Johann Strauss the Elder, no less. After the high-spirited ballet, he chose to ask Lumbye privilege to establish an amusement park new experiences from which he could learn. concert Lumbye again took the opportunity to compose the furiously festive Finale under the name ‘Copenhagen’s Tivoli and The following year King Christian VIII to study the latest music in this, the very Galop. Vauxhall’. The site had been found: a secured him a public subvention for an capital of music. Thence the journey 6 7 CHAN 10354 BOOK.qxd 15/9/06 1:46 pm Page 8 continued to Berlin. Word of the new portrayal of the departure, journey and including the polka The Lady of St Petersburg Britta Polka, dedicated to Britta Rydberg, Danish composer had preceded him, so on arrival at its destination of a steam and a St Petersburg Champagne Galop, and famous and much admired society lady in his arrival he was immediately engaged to locomotive. For his musicians Lumbye often at a concert at the country residence of the Copenhagen, was composed in the spring of conduct a series of concerts at ‘Kroll’s wrote pieces in which they could exhibit Tsar, Peterhof, Lumbye dedicated to the Tsar a 1864. One of the many compositions that Wintergarten’. The reception was their prowess with the instrument, such as new march. It was courteous custom to round are dedicated to the royal family is the overwhelming. Critics and audiences outbid the Polonaise with Cornet Solo. Among the off a guest appearance with a salute to the waltz Queen Louise of 1869, and at a one another in paying tribute to ‘the new compositions of 1849, the ravishing Amélie audience.
Load more

Recommended publications
  • RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers
    RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No.
    [Show full text]
  • University Musical Society Oslo Philharmonic
    UNIVERSITY MUSICAL SOCIETY OSLO PHILHARMONIC ORCHESTRA MARISS JANSONS Music Director and Conductor FRANK PETER ZIMMERMANN, Violinist Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Concerto in E minor for Violin and Orchestra, Op. 64 . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace Frank Peter Zimmermann, Violinist INTERMISSION Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93. The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener­ cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise.
    [Show full text]
  • Sibelius Society
    UNITED KINGDOM SIBELIUS SOCIETY www.sibeliussociety.info NEWSLETTER No. 84 ISSN 1-473-4206 United Kingdom Sibelius Society Newsletter - Issue 84 (January 2019) - CONTENTS - Page 1. Editorial ........................................................................................... 4 2. An Honour for our President by S H P Steadman ..................... 5 3. The Music of What isby Angela Burton ...................................... 7 4. The Seventh Symphonyby Edward Clark ................................... 11 5. Two forthcoming Society concerts by Edward Clark ............... 12 6. Delights and Revelations from Maestro Records by Edward Clark ............................................................................ 13 7. Music You Might Like by Simon Coombs .................................... 20 8. Desert Island Sibelius by Peter Frankland .................................. 25 9. Eugene Ormandy by David Lowe ................................................. 34 10. The Third Symphony and an enduring friendship by Edward Clark ............................................................................. 38 11. Interesting Sibelians on Record by Edward Clark ...................... 42 12. Concert Reviews ............................................................................. 47 13. The Power and the Gloryby Edward Clark ................................ 47 14. A debut Concert by Edward Clark ............................................... 51 15. Music from WW1 by Edward Clark ............................................ 53 16. A
    [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]
  • Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
    International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence.
    [Show full text]
  • 825646078684.Pdf
    JOHANNES BRAHMS 1833–1897 Concerto for violin and cello in A minor, Op.102* 1 I Allegro 16.10 2 II Andante 7.39 3 III Vivace non troppo 8.10 FELIX MENDELSSOHN 1809–1847 Violin Concerto in E minor, Op.64 4 I Allegro molto appassionato 12.28 5 II Andante 7.42 6 III Allegretto non troppo — Allegro molto vivace 6.38 58.47 ITZHAK PERLMAN violin YO-YO MA cello* Chicago Symphony Orchestra/Daniel Barenboim IGOR STRAVINSKY 1882–1971 Violin Concerto in D 7 I Toccata 5.40 8 II Aria I 4.04 9 III Aria II 5.00 10 IV Capriccio 5.52 SERGEI PROKOFIEV 1891–1953 Violin Concerto No.2 in G minor, Op.63 11 I Allegro moderato 10.06 12 II Andante assai 9.15 13 III Allegro, ben marcato 6.13 46.10 ITZHAK PERLMAN violin Chicago Symphony Orchestra/Daniel Barenboim 2 Original album cover 3 he erato & Teldec Recordings Mendelssohn · Prokofiev · Brahms · Stravinsky On these two albums — the Mendelssohn and Prokofiev concertos originally released on Erato, the two others on Teldec — Itzhak Perlman was revisiting repertoire he had first recorded earlier on in his career. He had recorded Prokofiev’s Second Violin Concerto for RCA (with the Boston Symphony Orchestra under Erich Leinsdorf) as early as 1966, and Mendelssohn’s Concerto (with the London Symphony Orchestra and André Previn; see volume 5) six years later. He had also gone on to commit a further interpretation of each work to disc: the Prokofiev with the BBC Symphony Orchestra and Gennady Rozhdestvensky in 1980 (see volume 29), the Mendelssohn with the Amsterdam Concertgebouw and Bernard Haitink in 1983 (volume 33).
    [Show full text]
  • Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO
    PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, February 5, 2016, at 8:00 Saturday, February 6, 2016, at 8:00 Gennady Rozhdestvensky Conductor Music by Dmitri Shostakovich Symphony No. 1 in F Minor, Op. 10 Allegretto—Allegro non troppo Allegro Lento—Largo—Lento Allegro molto—Lento INTERMISSION Symphony No. 15 in A Major, Op. 141 Allegretto Adagio Allegretto Adagio—Allegretto Saturday’s concert is sponsored by ITW. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Dmitri Shostakovich Born September 25, 1906, Saint Petersburg, Russia. Died August 9, 1975, Moscow, Russia. Symphony No. 1 in F Minor, Op. 10 In our amazement at a keen ear, a sharp musical memory, and great those rare talents who discipline—all the essential tools (except, per- mature early and die haps, for self-confidence and political savvy) for a young—Mozart, major career in the music world. His Symphony Schubert, and no. 1 is the first indication of the direction his Mendelssohn immedi- career would take. Written as a graduation thesis ately come to mind—we at the Saint Petersburg Conservatory, it brought often undervalue the less him international attention. In the years imme- spectacular accomplish- diately following its first performance in May ments of those who burst 1926, it made the rounds of the major orchestras, on the scene at a young age and go on to live beginning in this country with the Philadelphia long, full, musically rich lives.
    [Show full text]
  • For Immediate Release: November 12, 2015 Press Contacts: Rachelle Roe, 312-294-3090 Photos Available by Request Eileen Chambers, 312-294-3092 [email protected]
    For Immediate Release: November 12, 2015 Press Contacts: Rachelle Roe, 312-294-3090 Photos Available By Request Eileen Chambers, 312-294-3092 [email protected] February 2016 Calendar of Events Chicago Symphony Orchestra Friday, February 5, 2016, 8:00 p.m. Saturday, February 6, 2016, 8:00 p.m. Chicago Symphony Orchestra Gennady Rozhdestvensky, conductor SHOSTAKOVICH Symphony No. 1 in F minor, Op. 10 SHOSTAKOVICH Symphony No. 15 in A Major, Op. 141 Tickets: $30-$217 One of Russia's greatest conductors, Gennady Rozhdestvensky brings a program that pairs Dmitri Shostakovich's first and last symphonies. The lively First Symphony, written when Shostakovich was just 19 years old, reflects the young composer's optimism of the early years in the Soviet Union. His quirky and profound Fifteenth Symphony, written 45 years later, includes references to all of his earlier symphonies along with quotes from Rossini's William Tell and Wagner's Ring Cycle. ___________________________________________________________________________________ Chicago Symphony Orchestra Thursday, February 11, 2016, 8:00 p.m. Friday, February 12, 2016, 8:00 p.m. Saturday, February 13, 2016, 8:00 p.m. Tuesday, February 16, 2016, 7:30 p.m. Chicago Symphony Orchestra Riccardo Muti, conductor Stephen Williamson, clarinet LIGETI Ramifications MOZART Clarinet Concerto in A Major, K. 622 OGONEK Lightenings (World premiere, CSO commission) TCHAIKOVSKY Serenade for Strings in C Major, Op. 48 Tickets: $36-$260 Ligeti's eerie and evocative Ramifications opens a program featuring CSO Principal Clarinet Stephen Williamson performing Mozart's beautiful Clarinet Concerto. A world premiere specially commissioned for the CSO's 125th season is followed by Tchaikovsky's treasured Serenade for Strings, which spotlights the Orchestra's brilliant string section.
    [Show full text]
  • SYMPHONY for the CITY of the DEAD Dmitri Shostakovich and the Siege of Leningrad by M
    CANDLEWICK PRESS TEACHERS’ GUIDE SYMPHONY FOR THE CITY OF THE DEAD Dmitri Shostakovich and the Siege of Leningrad by M. T. Anderson About the Book In September 1941, Adolf Hitler’s Wehrmacht surrounded Leningrad in what was to become one of the longest and most destructive sieges in Western history — two and a half years of bombing and starvation. More than a million citizens perished. Survivors recall corpses littering the frozen streets, the relatives of the dead having neither the means nor the strength to bury them. Desperate residents burned books, furniture, and floorboards to keep warm; they ate family pets and — eventually — even one another to stay alive. Trapped between the Nazi invading force and the Soviet government itself was composer Dmitri Shostakovich, who would write a symphony that roused, rallied, eulogized, and commemorated his fellow citizens — the Leningrad Symphony, which played a surprising role in strengthening the Grand Alliance against the Axis powers. Symphony for the City of the Dead is the true story of a city under siege: the triumph of bravery and defiance in the face of terrifying odds. It is also a look at the power — and layered meaning — of music in beleaguered lives. Common Core HC: 978-0-7636-6818-1 Connections Also available as an e-book A primary goal of the Common Core State ELA Standards is for students to become fluent in reading complex texts like Symphony for the City of the Dead. In this sweeping history, M. T. Anderson recounts and analyzes many facets of Stalin’s This guide was prepared by Kathleen Odean, reign, the Soviet Union’s role in World War II, and the Siege of Leningrad, along who was a school librarian for more than fifteen with the life of composer Dmitri Shostakovich and the impact of his music.
    [Show full text]
  • The Man Who Found the Nose'
    SPECIAL INTERVIEW The Man who found The Nose’ An Interview with Gennady Nikolayevich Rozhdestvensky By Alan Mercer Born in Moscow on 4 May 1931, (1974-1977 and 1992-1995), and Rozhdestvensky grew up with his the Vienna Symphony (1980-1982). spritely 85 years of age at conductor father Nikolai Anosov Also in the 1970s, Rozhdestvensky the time of our encounter at (1900-1962) and his singer mother worked as music director and con­ the Paris-based Shostakovich Natalia Rozhdestvenskaya (1900- ductor of the Moscow Chamber ACentre, Gennady Rozhdestvensky’s1997). After graduating from the Music Theatre, where together with demeanour has barely changed from Central Music School at the Mos­ director Boris Pokrovsky he revived that of the 1960s, when Western con- cow Conservatory as a pianist in Shostakovich’s 1920s opera The Nose. cert-goers were first treated to his the class of L.N. Oborin, he began Rozhdestvensky has focused individualistic podium style, not to studying what was to become his much of his career on music of mention his highly affable manner career vocation under the guidance the twentieth century, including with audiences and orchestras alike. of his father. In 1951, he trained at premieres of works by Shchedrin, As one of the few remaining artists the Bolshoi Theatre, and went on to Slonimsky, Eshpai, Tishchenko, to have worked closely with the 20th work at the famous venue at vari­ Kancheli, Schnittke, Gubaidulina, century’s music elite—Shostakovich ous periods between 1951 and 2001, and Denisov. included—the conductor’s career is when he became the establishment’s Prior to our conversation, the imbibed with both the traditions General Artistic Director.
    [Show full text]
  • MYASKOVSKY (1881-1950) Sonata for Violin and Piano, Op
    Nikolai MYASKOVSKY (1881-1950) Sonata for Violin and Piano, Op. 70 (1947) [19:48] 1 I. Allegro amabile [8:14] 2 II. Theme (Andante con moto e molto cantabile), [11:32] 12 Variations and Coda Vissarion SHEBALIN (1902-1963) MYASKOVSKY Sonata for Violin and Piano, Op. 51, No. 1 (1958) [21:40] 3 I. Allegro [8:09] 4 II. Non troppo vivo. Scherzando [3:53] SHEBALIN 5 III. Andante [5:02] 6 IV. Allegro [4:32] NECHAEV Vasily NECHAEV (1895-1956) Sonata for Violin and Piano, Op. 12 (1928) [20:52] 7 I. Vivace, appenato e leggieramente [6:51] 8 II. Lugubre [4:51] 9 III. Presto impetuoso [9:08] Violin Sonatas Total Timing: [62:27] Sasha Rozhdestvensky violin Sasha Rozhdestvensky violin Viktoria Postnikova piano Viktoria Postnikova piano In memory of my beloved father, Gennady Rozhdestvensky (1931-2018) (Sasha Rozhdestvensky) includes ℗ & © 2018 The copyright in these sound recordings is owned by First Hand Records Ltd. PREMIÈRE RECORDINGS ̶ 12 ̶ MYASKOVSKY • SHEBALIN • NECHAEV Violin Sonatas The three violin sonatas on this disc are by the First World War, then served in the Red Army composers who had enjoyed a direct professional during the Civil War. In 1921 he was appointed relationship during the period between the two to the Moscow Conservatoire, his stature as world wars, mainly through their involvement on professor of composition comparable to a steady the teaching staff at the Moscow Conservatoire. output of symphonies such as led to his being More than that, however, they also testify to regarded as the ‘father’ of the Soviet symphony.
    [Show full text]
  • Czech Philharmonic Czech Philharmonic
    CZECH PHILHARMONIC 2021 | 2020 | SEASON Czech Philharmonic 125th 125th SEASON 2020 | 2021 SEASON GUIDE Czech Philharmonic 01 CZECH PHILHARMONIC CZECH PHILHARMONIC SEASON GUIDE 125th SEASON 2020 | 2021 Semyon Bychkov Chief Conductor and Music Director We are delighted to bring you joy in another, this time anniversary season. Czech Philharmonic Ministry of Culture of the Czech Republic – Establisher Česká spořitelna, a.s. – General Partner 02 CZECH PHILHARMONIC CZECH PHILHARMONIC TABLE OF CONTENTS 5 Introduction 133 Czech Chamber Music Society 7 Czech Philharmonic 134 Introduction 12 Semyon Bychkov Concerts 17 Jakub Hrůša 137 I Cycle 20 Tomáš Netopil 147 II Cycle 23 Orchestra 157 HP Early Evening Concerts 25 Orchestral Academy of the Czech Philharmonic 167 DK Morning Concert Concerts 181 R Recitals 27 A Subscription Series 188 Tickets Information 45 B Subscription Series 193 Student Programme 61 C Subscription Series 194 How to get to the Rudolfinum 73 M Special Non-Subscription Concerts 198 Dynamic Club of the Czech Philharmonic 86 Other Concerts in Prague 200 Partners of the Czech Philharmonic 90 Tours 203 Contacts 102 Broadcasts and Recordings 204 Calendar 107 Programmes for children with parents, youth, and adult listeners 109 Romano Drom 2020 2 3 CZECH PHILHARMONIC INTRODUCTION Dear Friends of the Czech Philharmonic, Following the four years that it has taken us to realise ‘The Tchaikovsky Project’, we will be On behalf of both the Orchestra and myself, performing and recording the symphonies of I would like to take this opportunity to wish Gustav Mahler, whose music will form one of you a very warm welcome to our 125th Anni- the main pillars of future seasons.
    [Show full text]