Mercury Orchestra Channing Yu, Music Director
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Fabulously Tidal — Issue 117, 1 January 2018
Fabulously Tidal — Issue 117, 1 January 2018 SPONSORED FEATURE — PHILIP SAWYERS' THIRD SYMPHONY Alice McVeigh: 'This is a fabulously tidal symphony, with wild expanses of differing moods, but it begins with a ripple of unease. We in the cello section were told to play the opening with as much stillness as possible, allowing the first theme to grow as it weaves into violins and violas, into threads of flute and oboe, and — from there — into a tempestuous section of interweaving themes. The argument descends into a woodwind quarrel, resolved by flute and oboe, decorated by horns — while the strings continue to niggle and churn away at any sense of calm. 'Then solo bassoon ignites a new, still tenser, section. The violins take over, lightly but resolutely, answered by middle strings conveying a sense of tenderness — but with a bitter aftertaste. (This is incidentally one of Sawyers' most characteristic strengths: a tenderness, never saccharine, often undermined by subtle discontent.) From the brass comes the first glimpse of escape: the powerful broken octave theme over which the other themes furiously contend. 'The cellos at the recapitulation, now deepened and enriched, are twisted by Sawyers into something passionate and grounded in lower brass, reinforced by timpani. The movement ends with the heavy brass seemingly triumphant over the strings' stubborn reiteration of the theme. Still, the lower strings' pessimism prevails. 'Tutti violins kick-start the second movement with a dramatic leap from their richest register, only yielding to keening solo oboe. 'The sobered strings leave the solo winds to mourn, yet, with characteristic Sawyers intensity, something is brewing at subterranean depths: eventually, the violas' chuntering is answered by full insistent brass, in a stormily ecstatic tantrum. -
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. -
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. -
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. -
Opera and Poison - a Secret and Enjoyable Approach to Teaching and Learning
Opera and Poison - A Secret and Enjoyable Approach to Teaching and Learning Chemistry João Paulo André Centro/Departamento de Química, Campus de Gualtar, Universidade do Minho, 4710- 057 Braga, Portugal Email: [email protected] Keywords: General Public, Continuing Education, History/Philosophy, Humor/Puzzles/ Games, Multimedia-Based Learning, Drugs/Pharmaceuticals, Forensic Chemistry, Toxicology, Interdisciplinary/Multidisciplinary, Public Understanding/Outreach Abstract The storyline of operas, with historical or fictional characters, often include potions and poisons. This has prompted a study of the chemistry behind some operatic plots. The results were originally presented as a lecture given at the University of Minho in Portugal, within the context of the International Year of Chemistry. The same lecture was subsequently repeated at other Universities as a invited lecture for science students, and in public theaters for wider audiences. The lecture included a multimedia and interactive content that allowed the audience to listen to arias and to watch video clips with selected scenes extracted from operas. The present paper, based on the lecture, not only demonstrates how chemistry and opera can be related, but may also serve as a source of motivation and inspiration for chemistry teachers looking for alternative pedagogical approaches. Moreover, the lecture constitutes a vehicle that transports chemistry knowledge to wider audiences through examples of molecules of everyday life, with particular emphasis on natural products. -
Song and Dance by Marina Harss N February, the Russian Director Dmitri Final Version” of the Opera
Books & the Arts. PERA O CORY WEAVER/METROPOLITAN WEAVER/METROPOLITAN CORY A scene from Alexander Borodin’s Prince Igor, with Ildar Abdrazakov as Prince Igor Song and Dance by MARINA HARSS n February, the Russian director Dmitri final version” of the opera. It is a jumble of Vladimir Putin’s incursion into Crimea also Tcherniakov produced a new staging of unfinished ideas and marvelous music. comes to mind. Tcherniakov’s Igor is an Alexander Borodin’s Prince Igor at the For his reconstruction, Tcherniakov re- antihero for our time. Metropolitan Opera. It was last per- arranged the order of scenes, cut several Borodin’s opera is the story of a Slavic formed there in 1917, sung in Italian. passages—including Glazunov’s overture— prince who goes off to fight a battle against IThe opera, which was left unfinished at and inserted music originally sketched by a “barbaric” non-Christian neighbor, a Tur- the time of the composer’s sudden death Borodin but never before integrated into the kic tribe known as the Polovtsians (or, more while attending a military ball in 1887, is opera, with orchestrations by Pavel Smelkov, often, as the Cumans), led by the cheerfully based on a twelfth-century Slavic epic, The including a major new monologue for Igor. truculent Khan Konchak. By the second Song of Igor’s Campaign, best known by the He also imagined a new, ambivalent end- act—in Tcherniakov’s staging, it’s the second English-speaking world in a translation by ing, set to a passage from the opera-ballet half of the first—Igor has suffered a brutal Vladimir Nabokov. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
Piotr Illitch Tchaikovsky
Esoteric Profile of Piotr Ilitch Tchaikovsky May 7, 1840 – November 6, 1893 By Marilene dos Santos 1 - Mini Biography Introduction Piotr Ilitch Tchaikovsky was a Russian composer of the Romantic era, born on May 7, 1840, 6:35 AM in Votkinsk, Vyatka region, Russia. His works include symphonies, concertos, operas, ballets, chamber music, and a choral setting of the Russian Orthodox Divine Liturgy. Some of these are among the most popular theatrical music in the classical repertoire including the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. He was the first Russian composer whose music made a lasting impression internationally, which he bolstered with appearances as a guest conductor later in his career in Europe and the United States. Tchaikovsky was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension in the late 1880s. Family Tchaikovsky was born to a fairly wealthy middle class family. His father, named Ilya Tchaikovsky was a mining business executive in Votkinsk. His father's ancestors were from Ukraine and Poland. His mother, named Aleksandra Assier, was of Russian and French ancestry. His father, Ilya Petrovich (a two time divorced) married Alexandra and the two had two sons, Pyotr and Modest. Childhood and Mother death Tchaikovsky started piano studies at five and soon showed remarkable gifts. He also learned to read French and German by the age of six. A year later, he was writing French verses. The family hired a governess, Fanny Dürbach, to keep watch over the children, and she often referred to Tchaikovsky as the "porcelain child." Tchaikovsky was ultra sensitive to music. -
Rimsky-Korsakov Overture and Suites from the Operas
CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource. -
Masterworks 8
“Inside Masterworks” LISTENING IN COLOR M AY 2017 Masterworks #8: Russian Intensity May 12-14, 2017 Overcoming his illegitimate birth to become a well-respected 19th century scientist, Borodin was also a brilliant composer, whose music earned a Broadway Tony Award nearly 60 years after his death. Born in 1833, Aleksandr gift from Prince Gedevanishvili to Borodin and his Borodin was the ‘aunt’.vi The young boy’s gift for languages and illegitimate son of a music was immediately evident: he learned to wealthy 62-year-old play piano, flute and cello, as well as compose.vii Georgian prince, Luka Despite his obvious musical gifts, Borodin was, Gedevanishvili, and first and foremost, a scientist, who viewed music a married 25-year- as a pleasant distraction. In his own words, old woman, the wife “Music is a pastime, a relaxation from more of an army doctor.i To serious endeavors.”viii From 1850 to 1856, he conceal the circumstances of his birth, Borodin’s studied at the Medico-Surgical Academy in St. father registered the boy as the son of one of his Petersburg, the renowned institution that would Russian serfs, Porfiry Borodin, thus explaining later be home to Ivan Pavlov.ix With a specialty in the composer’s surname.ii As a result of the chemistry, Borodin graduated with his doctorate registration, both Borodin and his “designated in 1858, spent a year as a surgeon in a military father” were officially serfs, owned by Borodin’s hospital, and then embarked on a three-year biological father.iii The nobleman father course of advanced scientific -
The Dynasty of Chernigov, 1146–1246
THE DYNASTY OF CHERNIGOV, 1146–1246 MARTIN DIMNIK published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru,UK 40 West 20thStreet, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, SouthAfrica http://www.cambridge.org C Martin Dimnik 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Adobe Garamond 11/12.5 pt. System LATEX 2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data applied for isbn 0 521 82442 7 hardback Contents List of figures page xi List of maps xii List of genealogical tables xiii Preface xv Acknowledgments xxii Chronological table of events xxiv Glossary xxxii Abbreviations xxxiv Introduction 1 Historiography 1 The first hundred years 5 1 The third generation continued: 1146–1164 14 Igor fails in Kiev 14 Svyatoslav Olgovichfightsfor survival 26 Svyatoslav flees to the Vyatichi lands 34 Bishop Onufry champions Klim Smolyatich 39 Svyatoslav recovers the Vyatichi lands 41 The Davidovichi plot treachery 43 Igor’s death -
Historical Horn Conference Moving Horns: Worldwide Migrations in Horn Playing
Historical Horn Conference Moving Horns: Worldwide Migrations in Horn Playing July 3rd Historical Horn Conference opening concert (with program notes): le neuf-heure-trente, de Paris à Gand & presentation of the « Historic Horn Handbook » 9.30h - Library Anneke Scott, natural horn & Toby Sermeus, pianoforte Anton Reicha: Solo en Mi majeur, pour cor et piano Louis-François Dauprat: 2e Solo de Cor (excerpts) Frédéric Duvernoy: Nocturnes No.1, 'Mes Adieux’ Martin Joseph Mengal: Allegro from Sixième Solo Jean Baptiste Mengal: Thême de Rossini For the opening concert of the IHS51 Historic Horn Conference here in Ghent it seems more than appropriate that the work of two eminent Belgian horn players, Martin-Joseph and Jean-Baptiste Mengal, should be celebrated in style. In Le neuf- heure-trente, de Paris à Gand Anneke Scott explores the music of prominent students and teachers from the circle of the early 19th century Conservatoire de Paris. Anton Reicha, the influential composition teacher, is paired with his student and champion Louis-François Dauprat. The work of Martin Joseph Mengal, another student of Reicha’s and the founding director of the Royal Conservatory of Ghent, is paired with a Nocturne by Martin-Joseph’s horn teacher Frédéric Duvernoy. This is followed by a short work by Heinrich Domnich, the horn teacher of the younger Mengal, Jean-Baptiste, horn player in Paris with both the Théâtre Italien and the Opéra whose Thême de Rossini closes this short recital. This recital will be followed by the launch of Anneke Scott’s new book on learning the natural horn. Her “Historic Horn Handbook” sets out to introduce prospective natural horn students to the immense wealth of sources provided by horn players and teachers over the centuries.