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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. -
Explore Unknown Music with the Toccata Discovery Club
Explore Unknown Music with the Toccata Discovery Club Since you’re reading this booklet, you’re obviously someone who likes to explore music more widely than the mainstream offerings of most other labels allow. Toccata Classics was set up explicitly to release recordings of music – from the Renaissance to the present day – that the microphones have been ignoring. How often have you heard a piece of music you didn’t know and wondered why it hadn’t been recorded before? Well, Toccata Classics aims to bring this kind of neglected treasure to the public waiting for the chance to hear it – from the major musical centres and from less-well-known cultures in northern and eastern Europe, from all the Americas, and from further afield: basically, if it’s good music and it hasn’t yet been recorded, Toccata Classics is exploring it. To link label and listener directly we run the Toccata Discovery Club, which brings its members substantial discounts on all Toccata Classics recordings, whether CDs or downloads, and also on the range of pioneering books on music published by its sister company, Toccata Press. A modest annual membership fee brings you, free on joining, two CDs, a Toccata Press book or a number of album downloads (so you are saving from the start) and opens up the entire Toccata Classics catalogue to you, both new recordings and existing releases as CDs or downloads, as you prefer. Frequent special offers bring further discounts. If you are interested in joining, please visit the Toccata Classics website at www.toccataclassics.com and click on the ‘Discovery Club’ tab for more details. -
Bridge the Annual Meeting of the Gen- American Miss Mabel Legion by Frank B
Legion Auxiliary OES Activities Aids Veterans’ Folk; fort In Local Dupont Post Music Other Activities Chapters Bridge The annual meeting of the Gen- American Miss Mabel Legion By Frank B. Lord. F. Staub, president eral Auxiliary Home Board will be of the District of Columbia Depart- held at One pair playing in the Northern 1:30 p.m. tomorrow for Officers Installed ment, the American Legion Aux- election Virginia championship bridge tour- of officers. iliary, announced last week that 58 Lee R. Pennington, commander of By James Waldo Fawcett. nament held last week at the Ward- Meetings announced are: needy children of World War II the District of Columbia Depart- Notes man a Readers of The Star, whether Park Hotel established near- veterans have been Electa Chapter—Tuesday, initia- ment, the American Legion, and his assisted finan- collectors are record for the magnitude of the set tion of 10 and stamp or not. invited cially since September 1, at a candidates; ways staff, last week installed officers of Orchestra which administered to their 1944, to attend a meeting of the Wash- Plays they cost of $2,691.60. means card party Saturday eve- the new Fort Dupont Post, at the adversaries in the qualifying round 3925 ington Philatelic Society at the Na- The American Legion Auxiliary ning, Alabama avenue S.E. St. Francis Xavier School. Three Concerts of the open pair match. William tional Museum Auditorium, Consti- Child Welfare Committee, under Naomi Chapter—Tuesday, re- They are as follows: R. H. Ran- Cheeks and on tution avenue at Ninth street N.W, Mrs. -
I Popular but Disparaged: Sonata Structures in Tchaikovsky's
Popular But Disparaged: Sonata Structures In Tchaikovsky’s Symphonies Four, Five, And Six by Daniel Robert Wolfe A dissertation presented to the Moores School of Music, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements of the degree of Doctor of Musical Arts in Bassoon Performance Chair of Committee: Timothy Koozin Committee Member: Elise Wagner Committee Member: Jonathan Fischer Committee Member: Ji Yeon Lee University of Houston May 2020 i ABSTRACT Few composers can claim the same level of popularity with the public and in the concert hall as Pyotr Tchaikovsky. Unfortunately, however, many early-twentieth- century scholars, music critics, and music theorists have discussed Tchaikovsky’s music in a manner which reveals their biases against both the feminine and the queer community. In this document I have first surveyed analytical writing about Tchaikovsky’s symphonies Four, Five, and Six and specifically his use of form in those works. I believe this survey reveals many of the same patterns in musical analysis that other scholars such as Richard Taruskin and Malcolm Brown have already compiled in music criticism and history. My second goal has to been to analyze these three symphonies using James Hepokoski and Warren Darcy’s method: Sonata Theory. By so doing I have attempted to uncover the strategies within a sonata form that are normative for Tchaikovsky, although deformational for other composers. This includes an innovative strategy for parageneric zones, the use of P0 modules, the tri-modular block, and IACs rather than PACs for essential structural closures. My final goal throughout this document is to trace those analysts who describe Tchaikovsky’s music as weak or somehow failing, and correlate that to an intentionally crafted instability on the part of Tchaikovsky. -
TOCC0327DIGIBKLT.Pdf
VISSARION SHEBALIN: COMPLETE MUSIC FOR VIOLIN AND PIANO by Paul Conway Vissarion Shebalin was one of the foremost composers and teachers in the Soviet Union. Dmitri Shostakovich held him in the highest esteem; he kept a portrait of his slightly older friend and colleague hanging on his wall and wrote this heartfelt obituary: Shebalin was an outstanding man. His kindness, honesty and absolute adherence to principle always amazed me. His enormous talent and great mastery immediately earned him burning love and authority with friends and musical community.1 Recent recordings have rekindled interest from listeners and critics alike in the works of this key fgure in mid-twentieth-century Soviet music. Vissarion Yakovlevich Shebalin was born in Omsk, the capital of Siberia, on 11 June 1902. His parents, both teachers, were utterly devoted to music. When he was eight years old, he began to learn the piano. By the age of ten he was a student in the piano class of the Omsk Division of the Russian Musical Society. Here he developed a love of composition. In 1919 he completed his studies at middle school and entered the Institute of Agriculture – the only local university at that time. When a music college opened in Omsk in 1921, Shebalin joined immediately, studying theory and composition with Mikhail Nevitov, a former pupil of Reinhold Glière. In 1923 he was accepted into Nikolai Myaskovsky’s composition class at the Moscow Conservatoire. His frst pieces, consisting of some romances and a string quartet, received favourable reviews in the press. Weekly evening concerts organised by the Association of 1 ‘To the Memory of a Friend’, in Valeria Razheava (ed.), Shebalin: Life and Creativity, Molodaya Gvardiya, Moscow, 2003, pp. -
Tchaikovsky Considered
Tchaikovsky Considered Tracks and clips 1. Introduction 6:10 a. Tchaikovsky, Pyotr Il’yich (PT), Piano Concerto No. 2 in G, Op. 44, Gary Graffman, Eugene Ormandy, Philadelphia Orchestra, Columbia MS-6755 recorded 2/17/1965. b. PT, Symphony No. 4 in f, Op. 36, Christoph Eschenbach, Philadelphia Orchestra, Phil. Orch. Priv. Label recorded 3/16/2006.* c. PT, Eugene Onegin, James Levine, Staatskapelle Dresden, Deutsche Grammophon, 0289 423 9592 3 GF 2 released 12/29/1988. ‡ d. PT, Piano Trio in a, Op. 50, Lyubov Timofeyeva, Maxim Fedotov, Kirill Rodin, Mezhdunarodnaya Kniga MK 417001 recorded April, 1990. e. PT, Symphony No. 5 in e, Op. 64, Christoph Eschenbach, Philadelphia Orchestra, Ondine ODE 1076-5 recorded September, 2006. f. Ibid. 2. The Five 20:43 a. Cimarosa, Domenico, Il matrimonio segreto, Daniel Barenboim, English Chamber Orchestra, Deutsche Grammophon 0289 437 6962 4 GX 3 recorded 1975. ‡ b. Glinka, Mikhail Ivanovich, Nochnoi smotr (The Night Review), Lina Mkrtchyan, Evgeni Talisman, Opus 111 OP30277 released 10/1/2012.◊ c. Dargomïzhsky, Alexander Sergeyevich, The Stone Guest, Andrey Chistiakov, Bolshoi Theatre Orchestra, Brilliant Classics 94028 recorded 1993. d. Balakirev, Alexander Porfir’yevich, Islamey, Julius Katchen Deutsche Grammophon 0289 460 8312 3 DF 2 released 1/12/2004. ‡ e. Cui, César, Préludes, Op. 64, Jeffrey Biegel, Marco-Polo 8.223496 released 11/3/1993.◊ f. Rimsky-Korsakov, Nikolay Andreyevich, The Legend of the invisible City of Kitezh and the Maiden Fevroniya, Vladimir Fedoseyev, Vienna Symphony Orchestra, Koch 3-1144-2-Y5 recorded 7/20/1995. g. Borodin, Alexander Porfir’yevich, String Quartet No. 2 in D, Wister Quartet, Direct-to-Tape released 2008. -
Recording Master List.Xls
UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre -
08.09.2020 Page 1 of 2 CANTO+ Gmbh Lichtentaler Str
ANTON LUBCHENKO - conductor, composer CV The young composer and conductor Anton Lubchenko, born in 1985, is valued by critics all over the world for his extraordinary musicality. In 2010, at the age of 25 years, Anton Lubchenko became the youngest Artistic Director and Chief Conductor in the history of Russia, heading the State Academic Opera and Ballet Theater of the Republic of Buryatia in Ulan-Ude. In 2013 he was appointed General Director, Artistic Director and Chief Conductor of the newly built State Primorsky Opera and Ballet Theatre in Vladivostok. There, it was his task to create a new symphony orchestra, choir, ballet and ensemble of opera singers. During his three-year tenure in Vladivostok, Anton Lubchenko staged 15 opera and ballet performances. Thanks to his initiative no less than 9 international festivals were held at the State Primorsky Theatre and he was invited, together with his orchestra and ensemble, to perform in the Great Hall of the Moscow Conservatory, the Mariinsky Theatre in St. Petersburg, and the Brucknerhaus in Linz, Austria. Since 2015, Anton Lubchenko is composer in residence for the annual ball at Dresden’s Semperoper. On the occasion of the premieres of his compositions, he conducted the Staatskapelle Dresden. Since 2016, he is the official composer for Lenfilm (St. Petersburg), the oldest film studio in Russia. Until now Anton Lubchenko has created the music for 5 feature movies. From 2017 to September 2020 Anton Lubchenko held the position of Artistic Director and Chief Conductor of the Sochi Symphony Orchestra. The list of his other engagements is impressive, and includes the following: - In 2019 his string sextet op.106 Souvenir de Leonardo accompanied the exhibition “Mona Lisa - a smile for Europe” in the Red City Hall in Berlin. -
2019-2020 Symphonic Series
Robert Spano, Principal Guest Conductor Keith Cerny, Ph.D., President & CEO 2019-2020 SYMPHONIC SERIES Friday – Sunday, Ocotber 11-13, 2019 Miguel Harth-Bedoya, Conductor Nancy Lee & Perry R. Bass Chair Kelley O'Connor, Mezzo-Soprano Fort Worth Kantorei, Maritza Cáceres, Director Texas Boys Choir, Kerra Simmons, Interim Artistic Director MAHLER Symphony No. 3 in D Minor Part 1 Introduction. With force and decision Part 2 Tempo di menutto. Very Moderately Comodo. Scherzando. Unhurriedly Very Slow. Misterioso - Joyous in tempo and jaunty in expression Slow. Calm. Deeply felt This concert will be performed without intermission Special thanks to Rosalyn G. Rosenthal Video or audio recording of this performance is strictly prohibited. Patrons arriving late will be seated during the first convenient pause. Program and artists are subject to change. FORT WORTH SYMPHONY ORCHESTRA | 7 PROGRAM NOTES BY KEN MELTZER Gustav Mahler (1860-1911) Symphony No. 3 in D minor (1896) 99 minutes Alto solo, women’s chorus, boys’ chorus, 4 piccolos, 4 flutes, 4 oboes, English horn, 2 E-flat clarinets, 4 clarinets, bass clarinet, 4 bassoons, contrabassoon, 8 horns, 4 trumpets, posthorn (offstage), 4 trombones, tuba, timpani (two players), bass drum, chimes, cymbals, glockenspiel, rute, snare drum, suspended cymbals, tam-tam, tambourine, triangle, 2 harps, and strings. Mahler’s Third In the summer of 1894, Gustav Mahler completed his Symphony is epic Symphony No. 2. Known as the “Resurrection,” the both in its length Mahler Second is a massive work in five movements, and complement featuring two vocal soloists, a large chorus, and orchestra. of performing A performance of the “Resurrection” Symphony lasts forces. -
Print 557566Bk Pavlova
557566bk Pavlova US 15/8/05 9:50 am Page 4 Yaroslav Krasnikov The violinist Yaroslav Krasnikov was born in 1959 and received his Master’s Degree at Moscow State ALLA PAVLOVA Conservatory. From 1983 to 1990 he served as concertmaster of the Moscow Chamber Orchestra. From 1993 until 1999 he was the leading soloist of the “Concertino” Chamber Ensemble of the Moscow State Philharmonic. He has made eleven recordings, and also participated in international music festivals in Istanbul, Beirut, Zdrui, and St Petersburg. Symphonies Nos. 2 & 4 Georgy Khachikiyan The pianist Georgy Khachikyan, who plays the organ in the present recording, graduated from the Gnesin Academy Tchaikovsky Symphony Orchestra of Moscow Radio of Music in Moscow. After his graduation he worked until 1993 as concertmaster in an opera theatre. He performed as a solo pianist in Hungary and Japan, and since 1993, he has been a soloist of the Tchaikovsky Symphony Vladimir Fedoseyev Orchestra of Moscow Radio. Tchaikovsky Symphony Orchestra of Moscow Radio Internationally recognised as one of Russia’s most prestigious and versatile orchestras, the Tchaikovsky Symphony Orchestra of Moscow Radio (formerly known as the Moscow Radio Symphony Orchestra) was founded in 1930. Until the dissolution of the Soviet Union, the orchestra was the official orchestra of the Soviet Radio Network. From 1961 until 1974, Gennadi Rozhdestvensky was Chief Conductor of the orchestra, to be followed by Vladimir Fedoseyev, who turned the orchestra into one of Russia’s most widely acclaimed ensembles. In 1993, the orchestra was renamed by the decree of the Russian Ministry of Culture, and became the Tchaikovsky Symphony Orchestra of Moscow Radio. -
Bratislava Music Festival 54Th Year Y R GALL E NATIONAL | SLOVAK Ho C R E E Rg E © Ján B
Bratislava Music Festival 54th Year Y R E GALL NATIONAL SLOVAK | HO C R E E RG E JÁN B © 28. 9. – 14. 10. 2018 BRATISLAVSKÉ HUDOBNÉ SLÁVNOSTI | MUSIKFESTSPIELE BRATISLAVA FÊTES DE MUSIQUE DE BRATISLAVA | FESTIVAL DE MÚSICA DE BRATISLAVA MAIN ORGANIZER BHS member of the European Festivals Association PARTNERS AND MEDIA PARTNERS OF THE BMF Group M www.filharmonia.sk | www.navstevnik.sk Main organizer Slovak Philharmonic as delegated by and with financial support from the Ministry of Culture of the Slovak Republic Friday, 28th September 7.30 p.m. Concert Hall of the Slovak Philharmonic Slovak Philharmonic James Judd, conductor Renaud Capuçon, violin Alexander Moyzes Jánošík’s Guys, Op. 21 overture for symphonic orchestra Béla Bartók Violin Concerto No. 2 Johannes Brahms Symphony No. 2 in D major, Op. 73 The Slovak Philharmonic orchestra opens the 54th Bratislava Music Festival with a work by Alexander Moyzes, the founder of the Slovak modern symphony. Béla Bartók’s Violin Concerto No. 2 was written in the depressing period preceding the outbreak of WW2, and it is the last work of the composer written prior to his emigration to the USA. For Johannes Brahms the way to symphonic genre was thorny; the German author finished his first sym- phony as a 40-year-old man. After this “debut” he plucked up courage and his Symphony No. 2 in D major, Op. 73 abounds with cheerfulness and fresh invention. Slovak Philharmonic led by its music director James Judd welcomes the French violinist Renaud Capuçon at the festival’s opening concert. The violinist has a number of admirers in Bratislava; he excels at convincing moulding of contrasts of “understated tenderness and charming daring” (New York Times). -
Orquesta Sinfónica Chaikovsky Alexei Volodin Vladimir Fedoseyev
Orquesta Sinfónica Chaikovsky Alexei Volodin Vladimir Fedoseyev Chaikovsky, Shostakóvich 7a Temporada 2018/2019 Jueves, 9 de mayo, 19.30 h AUDITORIO NACIONAL SALA SINFÓNICA El concierto de hoy Nos sentimos afortunados de volver a tener con nosotros al Maestro Vladimir Fedoseyev, leyenda viva de la reciente historia musical rusa. Director de gesto natural y profunda musicalidad, Fedoseyev fue AVISO IMPORTANTE contemporáneo y colaborador Con el fin de favorecer la concentración de los músicos de Shostakóvich, del cual nos ofrecerá y disfrutar mejor de la interpretación que nos ofrecerán, La Filarmónica agradecerá el máximo silencio y la célebre Quinta Sinfonía. recogimiento; les rogamos también que comprueben que sus teléfonos móviles y otros dispositivos electrónicos Alexei Volodin, pianista de están desconectados. recursos técnicos y musicales Se ha comprobado que una simple tos, medida ilimitados, será el solista ideal instrumentalmente, equivale a la intensidad de una para ofrecernos el Concierto para nota mezzoforte emitida por una trompa. Este mismo sonido, paliado con un pañuelo, es equiparable a un piano núm. 1 de Chaikovsky. ligero pianísimo. Tenemos la seguridad de que estos Gracias por su atención. grandes artistas nos harán percibir estas obras como si las IMPORTANT NOTICE escucháramos por primera vez. In order to ensure musician’s concentration and to better enjoy their performance, La Filarmónica would like to ask you to remain silent; please we would like to remind you that a mobile phone and any other electronic devices must be switched off during the concert. Sound tests have shown that a mere couch is equivalent to a mezzo forte note played by a horn.