Cmyk Tchaikovsky

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CMYK NAXOS NAXOS This recording of Tchaikovsky orchestral rarities includes the early, reconstructed symphonic poem, Fatum, which incorporates the ‘fate motifs’ of the last three symphonies with something of the ebb and flow of a Liszt rhapsody. The overtures and dances are from operas less often heard in international repertoire than the established Eugene Onegin and The Queen of Spades. They range from the very Russian sounding Overture to The Voyevoda, Tchaikovsky’s first opera, DDD TCHAIKOVSKY: to the Cossack-inspired Gopak from Mazeppa. TCHAIKOVSKY: 8.554845 Pyotr Il’yich Playing Time TCHAIKOVSKY 67:36 (1840-1893) 1 The Queen of Spades: Overture 3:58 2 Fatum - Symphonic Poem, Op.77 15:58 Dances and Overtures 3 The Voyevoda: Overture 9:21 Dances and Overtures 4 The Maid of Orleans: Entr’acte between Acts I and II 3:22 5 The Maid of Orleans: Danse des Bohémiens (Act II) 3:44 6 The Maid of Orleans: Danse des Polichinelles et des Histrions (Act II) 4:21 www.naxos.com Made in the EU Booklet notes in English • Kommentar auf Deutsch Naxos Rights International Ltd. ൿ 7 Cherevichki (The Slippers): Danse russe (Act III) 3:52 2002, 2003, 2006 & 8 Cherevichki (The Slippers): Danse des Cosaques (Act III) 3:26 9 The Enchantress: Introduction 5:31 0 The Enchantress: Danse des Histrions (Act I) 3:56 ! Mazeppa: Gopak (Act I) 4:21 @ The Oprichnik: Danses (Act IV) 5:47 Ꭿ National Symphony Orchestra of Ukraine • Theodore Kuchar 2006 8.554845 Recorded at the Grand Concert Studio of the National Radio Company of Ukraine in Kiev, 8.554845 18th-20th of December 2000 Producer: Alexander Hornostai • Engineer: Andrij Mokrytsky Editors: Viacheslav Zhdanov and Andrij Mokrytsky • Booklet Notes: Keith Anderson Cover Image: Mazeppa, Cossack hitman, source lithograph by Becquet Credit [Mary Evans Picture Library].

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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
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