DOCSLIB.ORG

FORTISSIMO Nº 10 — 2015 DEZEMBRO Ministério Da Cultura E Governo De Minas Gerais Apresentam

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FORTISSIMO Nº 10 — 2015 DEZEMBRO Ministério Da Cultura E Governo De Minas Gerais Apresentam FORTISSIMO Nº 10 — 2015 DEZEMBRO Ministério da Cultura e Governo de Minas Gerais APRESENTAM SUMÁRIO p. 8 Fabio Mechetti, regente ALLEGRO VIVACE Fabio Martino, piano Quinta Sexta 03/12 04/12 GUARNIERI Abertura festiva BARTÓK Concerto para piano nº 3 KHATCHATURIAN Spartacus: Suíte nº 2 PROKOFIEV Alá e Lolli: Suíte Cita, op. 20 p. 24 Fabio Mechetti, regente PRESTO VELOCE Antonio Meneses, violoncelo Quinta Sexta 10/12 11/12 MEHMARI Divertimento SHOSTAKOVICH Concerto para violoncelo nº 1 em Mi bemol maior, op. 107 MAHLER Sinfonia nº 1 em Ré maior, “Titã” 3 CAROS AMIGOS E AMIGAS, É incrível estarmos chegando ao Uma temporada inesquecível: final da nossa primeira temporada o nascimento de uma nova Sala, na Sala Minas Gerais. Concertos a descoberta de um novo som, grandiosos e solistas renomados encontros com velhos e novos amigos, celebram este grande momento. a consolidação de nossa Orquestra em sua nova casa, o entusiástico aplauso Do jovem Fabio Martino, que volta de nosso público, a presença cada a se apresentar conosco depois de vez mais marcante da Filarmônica enorme sucesso, ao consumado na vida das pessoas e da cidade. Esses violoncelista Antonio Meneses, são alguns dos motivos que me levam amigo inseparável de nossa a agradecer profundamente àqueles Orquestra, encerramos o ano de que tornaram este sonho realidade. forma arrebatadora. Da festividade de Aos idealizadores e facilitadores, uma abertura sinfônica de Camargo aos patrocinadores e trabalhadores, Guarnieri ao som avassalador da aos que viveram intensamente cada Suíte Cita de Prokofiev. Da novidade momento desta desafiadora trajetória, presente em mais uma encomenda da que hoje revela, com resultados Filarmônica a um dos compositores palpáveis e positivos, tudo o que é mais ecléticos do Brasil, André possível, quando o ideal se sobrepõe Mehmari, à manifestação triunfal ao conforto da realidade assumida. de mais uma sinfonia de Mahler a revelar a competência e pujança de Em nome de todos os músicos da nossa Orquestra. É com a música de Orquestra Filarmônica de Minas qualidade e sua eterna presença no Gerais e dos funcionários do coração das pessoas que devolvemos Instituto Cultural Filarmônica, a todos os que nos prestigiam, e agradeço pelo carinho e apoio que confirmam nossa relevância, a nossa todos vocês demonstraram ao longo gratidão e apreço, reconhecendo a deste novo capítulo de nossa história. crescente responsabilidade que temos em mostrar o que há de melhor para Tenham todos boas férias e aqueles que do melhor procuram. esperamos contar com a presença de vocês para vivenciar mais uma Será com a sublime música de aventura musical em 2016. Beethoven e com sua mensagem humanista de harmonia e fraternidade que concluiremos FABIO MECHETTI a Temporada 2015. Diretor Artístico e Regente Titular FOTO: RAFAEL MOTTA RAFAEL FOTO: 5 FOTO: ALEXANDRE REZENDE FOTO: 6 7 regente brasileiro a ser titular de uma Vencedor do Concurso Internacional de orquestra asiática. Depois de quatorze Regência Nicolai Malko, na Dinamarca, anos à frente da Orquestra Sinfônica Mechetti dirige regularmente na de Jacksonville, Estados Unidos, Escandinávia, particularmente a atualmente é seu Regente Titular Orquestra da Rádio Dinamarquesa e a Emérito. Foi também Regente de Helsingborg, Suécia. Recentemente Titular da Sinfônica de Syracuse fez sua estreia na Finlândia dirigindo e da Sinfônica de Spokane. Desta a Filarmônica de Tampere e na Itália, última é, agora, Regente Emérito. dirigindo a Orquestra Sinfônica de Roma. Em 2016 fará sua estreia com a Foi regente associado de Mstislav Filarmônica de Odense, na Dinamarca. Rostropovich na Orquestra Sinfônica Nacional de Washington e com ela No Brasil, foi convidado a dirigir a dirigiu concertos no Kennedy Center Sinfônica Brasileira, a Estadual de e no Capitólio norte-americano. Da São Paulo, as orquestras de Porto Orquestra Sinfônica de San Diego, Alegre e Brasília e as municipais foi Regente Residente. de São Paulo e do Rio de Janeiro. Trabalhou com artistas como Alicia Fez sua estreia no Carnegie Hall de de Larrocha, Thomas Hampson, Nova York conduzindo a Orquestra Frederica von Stade, Arnaldo Cohen, Desde 2008, Fabio Mechetti é Sinfônica de Nova Jersey e tem dirigido Nelson Freire, Emanuel Ax, Gil Diretor Artístico e Regente Titular inúmeras orquestras norte-americanas, Shaham, Midori, Evelyn Glennie, da Orquestra Filarmônica de Minas como as de Seattle, Buffalo, Utah, Kathleen Battle, entre outros. Gerais, sendo responsável pela Rochester, Phoenix, Columbus, entre implementação de um dos projetos outras. É convidado frequente dos Igualmente aclamado como mais bem-sucedidos no cenário festivais de verão nos Estados Unidos, regente de ópera, estreou nos musical brasileiro. Com seu trabalho, entre eles os de Grant Park em Chicago Estados Unidos dirigindo a Ópera Mechetti posicionou a orquestra e Chautauqua em Nova York. de Washington. No seu repertório mineira nos cenários nacional e destacam-se produções de Tosca, internacional e conquistou vários Realizou diversos concertos no México, Turandot, Carmen, Don Giovanni, prêmios. Com ela, realizou turnês Espanha e Venezuela. No Japão dirigiu Così fan tutte, La Bohème, Madame pelo Uruguai e Argentina e realizou as orquestras sinfônicas de Tóquio, Butterfly, O Barbeiro de Sevilha, gravações para o selo Naxos. Sapporo e Hiroshima. Regeu também a La Traviata e Otello. Orquestra Sinfônica da BBC da Escócia, Natural de São Paulo, Fabio Mechetti a Orquestra da Rádio e TV Espanhola Fabio Mechetti recebeu títulos FABIO serviu recentemente como Regente em Madrid, a Filarmônica de Auckland, de mestrado em Regência e em Principal da Orquestra Filarmônica Nova Zelândia, e a Orquestra Composição pela prestigiosa da Malásia, tornando-se o primeiro Sinfônica de Quebec, Canadá. Juilliard School de Nova York. FOTO: RAFAEL MOTTA RAFAEL FOTO: MECHETTI 8 9 FABIO MECHETTI, regente FABIO MARTINO, piano PROGRAMA Camargo GUARNIERI ALLEGRO Abertura festiva Quinta 03/12 Béla BARTÓK Concerto para piano nº 3 VIVACE • Allegretto Sexta FABIO MARTINO • Adagio religioso 04/12 piano • Allegro vivace – INTERVALO – Aram KHATCHATURIAN Spartacus: Suíte nº 2 • Adagio de Spartacus e Frígia • Entrada dos mercadores – Dança da cortesã romana – Dança geral • Entrada de Spartacus – A desavença – Traição de Harmodius • Dança dos piratas Sergei PROKOFIEV Alá e Lolli: Suíte Cita, op. 20 • A Adoração de Veles e Alá PATROCÍNIO • O Deus Inimigo e a Dança dos Espíritos das Trevas • A Noite • A Gloriosa Partida de Lolli e o Cortejo do Sol 10 ALLEGRO E VIVACE 11 lugar com um prêmio de dez mil Festival Internacional de Piano euros no concurso internacional de de Miami ou no Gilmore piano Ton und Erklärung (som e Festival, nos Estados Unidos, palavra), promovido pelo Círculo no Heidelberger Frühling, na Cultural da Economia Alemã. Rádio NDR em Hannover ou no Martino é considerado ousado e ao Gasteig em Munique, Alemanha, mesmo tempo aberto a desafios no na Sala Cecília Meireles ou na cenário pianístico internacional. Sala São Paulo, Brasil, deixaram Como uma marca registrada, o público e a crítica especializada apresenta-se sempre com uma gravata extremamente impressionados. borboleta de laço feito a mão. Em agosto de 2015, Martino solou Como próximo importante marco com a BBC Ulster Orchestra o em sua carreira está o lançamento Concerto nº 5 de Villa-Lobos com do seu primeiro CD solo com obras gravação ao vivo para a Rádio BBC. de Brahms, Schumann e as primeiras Em janeiro de 2016 interpretará audições mundiais da 3ª Sonata o Concerto nº 1 de Rachmaninoff para piano de York Höller e dos três com a Badische Staatskapelle estudos intervalares de Edino Krieger. Karlsruhe, na Alemanha, sob O compositor Höller elogia “a sua regência de Asher Fisch. expressividade, o seu poder, a sua sensibilidade, sem deixar de mencionar Após ouvi-lo, o crítico e Já aos cinco anos de idade Fabio a sua perfeita técnica ao piano...”. compositor Ronaldo Miranda Martino começou a tocar piano: disse que “a Fantasia, op. 17 de no instrumento de sua avó, uma Como solista, Fabio Martino Schumann interpretada por professora em São Paulo. Dezessete interpreta internacionalmente Fabio Martino ficará na minha anos mais tarde – após uma rigorosa concertos para piano e orquestra de memória musical: algo de que formação nas principais universidades Prokofiev, Rachmaninoff, Beethoven, não nos esquecemos. E nessas do Brasil e Alemanha –, Martino Schumann, Medtner, Mozart, memórias pianísticas estão compra seu primeiro instrumento entre outros, acompanhado por também a interpretação da Steinway. O dinheiro para tal veio do importantes orquestras nacionais Fantasia, op. 17 de Schumann com primeiro lugar no maior concurso e internacionais como Osesp, OSB, Nelson Freire, as Variações Sérias internacional de piano da América Filarmônica de Minas Gerais, de Mendelssohn com Alicia de Latina, o BNDES, com quantia Orquestra Sinfônica da Rádio da Larocha, a Partita em dó menor equivalente a 48 mil dólares. Na final, Baviera, Orquestra Filarmônica de de Bach com Martha Argerich e seus concorrentes eram um japonês Duisburg, entre tantas outras. a Sonata, op. 2, nº 3 de Beethoven FABIO e um russo com respectivos 28 e 29 com Vladimir Ashkenazy.” Para anos de idade. Um ano mais tarde, Seus concertos e recitais no Seoul o Hannover Allgemeine Zeitung, FOTO: FRIEDRUN REINHOLD FRIEDRUN FOTO: MARTINO 2011, Martino conquista o primeiro Arts Center, Coreia do Sul, no Martino é “mágico ao piano”. 12 ALLEGRO E VIVACE 13 Camargo Guarnieri | Brasil, 1907 – 1993 INSTRUMENTAÇÃO piccolo, 3 flautas, 2 oboés, corne inglês, 2 clarinetes, 2 fagotes, contrafagote, 4 trompas, 3 trompetes, 3 trombones, tuba, tímpanos, percussão, ABERTURA FESTIVA (1971) harpa, cordas. 6 min Nascido em Tietê, no interior que lhe transmitiu a sabedoria e a para abrir a temporada anual da violoncelos. Na reapresentação dos dois paulista, Mozart Camargo eficiência das formas tradicionais. Orquestra Filarmônica de São primeiros temas, o B (agora no oboé) Guarnieri transferiu-se com a Paulo. Neoclassicismo e elementos antecede o A (no clarinete e, depois, família para a capital em 1923 a fim A partir de prêmio recebido na rítmicos nacionalistas aliam-se nesta nos violinos), dando à arquitetura de estudar música.
Load more

Recommended publications
  • DMITRI SHOSTAKOVICH Live Moscow 1951 – 1963 DMITRI SHOSTAKOVICH 24 Preludes and Fugues for Piano, Op
    SVIATOSLAV RICHTER EMIL GILELS TATJANA NIKOLAYEVA DMITRI SHOSTAKOVICH live Moscow 1951 – 1963 DMITRI SHOSTAKOVICH 24 Preludes and Fugues for Piano, Op. 87 1 DMITRI SHOSTAKOVICH 1906 – 1975 CD 2 Preludes and Fugues Nos. 11 – 20 BONUS CD 1 Tatjana Nikolayeva rec. Studio Moscow 1962 Sviatoslav Richter plays in Prague Studio December 3 – 4, 1956 Preludes and Fugues Nos. 1 – 10 BONUS 1. Prelude and Fugue No. 11 in B major 3'28 11. Prelude and Fugue No. 7 in A major 3'01 Emil Gilels, Studio Moscow 1955 Sviatoslav Richter plays live in Warsaw Sviatoslav Richter plays live in Teatr Muzyczny „Roma” November 24, 1954 1. Prelude and Fugue No. 1 in C major 7'05 Moscow March 14, 1963 Total time CD 2: 78'55 Four Preludes and Fugues – 2. Prelude and Fugue No. 12 in G sharp minor* 8'53 Sviatoslav Richter plays live in Moscow Suite of Sviatoslav Richter unpublished * November 9, 1956 11. Prelude and Fugue No. 4 in E minor* 7'56 Tatjana Nikolayeva rec. Studio Moscow 1962 2. Prelude and Fugue No. 2 in A minor 2'15 12. Prelude and Fugue No.7 in A major* 3'07 3. Prelude and Fugue No. 13 in F sharp major 9'36 3. Prelude and Fugue No. 3 in G major 3'33 13. Prelude and Fugue No.17 in A flat major* 5'22 Sviatoslav Richter plays live in Kiev June 9, 1963 Sviatoslav Richter plays live in 14. Prelude and Fugue No.12 in G sharp minor* 7'41 4. Prelude and Fugue No.
    [Show full text]
  • Bartók Béla Életének Krónikája Translated by Márta Rubin
    BÉLA BARTÓK JNR. Chronicles of Béla Bartók’s Life BÉLA BARTÓK JNR. CHRONICLES OF BÉLA BARTÓK’S LIFE Magyarságkutató Intézet Budapest, 2021 Translation based on Béla Bartók Jnr.’s original Bartók Béla életének krónikája Translated by Márta Rubin Book Editor: Gábor Vásárhelyi Assistant: Ágnes Virághalmy The publication of this book was sponsored by EMMI. A kötet megjelenését az EMMI támogatta. Original edition © Béla Bartók Jnr., 1981 Revised edition © Béla Bartók Jnr.’s legal successor (Gábor Vásárhelyi), 2021 Translation © Márta Rubin, 2021 ISBN 978-615-6117-26-7 CONTENTS Foreword ......................................................7 Preface .......................................................11 Family, Infancy (1855–1889) ....................................15 School Years (1890–1903) .......................................21 Connecting to the Music Life of Europe (1904–1906) ...............71 Settling In Budapest. Systematic Collection of Folk Songs (1907–1913) ................99 War Years (1914–1919) ........................................149 After World War I (1920–1921) .................................189 Great Concert Tours on Two Continents (1922–1931) .............205 Economic Crisis (1932–1933) ..................................335 At The Academy of Sciences. Great Compositions (1934–1938) .....359 World War II. Second and Third American Tour (1939–1945) .......435 Last Journey Home, “… But For Good” (1988) ....................507 Identification List of Place Names ...............................517 FOREWORD FOREWORD I have the honour of being a family member of Béla Bartók Jnr., the author of this book. He was the husband of my paternal aunt and my Godfather. Of our yearly summer vacations spent together, I remember well that summer when one and a half rooms of the two-room-living-room cottage were occupied by the scraps of paper big and small, letters, notes, railway tickets, and other documents necessary for the compilation of this book.
    [Show full text]
  • Sergei Prokofiev
    Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.
    [Show full text]
  • Chicago Symphony Orchestra
    Pittsburgh Symphony Orchestra 2014-2015 January 30, 31 and February 1, 20156 KRZYSZTOF URBANSKI, Conductor NOAH BENDIX-BALGLEY, Violin SERGEI PROKOFIEV Russian Overture, Opus 72 ARAM KHACHATURIAN Concerto for Violin and Orchestra I. Allegro con fermezza II. Andante sostenuto III. Allegro vivace Mr. Bendix-Balgley Intermission MODEST MUSSORGSKY Pictures at an Exhibition orch. MAURICE RAVEL Introduction: Promenade I. The Gnome II. Promenade — The Old Castle III. Promenade — Tuileries IV. Bydlo V. Promenade — Ballet of the Chicks in Their Shells VI. Two Polish Jews (Samuel Goldenberg and Schmuyle) VII. The Marketplace at Limoges — VIII. Catacombs, Roman Tombs — Cum Mortuis in Lingua Mortua IX. The Hut on Fowl’s Legs — X. The Great Gate of Kiev Jan. 30-Feb. 1, 2015, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI PROKOFIEV Born 23 April 1891 in Sontzovka, Russia; died 5 March 1953 in Moscow Russian Overture, Opus 72 (1936) PREMIERE OF WORK: Moscow, 29 October 1936; Great Hall of the Moscow Conservatory; Moscow State Philharmonic Orchestra; Eugene Szenkar, conductor THESE PERFORMANCES MARK THE PSO PREMIERE APPROXIMATE DURATION: 14 minutes INSTRUMENTATION: piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, piano and strings The 27-year-old Prokofiev had established himself as the enfant terrible of Russian music by the time he left his homeland in 1918, in the wake of the October Revolution, to spread his reputation as a pianist and avant-garde composer around the world. He traveled overland to Vladivostok, stopped for recitals in Japan, and then spent the next four years shuttling between the United States and Europe to perform and fulfill commissions (including an important one in 1919 from the Chicago Opera for The Love for Three Oranges), before deciding to settle in Germany in 1922.
    [Show full text]
  • 2020 04 EXILES Rakhmaninov
    Exiles from Revolution Rakhmaninov reclaimed Sergei Rakhmaninov left Russia in December 1917, soon after the Bolsheviks seized power. He never returned. In the early Soviet years his music was seen as archaic “not so much the music of yesterday, as sometime last week”. For a while it seemed that Rakhmaninov might simply fade from Soviet memory. But that didn’t happen. In the 1930s Soviet musical aesthetics changed. Modernism receded into the past. The new style converged with Rakhmaninov… but with a socialist message. Soviet acceptance of Rakhmaninov was speeded up by his patriotic response to the 1941 Nazi invasion. After his death, in 1943, a process of reclamation began. In 1944 an early symphony emerged from a Leningrad archive. Suppressed by Rakhmaninov since the 1890s, this gave a radical new perspective on the composer. © 2020 Terry Metheringham [email protected] +44 7528 835 422 Soviet Music: Exiles from Revolution Session 4: Rakhmaninov reclaimed 2 Rakhmaninov’s background Sergei Rakhmaninov (1873-1943) was born into an aristocratic family. It was a family with musical pedigree too: his grandfather had been a piano pupil of John Field. Sergei graduated from Moscow Conservatoire in 1892 only the third person to be awarded the Great Gold Medal. His teachers were Siloti piano. (Siloti was Sergei’s cousin, underlining the family musical pedigree.) Taneyev counter-point. Arensky composition. Rakhmaninov built an international reputation as a composer, conductor and pianist. He lived in Dresden 1906-09 (in part as an escape from the revolutionary turmoil in Russia, which had started in 1905). He undertook concert tours of USA in 1909, and Britain in 1914.
    [Show full text]
  • Nikoloz Rachveli the Rest Is Silence Requiem for Holocaust and Violence Victims for Mezzo-Soprano, Mixed Choir and Orchestra *40 Min
    Nikoloz Rachveli The Rest is Silence Requiem for Holocaust and violence victims for mezzo-soprano, mixed choir and orchestra *40 min World premiere - 19.12 2016 at the Teatro alla Scala Georgian Premiere - 27.12.2017 at the Tbilisi Opera and Ballet Theatre This composition, which was specially created for Anita Rachvelishvili's concert at the Teatro alla Scala, is dedicated to the memory of people who have been tortured and killed unjustly. The final words from Shakespeare's Hamlet are used for a title. The work is based on a poem "Death Fugue”, written by an outstanding poet Paul Celan (1920-1970) about his experience in the Nazi concentration camps. Five-piece vocal cycle consists of Georgian poet Vazha Pshavela’s (1861-1915) poem “I could not save anyone” and poem about Jewish boy - 1st part, 2nd part - The Fest of the Tortured Souls, 3rd - Hebrew lullaby by Emanuel Harussi (1903- 1979), 4th - "Death Fugue" by Paul Celan, and 5th part - Postludium, where Paul Celan reads his own poem written in the concentration camp. After the premiere on December 27, 2017 the mesmerized public was silent for a long time before a standing ovation. "Although defending human rights is the supreme value of humanity, injustice and brutality remains an irreparable problem of nowadays. If we consider the Earth as a whole, we find that the largest percentage of its population is still sacrificed to dictatorship, repression, the death penalty, political and religious confrontations, terrorist acts and territorial conflicts. Mental and technological progress has failed to protect the most vulnerable people until today; the world is still full of displaced refugees, innocent prisoners fighting for the freedom of speech.
    [Show full text]
  • Vasily Petrenko Oslo Philharmonic Orchestra
    Prokofiev: Symphony No. 6 Myaskovsky: Symphony No. 27 Vasily Petrenko Oslo Philharmonic Orchestra Både Prokofjev og Mjaskovskij, som var nære venner, fikk Both Prokofiev and Myaskovsky, close friends, suffered under 1947), men ble offentlig fordømt året etter og utelatt fra re- condemned the following year and was omitted from the lide under det undertrykkende sovjetregimet og måtte opp the repressive Soviet regime, obliged to pursue their respec- pertoaret til sovjetiske orkestre i årevis. repertoire of Soviet orchestras for many years. gjennom karrieren komponere med trusler om kunstnerisk tive composing careers with the threat of artistic censorship sensur hengende over seg. I sitt beryktede dekret fra 1948 hanging over them. In his notorious decree of 1948 Andrey Prokofjevs egne kommentarer om verket var karakteristisk Prokofiev’s own comments on the work were typically (and un- kritiserte sentralkomiteens sekretær Andrej Zjdanov framstå- Zhdanov, secretary of the Central Committee, criticised prom- konsise (og til tilsvarende liten nytte): «Den første satsen er helpfully) terse: “The first movement is agitated, at times lyri- ende komponister som Sjostakovitsj, Prokofjev, Mjaskovskij og inent composers including Shostakovich, Prokofiev, Myas- opprørt, til tider lyrisk, til tider alvorlig; den andre satsen, cal, at times austere; the second movement, Largo, is brighter Khatsjaturjan. De ble anklaget for «formalistiske forvrengnin- kovsky and Khachaturian. They were accused of “formalistic Largo, er lysere og mer melodiøs; den raske finalen i en dur- and more tuneful; the finale, rapid and in a major key, is close ger og antidemokratiske tendenser som er fremmede for det distortions and anti-democratic tendencies which are alien to toneart ligger nær min femte symfoni i karakter, bortsett fra in character to that of my Fifth Symphony, save for reminis- sovjetiske folk og dets kunstneriske smak».
    [Show full text]
  • 187A. in SAURON's EYE Three Musical Geniuses Struggle To
    1 187a. IN SAURON’S EYE 1920 – c. 1970, Soviet Russia Three musical geniuses struggle to survive1 Dmitri Shostakovich (1906-1975) Vladimir Sofrinitsky (1901-1961) Maria Yudina (1899-1970) Few journeys better illustrate the perils of personal and artistic integrity in a police state than the careers of Vladimir Sofronitsky, Maria Yudina and Dmitri Shostakovich. At any moment, on the whim of a Party Secretary or Committee, they were lifted to dizzy heights or plunged to depths that threatened not only their lives but all evidence they had existed. Like Rebecca Burstein, who knew them well, the three began as students at the Petrograd Conservatory in the wake of the 1917 Revolution. They ended, deeply scarred, after the so- called Thaw. Mitya ‘Mitya’ Shostakovich entered the Conservatory in Fall 1919 at thirteen – a tubercular undersized boy who seemed so frail that Glazunov petitioned Maxim Gorky and Narkempros Commissar Lunacharsky for special rations to “build up his strength.” He was in the same piano class as Sofronitsky and Yudina, his seniors by six years. The next spring he witnessed with a thousand others their dueling graduation performances of Liszt’s C-minor Piano Sonata, and apparently was transfixed by envious admiration that lasted 50 years. The bar they set contributed to his decision to give up performing when he received only an honorable mention in his first international piano competition (Warsaw, 1927). But the frailty masked steel. By 1927 Shostakovich had been composing for a decade. His earliest known piece – a nonconforming ‘funeral march’ for Kadets murdered by Bolsheviks (1918) – was followed by a flurry of others during his seven years at the Conservatory.
    [Show full text]
  • Russian Music in and Around Chekhov*
    Arnold McMillin Russian Music in and around Chekhov* Anton Chekhov, the anniversary of whose death falls in 2004, has many connections to music, both passive and active. He was on very friendly terms with both Chaikovskii and Rakhmaninov, his contemporaries, and he was also, as the second best-loved Russian writer after Pushkin, a popular choice for twentieth-century composers, Russian and non- Russian alike, seeking literary works to set to music in various forms. As many critics have observed, his own writing is extremely musical, and no less a person than Shostakovich (who himself loved Gogol’ and Chekhov above all other writers) perceived musical form, particularly sonata form, in several of Chekhov’s works, believing, indeed, that Chekhov had an essentially musical way of thinking and writing. Many others, including such diverse figures as Jonathan Miller, Rakhmaninov and André Maurois, to name but three, have also commented on the musical nature of Chekhov’s prose and drama. Indeed, Chekhov origi- nally described one of his stories, ‘Schast’e’ (Happiness, 1887) as ‘quasi simfoniei’.1 A particularly strong example of Chekhov’s musical think- ing is the story, ‘Chernyi monakh’ (The Black Monk, 1894), a work particularly loved by Shostakovich who noted its basic sonata form, an aspect of the story that has been analysed in detail by, amongst others, Rosamund Bartlett.2 Chekhov has also been described as a librettist * A version of this paper was given as part of the SSEES/UCL Chekhov anni- versary seminar series. 1 E. Balabanovich, Chekhov i Chaikovskii (Moscow, Moskovskii rabochii, 3rd edition, 1978) (hereafter Balabanovich), p.
    [Show full text]
  • Was Soviet Music Middlebrow? Shostakovich’S Fifth Symphony, Socialist Realism, and the Mass Listener in the 1930S
    Fairclough, P. (2018). Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, Socialist Realism, and the Mass Listener in the 1930s. Journal of Musicology, 35(3), 336-367. https://doi.org/10.1525/jm.2018.35.3.336 Peer reviewed version Link to published version (if available): 10.1525/jm.2018.35.3.336 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via University of California Press at http://jm.ucpress.edu/content/35/3/336 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, socialist realism and the mass listener in the 1930s PAULINE FAIRCLOUGH, University of Bristol, UK It is an oddity of Soviet music history that its greatest achievements remain the most difficult to categorise. We can confidently point to an example of blandly second-rate symphonic writing and declare it socialist realist; but what should we say about a work that we admire? Shostakovich’s Fifth Symphony is the obvious example of this conundrum: it is regularly performed all over the world and its quality is not questioned; yet it was famously the composer’s “rehabilitation piece” after the high-profile attacks on his opera Lady Macbeth in January 1936 and the arts-wide repression that ensued.
    [Show full text]
  • 2020 02 EXILES Prokofiev Machine Music
    Exiles from Revolution Prokofiev and machine music This term we are exploring how Soviet music reacted to Russian composers living abroad. This session centres on a rather odd exile. In 1918 Prokofiev negotiated leave of absence from revolutionary turmoil, returning permanently in 1936. We will focus on Prokofiev’s machine music; music which appears to mimic industrial processes. This session starts with a steam engine which clearly inspired Prokofiev Honegger’s Pacific 231 (1924) Moves on to Prokofiev’s Second Symphony (1925) and his ‘Bolshevik ballet” Le Pas d’Acier (1927) From the USSR we will hear Mosolov’s Zavod / Iron Foundry (1927) And we’ll end with Prokofiev’s wartime revival of machine music Fifth Symphony (1944) © 2020 Terry Metheringham [email protected] +44 7528 835 422 Soviet Music: Exiles from Revolution Session 2: Prokofiev and Machine Music 2 Prokofiev background Sergei Prokofiev is a curious émigré from Soviet Russia. In 1927 he returned for a triumphant nine week tour of the Soviet Union. By this time he was widely seen as the great modern Russian composer, displacing Skryabin. There were several more trips to the Soviet Union before he permanently returned in 1936. Prokofiev had left Soviet Russia in 1918 by travelling east Vladivostok to Japan (where he spent three months), on to Hawaii, entering the USA in San Francisco. Life in the US proved difficult – so from 1920 Prokofiev based himself in Paris. The standard quote about Prokofiev’s emigration comes from his Soviet-era autobiography: Prokofiev Autobiography, Articles, Reminiscences, first published 1957. Prokofiev explains how he obtained his exit permit directly from People's Commissar for Education, Anatoly Lunacharsky, who told him: You are a revolutionary in music, we are revolutionaries in life.
    [Show full text]
  • Skrjabin E Il Suono-Luce
    Saggi Cherubini - 1 - Saggi Cherubini Comitato Scientifico Paolo Zampini, Conservatorio Luigi Cherubini di Firenze (Direttore) Sergio Givone, Università degli Studi di Firenze Anna Maria Freschi, Conservatorio Luigi Cherubini di Firenze Raffaele Molinari, Conservatorio Luigi Cherubini di Firenze Giovanni Pucciarmati, Conservatorio Luigi Cherubini di Firenze Marco Rapetti, Conservatorio Luigi Cherubini di Firenze Skrjabin e il Suono-Luce a cura di Luisa Curinga Marco Rapetti Firenze University Press 2018 Skrjabin e il Suono-Luce / a cura di Luisa Curinga, Marco Rapetti. – Firenze : Firenze University Press, 2018. (Saggi Cherubini ; 1) http://digital.casalini.it/9788864538075 ISBN 978-88-6453-806-8 (print) ISBN 978-88-6453-807-5 (online) Progetto grafico di Alberto Pizarro - Lettera Meccanica SRLs Immagine di copertina: Wolfgang Schweizer, Scriabin, pittura acrilica, 2009 (collezione privata); www.wolfgangschweizer.com La pubblicazione di questo volume è stata resa possibile grazie al contributo del Conservatorio Luigi Cherubini e della Fondazione Cianti Orselli di Firenze. Atti del Convegno Svetozvuk, il ‘Suono-Luce’, Firenze, 27-30 aprile 2015 Certificazione scientifica delle Opere Tutti i volumi pubblicati sono soggetti ad un processo di referaggio esterno di cui sono responsabili il Consiglio editoriale della FUP e i Consigli scientifici delle singole collane. Le opere pubblicate nel catalogo della FUP sono valutate e approvate dal Consiglio editoriale della casa editrice. Per una descrizione più analitica del processo di referaggio si rimanda ai documenti ufficiali pubblicati sul catalogo on-line della casa editrice (www.fupress.com). Consiglio editoriale Firenze University Press A. Dolfi (Presidente), M. Boddi, A. Bucelli, R. Casalbuoni, M. Garzaniti, M.C. Grisolia, P. Guarnieri, R. Lanfredini, A.
    [Show full text]