The Theory of Eternal Life
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FRAMMENTI DELL'OPERA "TESTIMONIANZA" DI VOLKOV: http://www.francescomariacolombo.com/index.php?option=com_content&view=article&i d=54&Itemid=65&lang=it LA BIOGRAFIA DEL MUSICISTA DA "SOSTAKOVIC" DI FRANCO PULCINI: http://books.google.it/books?id=2vim5XnmcDUC&pg=PA40&lpg=PA40&dq=testimonianza+v olkov&source=bl&ots=iq2gzJOa7_&sig=3Y_drOErxYxehd6cjNO7R6ThVFM&hl=it&sa=X&ei=yUi SUbVkzMQ9t9mA2A0&ved=0CDEQ6AEwAQ#v=onepage&q=testimonianza%20volkov&f=false LA PASSIONE PER IL CALCIO http://www.storiedicalcio.altervista.org/calcio_sostakovic.html CENNI SULLA BIOGRAFIA: http://www.52composers.com/shostakovich.html PERSONALITA' DEL MUSICISTA NELL'APPOSITO PARAGRAFO "PERSONALITY" : http://www.classiccat.net/shostakovich_d/biography.php SCHEMA MOLTO SINTETICO DELLA BIOGRAFIA: http://www.thefamouspeople.com/profiles/dmitry-shostakovich-344.php La mia droga si chiama Caterina La mia droga si chiama Caterina “Io mi aggiro tra gli uomini come fossero frammenti di uomini” (Nietzsche) In un articolo del 1932 sulla rivista “Sovetskoe iskusstvo”, Sostakovic dichiarava il proprio amore per Katerina Lvovna Izmajlova, la protagonista dell’opera che egli stava scrivendo da oltre venti mesi, e che vedrà la luce al Teatro Malyi di Leningrado il 22 gennaio 1934. Katerina è una ragazza russa della stessa età del compositore, ventiquattro, venticinque anni (la maturazione artistica di Sostakovic fu, com’è noto, precocissima), “dotata, intelligente e superiore alla media, la quale rovina la propria vita a causa dell’opprimente posizione cui la Russia prerivoluzionaria la assoggetta”. E’ un’omicida, anzi un vero e proprio serial killer al femminile; e tuttavia Sostakovic denuncia quanta simpatia provi per lei. Nelle originarie intenzioni dell’autore, “Una Lady Macbeth del distretto di Mcensk” avrebbe inaugurato una trilogia dedicata alla donna russa, còlta nella sua essenza immutabile attraverso differenti epoche storiche. -
Soviet Censorship Policy from a Musician's Perspective
The View from an Open Window: Soviet Censorship Policy from a Musician’s Perspective By Danica Wong David Brodbeck, Ph.D. Departments of Music and European Studies Jayne Lewis, Ph.D. Department of English A Thesis Submitted in Partial Completion of the Certification Requirements for the Honors Program of the School of Humanities University of California, Irvine 24 May 2019 i Table of Contents Acknowledgments ii Abstract iii Introduction 1 The Music of Dmitri Shostakovich 9 Lady Macbeth of Mtsensk District 10 The Fifth Symphony 17 The Music of Sergei Prokofiev 23 Alexander Nevsky 24 Zdravitsa 30 Shostakovich, Prokofiev, and The Crisis of 1948 35 Vano Muradeli and The Great Fellowship 35 The Zhdanov Affair 38 Conclusion 41 Bibliography 44 ii Acknowledgements While this world has been marked across time by the silenced and the silencers, there have always been and continue to be the supporters who work to help others achieve their dreams and communicate what they believe to be vital in their own lives. I am fortunate enough have a background and live in a place where my voice can be heard without much opposition, but this thesis could not have been completed without the immeasurable support I received from a variety of individuals and groups. First, I must extend my utmost gratitude to my primary advisor, Dr. David Brodbeck. I did not think that I would be able to find a humanities faculty member so in tune with both history and music, but to my great surprise and delight, I found the perfect advisor for my project. -
Download Booklet
552129-30bk VBO Shostakovich 10/2/06 4:51 PM Page 8 CD1 1 Festive Overture in A, Op. 96 . 5:59 2 String Quartet No. 8 in C minor, Op. 110 III. Allegretto . 4:10 3 Piano Trio No. 2 in E minor, Op. 67 III. Largo . 5:35 4 Cello Concerto No. 1 in E flat, Op. 107 I. Allegretto . 6:15 5–6 24 Preludes and Fugues – piano, Op.87 Prelude and Fugue No. 1 in C major . 6:50 7 Symphony No. 5 in D minor, Op. 47 II. Allegretto . 5:08 8 Cello Sonata, Op. 40 IV. Allegro . 4:30 9 The Golden Age: Ballet Suite, Op. 22a Polka . 1:52 0 String Quartet No. 3 in F, Op. 73 IV. Adagio . 5:27 ! Symphony No. 9 in E flat, Op. 54 III. Presto . 2:48 @ 24 Preludes – piano, Op. 34 Prelude No. 10 in C sharp minor . 2:06 # Violin Concerto No. 1 in A minor, Op. 77 IV. Burlesque . 5:02 $ The Gadfly Suite, Op. 97a Romance . 5:52 % Symphony No. 10 in E minor, Op. 93 II. Allegro . 4:18 Total Timing . 66:43 CD2 1 Jazz Suite No. 2 VI. Waltz 2 . 3:15 2 Piano Concerto No. 1 in C minor, Op. 35 II. Lento . 8:31 3 Symphony No. 7 in C, Op. 60, ‘Leningrad’ II. Moderato . 11:20 4 3 Fantastic Dances, Op. 5 Polka . 1:07 5 Symphony No. 13 in B flat minor, Op. 113, ‘Babi Yar’ II. Humour . 7:36 6 Piano Quintet, Op. 57 III.Scherzo . -
Abstracts' Book
International Conference SOCIOCULTURAL CROSSINGS AND BORDERS: MUSICAL MICROHISTORIES 4–7 September 2013, Vilnius Lithuanian Academy of Music and Theatre & Competition INTERDISCIPLINARY STUDIES IN MUSIC. NEW APPROACHES, METHODS AND CONCEPTIONS ABSTRACTS’ BOOK Compilers Rūta Stanevičiūtė, Rima Povilionienė Vilnius, 2013 UDK 78.072(063) So-25 Abstracts’ book of the International Conference Sociocultural Crossings and Borders: Musical Microhistories and Competition Interdisciplinary Studies in Music. New Approaches, Methods and Conceptions Conference organizers: Lithuanian Academy of Music and Theatre Lithuanian Composers’ Union Conference partners: Estonian Academy of Music and Theatre Jāzeps Vītols Latvian Academy of Music IMS study group ‘Shostakovich and his Epoch: Contemporaries, Culture and the State’ IMS study group ‘Stravinsky between East and West’ IMS study group ‘Music and Cultural Studies’ IMS Regional Association for Eastern Slavic Countries Lithuanian Art Museum – Vytautas Kasiulis Art Museum National Museum – Palace of the Grand Dukes of Lithuania Competition organizer Art-parkING Center for New Technology in the Arts Competition general partner Lithuanian Academy of Music and Theatre Support: Lithuanian Research Council Culture Support Foundation International Musicological Society (IMS) Lithuanian Art Museum – Vytautas Kasiulis Art Museum National Museum – Palace of the Grand Dukes of Lithuania Saulius Karosas Charity and Support Foundation Vytautas Landsbergis Foundation Music shop Open World (St Petersburg) Publishing house -
Scores 384 SCORES
383 Scores 384 SCORES GEORGES AURIC ______50409370 Phedre SCORES Salabert SEAS15642......................................................$30.00 For orchestra unless otherwise specified. MILTON BABBITT ______50237950 All Set (1957) 8 instruments JOHN ADAMS AMP96417-48 ..............................................................$50.00 ______50480014 Chairman Dances, The ______50237880 Composition 12 instruments AMP7974.......................................................................$30.00 AMP96418-52 ..............................................................$30.00 ______50480554 Grand Pianola ______50236700 String Quartet No. 2 (1954) Mini-score AMP7995.......................................................................$60.00 AMP6716-45 ................................................................$30.00 ______50488949 Harmonielehre CARL PHILLIP EMANUEL BACH AMP7991.......................................................................$60.00 ______50480489 Concerto in G Major for Organ (Winter) ______50480015 Harmonium Chorus & orchestra Harpsichord, piano, strings & continuo AMP7924.......................................................................$60.00 Sikorski SIK638P ..........................................................$32.00 ______50488934 Shaker Loops (revision) String orchestra AMP7983.......................................................................$40.00 JOHANN SEBASTIAN BACH ISAAC ALBENIZ ______50086400 6 Brandenburg Concertos Study score Ricordi RPR733.............................................................$24.95 -
Shostakovich's Fourth and Fifth Symphonies: a Comparative Analysis
Tenor of Our Times Volume 7 Article 18 5-3-2018 Shostakovich’s Fourth and Fifth yS mphonies: A Comparative Analysis Payden Taylor Harding University, [email protected] Follow this and additional works at: https://scholarworks.harding.edu/tenor Part of the History Commons, and the Music Commons Recommended Citation Taylor, Payden ( 2018) "Shostakovich’s Fourth and Fifth yS mphonies: A Comparative Analysis," Tenor of Our Times: Vol. 7, Article 18. Available at: https://scholarworks.harding.edu/tenor/vol7/iss1/18 This Article is brought to you for free and open access by the College of Arts & Humanities at Scholar Works at Harding. It has been accepted for inclusion in Tenor of Our Times by an authorized editor of Scholar Works at Harding. For more information, please contact [email protected]. Author Bio: Payden Taylor is a senior Music Education major at Harding University from Arlington, TX. On campus, Payden is an active member in social clubs, musical ensembles, and academic organizations, including the Harding Wind Ensemble, composition studio, Alpha Chi, and ASI. Payden serves as an officer for Chi Sigma Alpha, a club director for the 2018 Spring Sing production, and a musical collaborator for the Uncle Bud Poetry Competition. After graduating, he plans to return to Texas to teach music and to pursue a career writing and arranging music. SHOSTAKOVICH’S FOURTH AND FIFTH SYMPHONIES: A COMPARATIVE ANALYSIS By: Payden Taylor Dmitri Shostakovich’s Fourth and Fifth Symphonies bear the opus numbers 43 and 47, respectively, and, from the inception of the Fourth to the debut of the Fifth, spanned a time of less than two years. -
Dimitri Shostakovich: a Catalogue of the Orchestral Music
DIMITRI SHOSTAKOVICH: A CATALOGUE OF THE ORCHESTRAL MUSIC 1919: Scherzo in F sharp minor for orchestra, op.1: 5 minutes 1921-22: Theme with Variations in B major for orchestra, op.3: 15 minutes 1922: “Two Fables of Krilov” for mezzo-soprano, female chorus and chamber Orchestra, op.4: 7 minutes 1923-24: Scherzo in E flat for orchestra, op.7: 4 minutes 1924-25: Symphony No.1 in F minor, op.10: 32 minutes Prelude and Scherzo for string orchestra, op.11: 10 minutes 1927: Symphony No.2 “October” for chorus and orchestra, op.14: 21 minutes 1927-28: Suite from the Opera “The Nose” for orchestra, op. 15A 1928: “Tahiti-Trot” for orchestra, op. 16: 4 minutes 1928-29/76: Suite from “New Babylon” for orchestra, op. 18B: 40 minutes 1928-32: Six Romances on Words by Japanese poets for tenor and orchestra, op.21: 13 minutes 1929: Suite from “The Bedbug” for orchestra, op.19B Symphony No.3 in E flat major “The First of May” for chorus and orchestra, op.20: 32 minutes 1929-30: Ballet “The Age of Gold”, op.22: 134 minutes (and Ballet Suite, op. 22A: 23 minutes) 1930-31: Suite from “Alone” for orchestra, op. 26 B Ballet “The Bolt”, op.27: 145 minutes (and Ballet Suite, op.27A: 29 minutes) 1930-32: Suite from the Opera “Lady Macbeth of the Mtsensk District” for orchestra, op. 29A: 6 minutes 1931: Suite from “Golden Mountains” for orchestra, op.30A: 24 minutes Overture “The Green Company”, op. 30C (lost) 1931-32: Suite from “Hamlet” for small orchestra, op. -
Summer Concert - All That Jazz
Summer Concert - All That Jazz Conductor: Levon Parikian Leader: John Crawford Clarinet: Sheena Balmain Saturday 22nd June 2019 at 7.30pm St Cyprian’s Church, Glentworth Street, London, NW1 6AX Tickets: £12 / £10 concessions. Programme: £2. Camden Symphony Orchestra is a registered charity, number 1081563. Camden Symphony Orchestra As we conclude our 2018-2019 season, there’s a distinctly jazzy feel to our Summer Concert. We’ll be showing that CSO has indeed got rhythm as we open with Gershwin’s Girl Crazy Overture. Our own principal clarinettist, Sheena Balmain, will be performing two virtuosic concertos showcasing the range of the clarinet. The concert’s second half features two much loved works of the mid- 20th century by Leonard Bernstein and Dmitri Shostakovich. Camden Symphony Orchestra has been a mainstay of musical life in north London for nearly forty years with around seventy regular players. Under our Musical Director Levon Parikian we seek to combine the familiar staples of the classical and romantic repertoire with less well-known and more challenging works. CSO rehearses on a weekly basis and performs three major orchestral concerts a year. Recent programmes have included a family concert featuring Britten’s The Young Person’s Guide to the Orchestra, symphonies by Brahms and Mahler, piano concertos by Rachmaninov and Shostakovich, the violin concertos of Elgar and Korngold, Arutiunian’s Trumpet Concerto, Mussorgsky’s Pictures at an Exhibition, Saint-Saëns’ ‘Organ’ Symphony, a concert dedicated to film music in ‘A Night at the Movies’ and Laura Rossi’s The Battle of the Somme. The orchestra has performed several operas, and a wide range of choral works including Handel’s Coronation Anthems, Haydn’s The Creation and Rutter’s Requiem. -
Of New Collected Works
DSCH PUBLISHERS CATALOGUE of New Collected Works FOR HIRE For information on purchasing our publications and hiring material, please apply to DSCH Publishers, 8, bld. 5, Olsufievsky pereulok, Moscow, 119021, Russia. Phone: 7 (499) 255-3265, 7 (499) 766-4199 E-mail: [email protected] www.shostakovich.ru © DSCH Publishers, Moscow, 2019 CONTENTS CATALOGUE OF PUBLICATIONS . 5 New Collected Works of Dmitri Shostakovich .................6 Series I. Symphonies ...............................6 Series II. Orchestral Compositions .....................8 Series III. Instrumental Concertos .....................10 Series IV. Compositions for the Stage ..................11 Series V. Suites from Operas and Ballets ...............12 Series VI. Compositions for Choir and Orchestra (with or without soloists) ....................13 Series VII. Choral Compositions .......................14 Series VIII. Compositions for Solo Voice(s) and Orchestra ...15 Series IX. Chamber Compositions for Voice and Songs ....15 Series X. Chamber Instrumental Ensembles ............17 Series XI. Instrumental Sonatas . 18 Series ХII. Piano Compositions ........................18 Series ХIII. Incidental Music ...........................19 Series XIV. Film Music ...............................20 Series XV. Orchestrations of Works by Other Composers ...22 Publications ............................................24 Dmitri Shostakovich’s Archive Series .....................27 Books ..............................................27 FOR HIRE ..............................................30 -
An Introduction to Dmitri Shostakovich
CHANDOS :: intro CHAN 2027 an introduction to Dmitri Shostakovich :: 17 CCHANHAN 22027027 BBook.inddook.indd 116-176-17 330/7/060/7/06 113:23:413:23:41 Dmitri Shostakovich (1906–1975) 1 Festive Overture, Op. 96* 6:03 Piano Concerto No. 2 in F major, Op. 102† 18:15 Classical music is inaccessible and diffi cult. 2 I Allegro 6:55 It’s surprising how many people still believe 3 II Andante – 6:01 the above statement to be true, so this new series 4 III Allegro 5:18 from Chandos is not only welcome, it’s also very necessary. 5 Tea for Two (Taiti Trot), Op. 16* 3:32 I was lucky enough to stumble upon the Vincent Youmans (1898–1946), wonderful world of the classics when I was a orchestrated by Shostakovich child, and I’ve often contemplated how much poorer my life would have been had I not done Symphony No. 5 in D minor, Op. 47* 46:52 so. As you have taken the fi rst step by buying this CD, I guarantee that you will share the delights 6 I Moderato – Allegro non troppo 16:22 of this epic journey of discovery. Each CD in the 7 II Allegretto 5:21 series features the orchestral music of a specifi c 8 III Largo 14:20 composer, with a selection of his ‘greatest hits’ 9 IV Allegretto non troppo 10:47 CHANDOS played by top quality performers. It will give you Total time 74:42 a good fl avour of the composer’s style, but you won’t fi nd any nasty surprises – all the music is Dmitri Shostakovich piano† instantly accessible and appealing. -
Dmitri Shostakovich
Dmitri Shostakovich Dmiti Shostakovich photo © Booseyprints __An Introduction to the music of Dmitri Shostakovich__ _by Gerard McBurney_ Dmitri Shostakovich is regarded by musicians and audiences alike as one of the most important and powerful composers of the 20th century. His music reflects his own personal journey through some of the most turbulent and tragic times of modern history. Even in his own lifetime many of his works established themselves internationally as part of the standard repertoire, and since his death his fame has increased year by year. Nowadays most of his 15 symphonies, the entire cycle of 15 string quartets, his _24 Preludes and Fugues_ for piano and his opera _Lady Macbeth of Mtsensk_, have come to occupy a central place in the experience of music lovers. And yet Shostakovich, a hugely prolific composer, wrote vast amounts of other music that is still hardly known. And much of it reflects sides to his character - humorous, sarcastic, absurd, funny, theatrical, deliciously tuneful - quite different from the dark and tragic mood most people associate with his name. In particular, when he was young, Shostakovich produced a stream of music for the theatre and cinema: operas, operettas, ballets, music-hall shows, incidental music for all kinds of plays from Shakespeare to propoganda, live music for silent cinema, recorded scores for early sound-movies, even an enchanting children's cartoon-opera. Much of this is music in a lighter or more popular vein, sparkling like champagne and a treat for musicians and audiences. It richly deserves to be heard and fascinatingly deepens our sense of the achievement of this remarkable artist. -
SHOSTAKOVICH and BULGAKOV '20S Satire - Literary and Musical
SHOSTAKOVICH and BULGAKOV '20s satire - literary and musical March 26, 2005 In his memoir Taming of the Arts, the emigré violinist Yuri Yelagin records that, at the height of Stalin's Terror, an NKVD ocer called Shatilov was appointed head of the Central Music Department in Moscow. So eager to please his superiors was this secret policeman that, during the 1937 National Piano Competition, he decided no 'undesirable elements' ought to be allowed to win any prizes and began arresting and interrogating the nalists. Of course, thousands of similar arrests and interrogations were then pro- ceeding daily in the USSR, but the conscientious Shatilov hadn't quite grasped the point: these happened out of sight of the foreign press. Hauling concert pianists o to be beaten with rubber hoses was clearly permissible in princi- ple, but not during the National Piano Competition. Shatilov, recalls Yelagin, was accordingly arrested and 'as usual' charged with Trotskyite sabotage. The competition, meanwhile, went smoothly ahead. This story illustrates several things vital to an understanding of Shostakovich's music, among the more obvious being the routine horrors of Stalinism and its equally routine success in concealing these from the West. The most signicant thing about Yelagin's tale, though, is that it is, in its ghastly way, funny. Typi- cal of the Russian political anecdote, its gallows humour is a touchstone for the country's long-standing satirical tradition and stories like it have formed the basis of subversive 'ights of fancy' from Gogol to Voynovich. An important point is secreted here for whereas in the West the arts are kept apart, only rarely being allowed to shed light upon each other, no such articial barriers apply in Russia.