Event Results Log Out: Ellyses Kuan (Admin)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Russian Piano Music Series, Vol. 13: Sergei Rachmaninov
Russian Piano Music Series, vol. 13: Sergei Rachmaninov Sergei Rachmaninov (1873-1943) 1 Etude-Tableau in A minor, Op. 39 No. 2 8:15 Moments Musicaux, Op. 16 31:21 2 No. 1 Andantino in B flat minor 8:50 3 No. 2 Allegretto in E flat minor 3:49 4 No. 3 Andante cantabile in B minor 4:42 5 No. 4 Presto in E minor 3:32 6 No. 5 Adagio sostenuto in D flat major 4:29 7 No. 6 Maestoso in C major 5:52 Piano Sonata No. 1 in D minor, Op. 28 40:20 8 I Allegro moderato 15:38 9 II Lento 9:34 10 III Allegro molto 15:06 total duration : 79:56 Alfonso Soldano piano Dedication I wish to dedicate this album to the great Italian pianist and professor Paola Bruni. Paola was a special friend, and there was no justice in her sad destiny; she was a superlative human being, deep, special and joyful always, as was her playing… everybody will miss you forever Paola! Alfonso Sergei Rachmaninov (1873-1943) “The Wanderer’s Illusions” by Rosellina de Bellis ".. What I try to do, when I write my music, is to say simply and directly what is in my heart when I compose. If there is love, or bitterness, or sadness, or religion, these moods become part of my music .. " The bitterness of the words spoken by Schubert about the connection between song and love, "... when I wanted to sing love it turned into pain, and if I wanted to sing pain, it became love; so both divide my soul.. -
University of California UNIVERSITY of CALIFORNIA
UCLA UCLA Electronic Theses and Dissertations Title Ukrainian Identity in Modern Chamber Music: A Performer's Perspective on Valentyn Silvestrov's Violin Sonata "Post Scriptum" and its Interpretation in the Context of Ukrainian Chamber Works. Permalink https://escholarship.org/uc/item/8874s0pn Author Khomik, Myroslava Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works A dissertation submitted in partial satisfaction Of the requirements for the degree Doctor of Musical Arts By Myroslava Khomik 2015 © Copyright by Myroslava Khomik 2015 ABSTRACT OF THE DISSERTATION Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works. by Myroslava Khomik Doctor of Musical Arts University of California, Los Angeles, 2015 Professor Movses Pogossian, Chair Ukrainian cultural expression has gone through many years of inertia due to decades of Soviet repression and censorship. In the post-Soviet period, since the late 80s and early 90s, a number of composers have explored new directions in creative styles thanks to new political and cultural freedoms. This study focuses on Valentyn Silvestrov’s unique Sonata for Violin and Piano “Post Scriptum” (1990), investigating its musical details and their meaning in its post- Soviet compositional context. The purpose is to contribute to a broader overview of Ukraine’s classical music tradition, especially as it relates to national identity and the ii current cultural and political state of the country. -
Contrasts International Contemporary Music Festival Lviv / 01-11.10.2015
musical art of the XXI century CONTRASTS INTERNATIONAL CONTEMPORARY MUSIC FESTIVAL LVIV / 01-11.10.2015 01.10.2015 / Thursday 19:00 / S. Lyudkevych Concert Hall / MUSICAL PREMIERES OF 21ST CENTURY Academia Lviv Chamber Orchestra/UA Arthur Mykytka/UA, artistic manager & concert master / Myroslav Skoryk/UA, artistic director Gryphon Trio/CA: Annalee Patipatanakoon, violin Roman Borys, cello James Parker, piano Zhanna Masliak/UA, flute Zoia Khodan/UA, flute Ricardo Calderoni/BR, conductor Ihor Pylatiuk/UA, conductor Heitor Villa-Lobos/BR/1887-1959/ Aria from Bachianas Brasileiras No. 5 (1938/45)▲ Transcription for string orchestra by Myroslav Skoryk (1984) Edmundo Villani-Côrtes/BR/*1930/ Catedral da Sé for string orchestra (1955)▲ Ricardo Calderoni/BR Double Concerto for two flutes and orchestra (1980)▲ Claudio Santoro/BR/1919-1989/ Ponteio for string orchestra (1953)▲ Vladimir Genin/RU-DE/*1958/ Threnody for the Victims in Ukraine for strings (2014)** Vitaly Vyshynsky/UA/*1983/ Dodes’ka-den for string orchestra and percussion (2011)▲ Bohdana Frolyak/UA/*1968/ Music of Dreams for violin, cello, piano and string orchestra (2015)* * - world premiere ** - Ukrainian premiere ▲ - for the first time on Contrasts Performance of Gryphon Trio was made possible with support from the Ukrainian Canadian Foundation of Taras Shevchenko 02.10.2015 / Friday 11:00 / Art-café Kvartyra 35 Coffee with a composer: Alexander Shchetynsky/UA conversation on the theme: What is opera? moderator – Vitaly Vyshynskyi/UA 16:00 / Foyer of Lviv Philharmonic / Opening -
Scriabin (1872-1915) the Complete Piano Sonatas
ALEXANDER SCRIABIN (1872-1915) THE COMPLETE PIANO SONATAS SOMMCD 262-2 Peter Donohoe piano CD 1 [74:34] 1 – 4 Sonata No. 1 in F Minor, Op. 6 (1892) 23:58 5 – 6 Sonata No. 2 in G Sharp Minor, Op. 19, “Sonata-Fantasy” (1892-97) 12:10 7 – bl Sonata No. 3 in F Sharp Minor, Op. 23 (1897-98) 18:40 SCRIABIN bm – bn Sonata No. 4 in F Sharp Major, Op. 30 (1903) 7:40 bo Sonata No. 5, Op. 53 (1907) 12:05 THE COMPLETE CD 2 [65:51] 1 Sonata No. 6, Op. 62 (1911) 13:13 PIANO SONATAS 2 Sonata No. 7, Op. 64, “White Mass” (1911) 11:47 3 Sonata No. 8, Op. 66 (1912-13) 13:27 4 Sonata No. 9, Op. 68, “Black Mass” (1912-13) 7:52 5 Sonata No. 10, Op. 70 (1913) 12:59 6 Vers La Flamme, Op. 72 (1914) 6:29 TURNER Recorded live at the Turner Sims Concert Hall SIMS Southampton on 26-28 September 2014 and 2-4 May 2015 Recording Producer: Siva Oke ∙ Recording Engineer: Paul Arden-Taylor Peter Donohoe Front Cover: Peter Donohoe © Chris Cristodoulou Design & Layout: Andrew Giles piano DDD © & 2016 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Made in the EU SCRIABIN PIANO SONATAS DISC 1 [74:34] SONATA NO. 5, Op. 53 (1907) bo Allegro. Impetuoso. Con stravaganza – Languido – 12:05 SONATA NO. 1 in F Minor, Op. 6 (1892) [23:58] Presto con allegrezza 1 I. Allegro Con Fuoco 9:13 2 II. Crotchet=40 (Lento) 5:01 3 III. -
4941635-56D6e1-053479218827.Pdf
SEASCAPES The piano’s seven-plus octaves provide an ideal vessel for oceanic music, and many 1. Smetana Am Seegestade 4:58 composers have risen to the occasion. I hope that this collection serves as gateway to a 2. Bortkiewicz Caprices de la mer 3:11 treasury of pieces inspired by the limitless moods and splendor of the sea. 3-5. Guillaume At the Sea: Shining Morning 2:36 Bedřich Smetana (1824–1884), now recognized as a seminal proponent of The Rocky Beach 2:29 “Czech” music, struggled for years to establish himself as a composer and pianist. Rough Sea 3:44 Disillusioned with Prague, reeling from the death of a third young daughter, he 6. Rowley Moonlight at Sea 3:19 accepted a conducting position in the coastal town of Gothenburg, Sweden in 1856. 7. Sauer Flammes de mer 3:19 Smetana remained there in isolation for almost a year, with warm encouragement from 8. Blumenfeld Sur mer 4:37 Franz Liszt sustaining him through that desolate time. 9. Castelnuovo-Tedesco Alghe 3:37 Composed in 1861, the concert etude Am Seegestade (On the Seashore) recalls 10-12. Bloch Poems of the Sea: Waves 4:15 Smetana’s dark winter in Sweden. Tumultuous, jagged arpeggios sweep over the Chanty 2:44 keyboard before ebbing to a calm close. At Sea 4:11 13-15. Manziarly Impressions de mer: La grève 3:21 Born to a noble Polish family in Ukraine, Sergei Bortkiewicz (1877–1952) escaped Par une journée grise 2:34 to Constantinople alive but penniless following the Russian revolution. -
Concert in Support of Peace and Democracy in Ukraine &
Donations can be made to: Donationer kan göras till: Bankgiro 109-9316 Concert in Support of Peace and Democracy in Ukraine & It makes no difference to me Inauguration of the It makes no difference to me, No father will remind his son Ukrainian Institute of Sweden If I shall live or not in Ukraine Or say to him, "Repeat one prayer, Or whether any one shall think One prayer for him; for our Ukraine Of me 'mid foreign snow and rain. They tortured him in their foul lair." It makes no difference to me. It makes no difference to me, UlRIkSDAlS SlOTTSTeATeR In slavery I grew 'mid strangers, If that son says a prayer or not. CONfIDeNCeN Unwept by any kin of mine; It makes great difference to me In slavery I now will die That evil folk and wicked men Sunday, 24 Aug 2014 And vanish without any sign. Attack our Ukraine, once so free, I shall not leave the slightest trace And rob and plunder it at will. Organized by: Upon our glorious Ukraine, That makes great difference to me. The Ukrainian Institute of Sweden Our land, but not as ours known. (Text: Taras Shevchenko) With support from: Kjell och Märta Beijers stiftelse, Anders Walls stiftelse, Confidencen and The Embassy of Ukraine in Sweden Min kära vänner! My dear friends! för några månader sedan lade sig ett A few months ago a dark cloud took transferred to the fund of Ukrainian in - mörkt moln över Ukraina. Hundratals shape over Ukraine. Hundreds of stitute in Sweden. The main aim of människor dog på Maidan, krim an - people died on Maidan, Crimea was which is foremost – promotion and sup - nekterades och nu har ett krig brutit ut annexed and now a war has erupted in port of Ukrainian culture in the world. -
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia. -
View Russian Chamber Music Competition Schedule 2018
! Thank you for your participation! Please take a moment to read rules and etiquette guidelines on the next page. The 2018 competition will be held all day at: Mercer Island Presbyterian Church 3605 84th Ave. SE Mercer Island, WA 98040 on December 1st, 2018. Please PRINT this attachment and bring with you to see, hear and enjoy the miraculous playing of our wonderful young musicians. We look forward to seeing you! Please check in at the registration desk where you will receive a Certificate of Achievement. ! Welcome students, parents, teachers and Russian music lovers to the 2018 Russian Chamber Music Foundation of Seattle competition & festival! In this packet, you will see the room assignments, times and the name of the adjudicator. Some very important rules apply. Please be prepared prior to the competition so that your experience will be orderly, pleasant and efficient. ~ Dahae Cheong, competition coordinator & Dr. Natalya Ageyeva, founder & artistic director. 1. PLEASE ARRIVE 15 MINUTES TO 30 MINUTES PRIOR TO YOUR COMPETITION TIME. For example, if your time block starts at 10:30, you need to be in the building around 10 or 10:15. Rushing in from the cold is not a good idea. Please plan your trip and check the internet for any freeway or road closures. You can wait outside the doors to the judging room, but once your time block starts, you should be inside the room. There are no door monitors to find you or call you in. You may also choose to be outside if you don’t enjoy hearing others or if you need a little personal space, but please keep track of the order of the performers so that you do not miss your turn. -
The First Movements of Sergei Bortkiewicz's Two Piano Sonatas, Op. 9
THE FIRST MOVEMENTS OF SERGEI BORTKIEWICZ’S TWO PIANO SONATAS, OP. 9 AND OP. 60: A COMPARISON INCLUDING SCHENKERIAN ANALYSIS AND AN EXAMINATION OF CLASSICAL AND ROMANTIC INFLUENCES Yi Jing Chen, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2021 APPROVED: Gustavo Romero, Major Professor Timothy Jackson, Co-Major Professor Elvia Puccinelli, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Jaymee Haefner, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Chen, Yi Jing. The First Movements of Sergei Bortkiewicz’s Two Piano Sonatas, Op. 9 and Op. 60: A Comparison including Schenkerian Analysis and an Examination of Classical and Romantic Influences. Doctor of Musical Arts (Performance), August 2021, 79 pp., 1 figure, 47 musical examples, 1 appendix, bibliography, 57 titles. The purpose of this study is to analyze the first movements of Sergei Bortkiewicz’s two piano sonatas and compare them with works by other composers that may have served as compositional models. More specifically, the intention is to examine the role of the subdominant key in the recapitulation and trace possible inspirations and influences from the Classical and Romantic styles, including Mozart, Beethoven, and Schubert. The dissertation employs Schenkerian analysis to elucidate the structure of Bortkiewicz’s movements. In addition, the first movement of Mozart’s Piano Sonata K. 545, Beethoven’s Coriolan Overture, and the first movement of Schubert’s “Trout” Quintet in A, D. 667, are examined in order to illuminate the similarities and differences between the use of the subdominant recapitulation by these composers and Bortkiewicz. -
Violina Petrychenko Scrjabin Kosenko
SLAVIC NOBILITY Violina Petrychenko, Piano Alexander Skrjabin (1872 –1915) IMPRESSUM 2 Poèmes op. 32 (1903) Produzent: 1 An dan te can ta bi le | 3 : 13 Annette Schumacher 2 Al le gro, con ele gan zia, con fi du cia | 1 : 47 Tonmeister: Manfred Schumacher SCRJABIN Viktor Kosenko (1896 –1938) Aufnahme: 7.–9.4.2014, 2 Poemen Legenden op. 12 (1921) Immanuelskirche Wuppertal KOSENKO 3 Con afflizione | 1 : 50 * Layout: 4 Dramatico | 4 : 45 Annette Schumacher Fotos: Alexander Skrjabin Mischa Blank 3 Mazurken op. 3 (1888-1890) Text: 5 Mazurka in B minor: Tempo giusto | 3 : 55 Violina Petrychenko 6 Mazurka in G minor: Allegretto | 1 : 30 (Deutsch, Russisch) 7 Mazurka in D sharp minor: Doloroso | 4 : 03 Oliver Motz (Englisch, Deutsch) Viktor Kosenko ൿ 2014 3 Mazurken op. 3 (1916-1923) 8 Mazurka in F sharp minor: Modera*to | 2 : 27 9 Mazurka in D flat major: Quasi Allegretto | 1 : 44 10 Mazurka in C sharp minor: Lento ma non troppo | 2 : 25 Alexander Skrjabin Klaviersonate Nr. 2 gis-moll op. 19, „Sonate fantasie“ (1897) WORLD VIOLINA PETRYCHENKO 11 Andante | 7 : 58 * PREMIERE 12 Presto | 4 : 35 RECORDING Viktor Kosenko Klaviersonate nr. 2 cis-moll op.14 (1924) PIANO WORKS 13 Andante con moto – Allegro agitato | 9 : 17 * 14 Moderato assai espressivo | 5 : 24 HYBRID 15 Allegro vivo | 5 : 39 MULTICHANNEL plays on SACD, CD & DVD player Alexander Skrjabin (1872 –1915) 2 Poèmes op. 32 (1903) 1 Andante cantabile | 3 : 13 2 Allegro, con eleganzia, con fiducia | 1 : 47 Viktor Kosenko (1896 –1938) 2 Poemen Legenden op. 12 (1921) 3 Con afflizione | 1 : 50 * 4 Dramatico | 4 : 45 Alexander Skrjabin 3 Mazurken op. -
Cornerstones of the Ukrainian Violin Repertoire 1870 – Present Day
Cornerstones of the Ukrainian violin repertoire 1870 – present day Carissa Klopoushak Schulich School of Music McGill University Montreal, Quebec January 2013 A doctoral paper submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Music in Performance Studies © Carissa Klopoushak 2013 i Abstract: The unique violin repertoire by Ukrainian composers is largely unknown to the rest of the world. Despite cultural and political oppression, Ukraine experienced periods of artistic flurry, notably in the 1920s and the post-Khrushchev “Thaw” of the 1960s. During these exciting and experimental times, a greater number of substantial works for violin began to appear. The purpose of the paper is one of recovery, showcasing the cornerstone works of the Ukrainian violin repertoire. An exhaustive history of this repertoire does not yet exist in any language; this is the first resource in English on the topic. This paper aims to fill a void in current scholarship by recovering this substantial but neglected body of works for the violin, through detailed discussion and analysis of selected foundational works of the Ukrainian violin repertoire. Focusing on Maxym Berezovs´kyj, Mykola Lysenko, Borys Lyatoshyns´kyj, Valentyn Sil´vestrov, and Myroslav Skoryk, I will discuss each composer's life, oeuvre at large, and influences, followed by an in-depth discussion of his specific cornerstone work or works. I will also include cultural, musicological, and political context when applicable. Each chapter will conclude with a discussion of the reception history of the work or works in question and the influence of the composer on the development of violin writing in Ukraine. -
Cello Concerto (1990)
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-G RUSTAM ABDULLAYEV (b. 1947, UZBEKISTAN) Born in Khorezm. He studied composition at the Tashkent Conservatory with Rumil Vildanov and Boris Zeidman. He later became a professor of composition and orchestration of the State Conservatory of Uzbekistan as well as chairman of the Composers' Union of Uzbekistan. He has composed prolifically in most genres including opera, orchestral, chamber and vocal works. He has completed 4 additional Concertos for Piano (1991, 1993, 1994, 1995) as well as a Violin Concerto (2009). Piano Concerto No. 1 (1972) Adiba Sharipova (piano)/Z. Khaknazirov/Uzbekistan State Symphony Orchestra ( + Zakirov: Piano Concerto and Yanov-Yanovsky: Piano Concertino) MELODIYA S10 20999 001 (LP) (1984) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where his composition teacher was 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. Piano Concerto in E minor (1976) Alexander Tutunov (piano)/ Marlan Carlson/Corvallis-Oregon State University Symphony Orchestra ( + Piano Trio, Aria for Viola and Piano and 10 Romances) ALTARUS 9058 (2003) Aria for Violin and Chamber Orchestra (1973) Mikhail Shtein (violin)/Alexander Polyanko/Minsk Chamber Orchestra ( + Vagner: Clarinet Concerto and Alkhimovich: Concerto Grosso No. 2) MELODIYA S10 27829 003 (LP) (1988) MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Concertos A-G ISIDOR ACHRON (1891-1948) Piano Concerto No.