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The Angel Cried out (1887) | Angel Vopiyashe 2:57
PYOTR ILYICH TCHAIKOVSKY (1840–1893) All-Night Vigil, Op. 52 (1881) An Essay in Harmonizing liturgical chants Vsenoshchnoye bdeniye Opït garmonizatsiy bogosluzehbnïh pesnopeniy 1. Bless the Lord, O My Soul | Blagoslovi, dushe moya, Ghospoda 6:48 2. Kathisma: Blessed is the Man | Kafizma: Blazhen muzh 3:20 3. Lord, I Call | Ghospodi, vozzvah 0:58 4. Gladsome Light | Svete tihiy 2:25 5. Rejoice, O Virgin | Bogoroditse Devo 0:44 6. The Lord is God | Bog Ghospod 1:02 7. Praise the Name of the Lord | Hvalite imia Ghospodne 4:00 8. Blessed Art Thou, O Lord | Blagosloven yesi, Ghospodi 4:29 9. From My Youth | Ot yunosti moyeya 1:42 10. Having Beheld the Resurrection of Christ | Voskreseniye Hristovo videvshe 2:14 11. Common Katavasia: I Shall Open My Lips | Katavasiya raidovaya: Otverzu usta moya 5:17 12. Theotokion: Thou Art Most Blessed | Bogorodichen: Preblagoslovenna yesi 1:21 13. The Great Doxology | Velikoye slavosloviye 6:40 14. To Thee, the Victorious Leader | Vzbrannoy voyevode 0:55 15. Hymn in Honour of Saints Cyril and Methodius (1885) | Gimn v chest Sv. Kirilla i Mefodiya 2:44 16. A Legend, Op. 54 No. 5 (1883) | Legenda 3:12 17. Jurists’ Song (1885) | Pravovedcheskaya pesn 2:02 18. The Angel Cried Out (1887) | Angel vopiyashe 2:57 Latvian Radio Choir SIGVARDS KĻAVA, conductor he Latvian Radio Choir, led by Sigvards Kļava, presents a second album of sacred works by TPeter Tchaikovsky for choir. As with the first, its centrepiece is an extensive multi-movement composition – in this case, the All-Night Vigil. -
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. -
Mariinsky Orchestra
CAL PERFORMANCES PRESENTS PROGRAM A NOTES Friday, October 14, 2011, 8pm Pyotr Il’yich Tchaikovsky (1840–1893) fatalistic mockery of the enthusiasm with which Zellerbach Hall Symphony No. 1 in G minor, Op. 13, it was begun, this G minor Symphony was to “Winter Dreams” cause Tchaikovsky more emotional turmoil and physical suffering than any other piece he Composed in 1866; revised in 1874. Premiere of ever wrote. Mariinsky Orchestra complete Symphony on February 15, 1868, in On April 5, 1866, only days after he had be- Valery Gergiev, Music Director & Conductor Moscow, conducted by Nikolai Rubinstein; the sec- gun sketching the new work, Tchaikovsky dis- ond and third movements had been heard earlier. covered a harsh review in a St. Petersburg news- paper by César Cui of his graduation cantata, PROGRAM A In 1859, Anton Rubinstein established the which he had audaciously based on the same Russian Musical Society in St. Petersburg; a year Ode to Joy text by Schiller that Beethoven had later his brother Nikolai opened the Society’s set in his Ninth Symphony. “When I read this Pyotr Il’yich Tchaikovsky (1840–1893) Symphony No. 1 in G minor, Op. 13, branch in Moscow, and classes were begun al- terrible judgment,” he later told his friend Alina “Winter Dreams” (1866; rev. 1874) most immediately in both cities. St. Petersburg Bryullova, “I hardly know what happened to was first to receive an imperial charter to open me.... I spent the entire day wandering aimlessly Reveries of a Winter Journey: Allegro tranquillo a conservatory and offer a formal -
The Inextricable Link Between Literature and Music in 19Th
COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57 -
Sept 30, Oct 4, 6, 8
Tchaikovsky’s SEPT 30, OCT 4, 6, 8 In-Depth Guide by Stu Lewis INTRODUCTION: “THE RUSSIANS ARE COMING” Russian opera has always been a “hard sell” for American opera companies. The most obvious reason is the Russian language itself, which lacks the lyricism of French or Italian. It can be hard to find American or Western European singers who are comfortable singing in Russian, since most opera students focus on French, Italian, and German, in addition to their native languages. Yet this cannot be the only reason. For the first forty years of its existence, Lyric Opera of Kansas City performed all of its repertoire in English—yet no Russian operas were produced during that period. This year’s “Eugene Onegin” is only the second Russian opera production. The other one? Also “Eugene Onegin.” Moreover, the reasons for the dearth of Russian opera in the U.S. cannot be political. Russian concertos, ballets, and symphonies are a familiar part of the American musical scene; even Soviet-era composers such as Prokofiev and Shostakovich are widely admired. The shining exception to our neglect of Russian opera is Tchaikovsky’s “Eugene Onegin.” Of course, the general popularity of Tchaikovsky’s music is one reason for its success, though none of the composer’s other operas have approached the status of this one. What is it that makes this opera stand out? One reason is that many Russian operas were written in the “grand opera” tradition that is currently out of vogue. Tchaikovsky himself was concerned at the lack of action in the story, so much so that he hesitated to call it an opera, preferring the term “lyrical scenes.” Moreover, it is a love story without a love duet, and in the end the hero and heroine part quietly. -
Tchaikovsky.Pdf
Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day. -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
Swan Lake Audience Guide
February 16 - 25, 2018 Benedum Center for the Performing Arts, Pittsburgh Choreography: Marius Petipa and Lev Ivanov Staging: Terrence S. Orr Music: Peter Ilyich Tchaikovsky Swan Lake Sponsors: The Benter Foundation, The Pittsburgh Foundation, Eden Hall Foundation, Anonymous Donor February 16 - 25, 2018 Benedum Center for the Performing Arts | Pittsburgh, PA PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker Cover Photo: Duane Rieder Artist: Amanda Cochrane 1 3 The Setting and Characters 3 The Synopsis 5 About Swan Lake 6 The Origins of the Swan Lake Story 6 Swan Lake Timeline 7 The Music 8 The Choreography 9 The Dual Role of Odette + Odile 9 Acts 1 & 3 10 Spotlight on the Black Swan Pas de Deux 10 The Grand Pas Explained 11 What’s a fouette? 11 Acts 2 & 4 12 Dance of the Little Swans 13 The White Act 13 Costumes and Scenic Design 13 Costumes By the Numbers 14 The Tutus 14 A Few Costume Tidbits! 15 Did You Know? Before She was the Black Swan 16 Programs at the Theater 17 Accessibility 2 The Setting The ballet takes place in and near the European castle of Prince Siegfried, long ago. -
Tchaikovsky Violin Concerto
Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem. -
Season 2012-2013
27 Season 2012-2013 Thursday, December 13, at 8:00 The Philadelphia Orchestra Friday, December 14, at 8:00 Saturday, December 15, Gianandrea Noseda Conductor at 8:00 Alisa Weilerstein Cello Borodin Overture to Prince Igor Elgar Cello Concerto in E minor, Op. 85 I. Adagio—Moderato— II. Lento—Allegro molto III. Adagio IV. Allegro—Moderato—[Cadenza]—Allegro, ma non troppo—Poco più lento—Adagio—Allegro molto Intermission Tchaikovsky Symphony No. 3 in D major, Op. 29 (“Polish”) I. Introduzione ed allegro: Moderato assai (tempo di marcia funebre)—Allegro brillante II. Alla tedesca: Allegro moderato e semplice III. Andante elegiaco IV. Scherzo: Allegro vivo V. Finale: Allegro con fuoco (tempo di polacca) This program runs approximately 1 hour, 55 minutes. The December 14 concert is sponsored by Medcomp. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. -
Download Booklet
CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No. -
Music ORCHESTRA PERFORMANCE MUSIC 57
orchestra PERFORMANCE music ORCHESTRA PERFORMANCE MUSIC 57 Adventure Suite Allegro from Sonata in F STRING ORCHESTRA Music by Katherine J Punwar Arr. Loreta Fin (SO) (2) ................................................$52.00 00-17360____ (WSO) (3-3.5) .....................................$45.00 76-30175____ PERFORMANCE The Adventures of “Stringman” Allegro Giocoso Music by Richard Meyer By Michael Senturia LITERATURE (SO) (3) ................................................$55.00 00-23364____ (HSO) (3) ..............................................$48.00 00-40464____ Aeolian Waltz Allegro Giocoso (From Symphony No. 4) Numeric By Loreta Fin By Johannes Brahms / arr. Robert Sieving 21 Guns (WSO) (2) ............................................$45.00 76-30153____ (HSO) (4) ..............................................$60.00 00-31609____ From Green Day’s 21st Century Breakdown African Adventure Allegro in C Major Music by Green Day / arr. Bob Phillips By Robert Sheldon Music by Wolfgang Amadeus Mozart / arr. Merle Isaac (HSA) (2) ..............................................$45.00 00-33750____ (SIS) (2) ................................................$45.00 00-35956____ (SO) (3) ................................................$60.00 00-12747____ 21st Century Breakdown, Selections from African Bell Carol (for String Orchestra Allegro Molto Featuring: 21st Century Breakdown / Know Your Enemy / and Percussion) From Gran Partita, K. 361, First Movement 21 Guns Traditional / arr. Robert W. Smith By Wolfgang Amadeus Mozart / arr. Douglas E. Wagner