DOCSLIB.ORG

Rachmaninov and Tchaikovsky

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rachmaninov and Tchaikovsky Sunday 29 October 2017 7–9pm Barbican Hall LSO SEASON CONCERT RACHMANINOV AND TCHAIKOVSKY Rachmaninov Piano Concerto No 2 Interval NOSEDA Tchaikovsky Symphony No 4 Gianandrea Noseda conductor Khatia Buniatishvili piano Welcome Tonight’s Concert / an introduction Having both embarked on a successful tour The two works in tonight’s programme PROGRAMME NOTE WRITERS with the Orchestra over the summer to were composed in the darkest of times. Switzerland and Italy, we are delighted to be Andrew Huth is a musician, writer and able to hear these two artists perform with Rachmaninov’s Second Piano Concerto was translator who writes extensively on French, the LSO once again at the Barbican. created in an era of chaos for the composer, Russian and Eastern European music. a period of clinical depression and writer’s A warm welcome to everyone in the block. It’s a piece born from determination; Andrew Stewart is a freelance music audience who joined us earlier for our it restored his self-belief and became one journalist and writer. He is the author Discovery Day, which explored the of his most loved works, with the opening of The LSO at 90, and contributes to connections between Tchaikovsky, chords of the concerto some of the most a wide variety of specialist classical Rachmaninov and Prokofiev through an iconic in all classical music. music publications. Welcome to this evening’s concert, which open rehearsal, talks and chamber music. unites two significant works from the So too is Tchaikovsky’s Fourth Symphony TONIGHT'S GROUPS Russian repertoire – Tchaikovsky’s Fourth I hope that you enjoy tonight’s performance, urgent, supercharged and violent in places, Symphony, an emotionally charged work and that you are able to join us again soon. reflecting the turmoil in which the composer Tonight we are delighted to welcome exploring the theme of fate, and, in a change We next hear the music of Tchaikovsky on found himself while composing: a disastrous group booker Erin Tschupp & Friends. to the original programme, Rachmaninov’s Thursday 7 December, as Nikolaj Znaider marriage, struggling with his sexuality and Second Piano Concerto. both plays and conducts in the final concert severe depression. of his Mozart and Tchaikovsky series. The LSO’s Principal Guest Conductor Yet it’s testament to the two composers – Gianandrea Noseda leads tonight’s all- and a message that seems ever more Russian programme, marking the start relevant – that there is still hope to be of the second year of his tenure. It is found, from the enduringly tender melodies always a pleasure to work alongside him, of Rachmaninov’s concerto, to the call to and later this season we look forward to Kathryn McDowell CBE DL action of Tchaikovsky’s symphony: if within his continuation of the complete cycle Managing Director yourself you find no reason for joy, look at of Shostakovich’s 15 symphonies. He is others … find happiness in the joys of others’. joined on stage tonight by pianist Khatia Buniatishvili, who is known to LSO audiences for her captivating performances at LSO St Luke’s as part of our BBC Radio 3 Lunchtime Concert series. 2 Welcome 29 October 2017 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 1900–01 / note by Andrew Huth 1 Moderato the main theme. In the first movement it The Second Piano Concerto quickly became RACHMANINOV ON LSO LIVE 2 Adagio sostenuto – PiÙ animato – is the magical wide-spread piano chords, one of the most popular works in the Tempo I increasing in intensity until they plunge repertory. The piano writing draws on all 3 Allegro scherzando into a great surging string melody. Here, the resources of a late Romantic keyboard as throughout the Concerto, the lasting style, ranging from dazzling bravura to Khatia Buniatishvili piano image is that of piano and orchestra playing confessional intimacy. Rachmaninov always together; for despite all the virtuosity maintained that the difficulties of the he Second Piano Concerto demanded of the soloist, the piano is rarely Second Concerto were just as great as those was the major work marking heard alone, and the two elements are blended of the formidable Third, composed nine Rachmaninov’s return to in an ever-changing symphonic texture. years later, but were of a different order: composition after the period of silence and self-doubt that followed the failure — of his First Symphony in 1897. He wrote the Here, as throughout the Concerto, the lasting image is that of piano second and third movements quickly in the summer of 1900, but ran into problems with and orchestra playing together … the two elements are blended in an the first movement and rather surprisingly ever-changing symphonic texture. he was persuaded by his cousin, the pianist — Symphony No 2 and conductor Alexander Siloti, to give a Valery Gergiev conductor public performance of the concerto in its In the slow movement, after a hushed it is not a question of the technique needed £8.99 incomplete form – surely a risky venture string introduction, it is the sound of piano to master the notes, but of judging the for a composer so sensitive to criticism. and solo wind instruments that sets the exact sonority and weight of the notes in Symphony No 3 The success of the two completed mood, the varied textures masking the close different registers to produce the gradations Valery Gergiev conductor movements at a Moscow concert in relationships between the themes of the of tone that made the composer’s own £8.99 December 1900 did much to re-establish first two movements. The introduction to the performances so outstanding. • Rachmaninov’s self-confidence, and finale hints at a march, but what emerges All-Night Vigil (Vespers) the premiere of the completed concerto after the opening orchestral gestures and a Interval – 20 minutes Simon Halsey conductor followed on 27 October 1901. brief piano cadenza is more in the nature of a London Symphony Chorus vigorous dance which alternates with a long, £ 7.99 Each of the concerto’s three movements vocal melody closely related to the big tune begins with an idea which leads subtly into of the first movement. Buy online at lsolive.lso.co.uk Download on iTunes Stream on Apple Music and Spotify Programme Notes 3 Sergei Rachmaninov in Profile 1873–1943 / profile by Andrew Stewart Although the young Sergei’s father • RACHMANINOV’S PIANO CONCERTO squandered much of the family inheritance, NO 2 IN POPULAR CULTURE he at first invested wisely in his son’s musical education. In 1882 the boy received a scholarship to study at the St Petersburg Conservatory, but further disasters at home hindered his progress and he moved to study at the Moscow Conservatory. Here he proved an outstanding piano pupil and began to study composition. Rachmaninov’s early works reveal his debt to the music of Rimsky-Korsakov and Tchaikovsky, although he rapidly forged a personal, richly lyrical musical language, clearly expressed in his Prelude in C-sharp minor for piano of 1892. — Rachmaninov's Second Piano Concerto is The Concerto has even influenced pop music, ‘Melody is music,’ wrote Rachmaninov, His First Symphony of 1897 was savaged perhaps best known as the soundtrack to twice quoted by singer Eric Carmen in All By by the critics, which caused the composer’s David Lean's classic 1945 film Brief Encounter, Myself (1975) and Never Gonna Fall in Love ‘the basis of music as a whole, since a confidence to evaporate. In desperation which narrates the consequences of a love Again (1976). Rock band Muse, known for perfect melody implies and calls into he sought help from Dr Nikolai Dahl, affair between two strangers after a chance their classical influences, also quoted the being its own harmonic design.’ whose hypnotherapy sessions restored meeting at a train station. But it has also piece in their 2001 song Space Dementia. Rachmaninov’s self-belief and gave him been widely quoted in popular culture over — the will to complete his Second Piano the course of the 20th century. Concerto, widely known through its later he Russian composer, pianist use as the soundtrack for the classic film The 1955 film The Seven Year Itch with and conductor’s passion for Brief Encounter •. Thereafter, his creative Marilyn Monroe – the film that gave us melody was central to his work, imagination ran free to produce a string the iconic image above right – uses the clearly heard in his Rhapsody on a Theme of unashamedly romantic works divorced first movement in a fantasy scene where of Paganini, a brilliant and diverse set from newer musical trends. He left Russia Monroe's character is overcome by the of variations on a tune by the great shortly before the October Revolution in music (although in reality she much 19th-century violinist and composer 1917, touring as pianist and conductor and prefers Chopsticks). Niccolò Paganini. buying properties in Europe and the US. • 4 Composer Profile 29 October 2017 Pyotr Ilyich Tchaikovsky in Profile 1840–93 / profile by Andrew Stewart orn in Kamsko-Votkinsk in the Tchaikovsky’s hasty decision to marry an Vyatka province of Russia on 7 May almost unknown admirer in 1877 proved 1840, Tchaikovsky grew up with his a disaster, his homosexuality combining father, a mining engineer, and his mother, strongly with his sense of entrapment. who was of French extraction. He began to By now he had completed his Fourth study the piano at five, benefiting also from Symphony, was about to finish his opera the mus ical instruction of his elder brother’s Eugene Onegin, and had attracted the French governess. In 1848 the family moved considerable financial and moral support of to the imperial capital, St Petersburg, Nadezhda von Meck, an affluent widow.
Load more

Recommended publications
  • Beethoven 32 Plus
    FREIES MUSIKZENTRUM STUTTGART FMZ Freies Musikzentrum Am Roserplatz Stuttgarter Str. 15 B e e t h o v e n 3 2 p l u s 0711 / 135 30 10 Die Konzertreihe im FMZ Saison 2008/2009 Die 32 Sonaten von Ludwig van Beethoven sind fester Bestandteil der Konzertliteratur. Immer wieder haben große Pianisten diesen Zyklus aufgeführt und auf unzähligen Schallplatten und CDs eingespielt. Bücher und Publikationen beschäftigen sich mit den Werken und den Interpreta- tionen. Und immer wieder hat es den Reiz, des Besonderen, wenn diese Werke wieder neu er- klingen. Als bekannt wurde, dass der österreichische Pianist Till Fellner sich für die nächsten beiden Kon- zertjahre diesen Zyklus als Projekt vorgenommen hatte, begann Andreas G. Winter, Leiter des FMZ und verantwortlich für die Programmgestaltung, als er Till Fellner dafür gewinnen konnte, diesen Zyklus, den Fellner auch in Wien, London, Paris, Tokio und New York spielt, auch im FMZ üeine Konzeption zu der Reihe „32 “zu entwickeln. Um die 32 Klavier- sonaten von Ludwig van Beethoven, deren erste 3 Abende Fellner in dieser Saison (weitere 4 A- bende in der nächsten) spielen wird, konnte Winter weitere namhafte Interpreten gewinnen, die Werke des großen Komponisten der Aufklärung in Zusammenhang mit Kompositionen von Schubert, Schumann und Brahms stellen werden. Paul Lewis wird die Diabelli-Variationen und Schuberts Impromptus D 935, der Geiger Erik Schu- mann mit Olga Scheps Violinsonaten von Beethoven und Brahms, das Trio Wanderer Klaviertrios von Beethoven und Schubert, der Tenor Marcus Ullmann in einem Liederabend neben „die ferne “Lieder von Schumann und Brahms und in einem Recital mit Mikael Samsonov, der frisch üSolocellist des SWR Radiosinfoieorchesters Stuttgart Sonaten von Beethoven und Schubert und Ben Kim, der dem Publikum bereits aus der letzten Saison in bester Erinnerung ist, mit einem Klavierabend Beethoven und Liszt interpretieren.
    [Show full text]
  • Gidon Kremer Oleg Maisenberg
    EDITION SCHWETZINGER FESTSPIELE Bereits erschienen | already available: SCHUMANN SCHUBERT BEETHOVEN PROKOFIEV Fritz Wunderlich Hubert Giesen BEETHOVEN � BRAHMS SCHUbeRT LIEDERABEND Claudio Arrau ���� KLAVIERAB END � PIANO R E C ITAL WebeRN FRITZ WUNDERLICH·HUbeRT GIESEN CLAUDIO ARRAU BeeTHOVEN Liederabend 1965 Piano Recital SCHUMANN · SCHUBERT · BeeTHOVEN BeeTHOVEn·BRAHMS 1 CD No.: 93.701 1 CD No.: 93.703 KREISLER Eine große Auswahl von über 800 Klassik-CDs und DVDs finden Sie bei hänsslerCLassIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Download-Möglichkeiten und Gidon Kremer Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Oleg Maisenberg Enjoy a huge selection of more than 800 classical CDs and DVDs from hänsslerCLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. E-mail contact: [email protected] DUO RecITAL Die Musikwelt zu Gast 02 bei den Schwetzinger Festspielen Partnerschaft, vorhersehbare Emigration, musikalische Heimaten 03 SERGEI PROKOFIev (1891 – 1953) Als 1952 die ersten Schwetzinger Festspiele statt- Gidon Kremer und Oleg Maisenberg bei den des Brüsseler Concours Reine Elisabeth. Zwei Sonate für Violine und Klavier fanden, konnten sich selbst die Optimisten unter Schwetzinger Festspielen 1977 Jahre später gewann er in Genua den Paganini- Nr. 1 f-Moll op. 80 | Sonata for Violine den Gründern nicht vorstellen, dass damit die Wettbewerb. Dazu ist – was Kremers Repertoire- eutsch eutsch D and Piano No. 1 in 1 F Minor, Op.80 [28:18] Erfolgsgeschichte eines der bedeutendsten deut- Als der aus dem lettischen Riga stammende, Überlegungen, seine Repertoire-Überraschungen D schen Festivals der Nachkriegszeit begann.
    [Show full text]
  • Piano Trios Gidon Kremer Giedrė Dirvanauskaitė Georgijs Osokins
    Piano Trios Gidon Kremer Giedrė Dirvanauskaitė Georgijs Osokins Beethoven Chopin A Gidon Kremer, violin Giedrė Dirvanauskaitė, cello Georgijs Osokins, piano 6 7 Ludwig van Beethoven Frédéric Chopin (1770 – 1827) (1810 – 1849) Trio for Violin, Violoncello, and Piano in C major Piano Trio in G minor, op. 8 arr. by Carl Reinecke after the “Triple Concerto”, op. 56 4 I Allegro con fuoco 10:56 1 I Allegro 18:44 5 II Scherzo 6:45 2 II Largo 5:07 6 III Adagio 6:13 3 III Rondo alla Polacca 13:56 7 IV Finale 5:38 8 Musik der Ewigkeit 9 „Für mich ist es eine Entdeckung, ein wahres Juwel der Kammer­ musik, auch wenn der Klavierpart – Wie soll es bei Chopin anders sein? – das Hauptgewicht trägt“ , sagt Gidon Kremer, überrascht und wiederum nicht von dem Klaviertrio, das im Werkverzeichnis Frédéric Chopins die Opuszahl 8 trägt. Das Tasteninstrument, das schon zu Lebzeiten Beethovens signifikante technische Verbesserungen erfuhr und permanent weiterentwickelt wurde, dominiert Chopins Schaffen klar. Kein Werk aus seiner Feder ist ohne Klavier gedacht, in den meisten Fällen handelt es sich um Solowerke, die singulär und in ihrer Beliebtheit bei Interpreten wie Hörern bis heute ungebrochen sind. „Seine Persönlichkeit ließ keine Zweifel übrig, regte nicht zu Vermutungen an, auch nicht dazu, seine Psyche zu ergründen, in die Tiefen seiner Seele einzudringen. Man unterlag ganz einfach Chopins persönlichem Reiz … Alles an ihm war voller Harmonie, das – so schien es – keines Kommentars bedurfte … und seine Haltung [war] von einer solch aristokratischen Eleganz gezeichnet, dass man ihn unwillkürlich wie einen Fürsten behandelte.“ – Franz Liszts Worte über Chopin fügen sich zum Klang seiner Musik.
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2002 VOLUME 39, NUMBER 1 Mooluriil's MAGAZINE
    The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2002 VOLUME 39, NUMBER 1 MoOLURIil'S MAGAZINE The Self-Playing Piano is It People who have watched these things closely have noticed that popular favor is toward the self-playing piano. A complete piano which will ornament your drawing-room, which can be played in the ordinary way by human fingers, or which. -'\ can be played by a piano player concealed inside the case, is the most popular musical instrument in the world to-day. The Harmonist Self-Playing Piano is the instrument which best meets these condi­ tions. The piano itself is perfect in tone and workmanship. The piano player at­ tachment is inside, is operated by perforated music, adds nothing to the size of the piano. takes up no room whatever, is always ready, is never in the way. We want everyone who is thinking of buying a piano to consider the great advan­ tage of getting a Harmonist, which combines the piano and the piano player both. It costs but little more than a good piano. but it is ten times as useful and a hundred times as entertaining. Write for particulars. ROTH ~ENGELHARDT Proprietors Peerless Piano Player Co. Windsor Aroade. Fifth Ave.. New York Please mention McClure·s when you write to ad"crtiscrt. 77 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books.
    [Show full text]
  • Elizabeth Joy Roe, Piano
    The John F. Kennedy Center for the Performing Arts STEPHEN A. SCHWARZMAN , Chairman MICHAEL M. KAISER , President TERRACE THEATER Saturday Evening, October 31, 2009, at 7:30 presents Elizabeth Joy Roe, Piano BACH/SILOTI Prelude in B minor CORIGLIANO Etude Fantasy (1976) For the Left Hand Alone Legato Fifths to Thirds Ornaments Melody CHOPIN Nocturne in C-sharp minor, Op. 27, No. 1 WAGNER/LISZT Isoldens Liebestod RAVEL La Valse Intermission MUSSORGSKY Pictures at an Exhibition Promenade The Gnome Promenade The Old Castle Promenade Tuileries The Ox-Cart Promenade Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuyle Promenade The Market at Limoges (The Great News) The Catacombs With the Dead in a Dead Language Baba-Yaga’s Hut The Great Gate of Kiev Elizabeth Joy Roe is a Steinway Artist Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. Notes on the Program By Elizabeth Joy Roe Prelude in B minor Liszt and Debussy. Yet Corigliano’s etudes JOHANN SEBASTIAN BACH ( 1685 –1750) are distinctive in their effective synthesis of trans. ALEXANDER SILOTI (1863 –1945) stark dissonance and an expressive landscape grounded in Romanticism. Alexander Siloti, the legendary Russian pianist, The interval of a second—and its inversion composer, conductor, teacher, and impresario, and expansion to sevenths and ninths—is the was the bearer of an impressive musical lineage. connective thread between the etudes; its per - He studied with Franz Liszt and was the cousin mutations supply the foundation for the work’s and mentor of Sergei Rachmaninoff.
    [Show full text]
  • Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement.
    [Show full text]
  • THE ESSENTIAL Yan Pascal Tortelier
    CHAN 241-32 THE ESSENTIAL Margaret Fingerhut piano Ulster Orchestra • BBC Philharmonic 32 Yan Pascal Tortelier 33 CCHANHAN 2241-3241-32 BBook.inddook.indd 332-332-33 222/8/062/8/06 110:27:030:27:03 Paul Dukas (1865 –1935) COMPACT DISC ONE 1 Fanfare pour précéder ‘La Péri’ * 1:55 2 La Péri * 17:40 Poème dansé en un tableau 3 Lipnitzki / Lebrecht Music & Arts Lipnitzki / Lebrecht Photo Library L’Apprenti sorcier * 11: 31 Scherzo d’après une ballade de Goethe Symphony in C major † 41: 00 in C-Dur • en ut majeur 4 I Allegro non troppo vivace, ma con fuoco 14:41 5 II Andante espressivo e sostenuto 14:51 6 III Allegro spiritoso 11:18 TT 72:21 COMPACT DISC TWO 1 Polyeucte † 15:03 Overture after Corneille Andante sostenuto – Allegro non troppo vivace – Andante espressivo – Mouvement du 1er allegro – Andante sostenuto Paul Dukas 3 CCHANHAN 2241-3241-32 BBook.inddook.indd 22-3-3 222/8/062/8/06 110:26:530:26:53 The Essential Paul Dukas Sonate ‡ 47:43 ‘A good provision of sunlight’: this was in the rigid Conservatoire mould? Dukas’s in E minor • in e-Moll • en mi mineur how one nineteenth-century French critic offi cial advice to young conductors betrayed 2 I Modérément vif – expressif et marqué 12:04 described the ‘compositional palette’ of not a shred of poetry: 3 II Calme – un peu lent – très soutenu 12:49 Emmanuel Chabrier, and that vivid double There is only one secret in conducting an imagery of light and colour recurs throughout orchestra: the right hand should be raised, 4 III Vivement, avec légèreté 8:38 much writing on French music of the period.
    [Show full text]
  • Rachmaninoff and Tchaikovsky
    APRIL 2020 RACHMANINOFF AND TCHAIKOVSKY APRIL 17 – 19, 2020 MASTERWORKS #7: Two Russian composers, teacher and pupil, both legends in the world of classical music and revered by their countrymen, shared something else in common: periods of severe and crippling depression. Dr. Richard Kogan, a Juilliard-trained pianist, lonely 14-year old into despair.x He mourned the loss graduate of Harvard College and Medical School, of his mother for the rest of his life and called it the and a Clinical Professor of Psychology on the faculty most “crucial event” he’d ever experienced.xi With of the Weill Cornell Medical Center in New York City, his mother’s death, a young Tchaikovsky became has concluded that a disproportionate number of the parent figure for his younger twin brothers, the great composers of classical music suffered from Anatoly and Modest.xii Despite the family’s wish that mental illness.i In his years as a student, Dr. Kogan Tchaikovsky have a career in the Ministry of Justice, pursued both music and pre-medical studies. His the young man was drawn to music. When the St. roommate at Harvard was famed cellist Yo-Yo Ma, Petersburg Conservatory opened its doors in 1862, and, with violinist Lynn Chang, they performed as a Tchaikovsky was among its first students.xiii From that trio.ii With a choice between music and medicine, point forward, his musical path was clear, and his Dr. Kogan chose medicine, but, in so doing, noted work as a composer earned him a teaching position the close relationship between the two fields.iii In at the Moscow Conservatory.
    [Show full text]
  • Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
    Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years.
    [Show full text]
  • 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.
    [Show full text]
  • Lunchtime Concert Brought to Light Elizabeth Layton Violin Michael Ierace Piano Friday 31 July, 1:10Pm
    Michael Ierace has been described as a ‘talent to watch’ and his playing as ‘revelatory’. Born and raised in Adelaide, he completed his university education through to Honours level studying with Stefan Ammer and Lucinda Collins. Michael has had much success in local and national Australian competitions including winning The David Galliver Award, The Geoffrey Parsons Award, The MBS Young Performers Award and was a major prize winner in the Australian National Piano Award. In 2009, he made his professional debut with the Adelaide Symphony Orchestra in the presence of the Premier of South Australia and the Polish Ambassador. In 2007, he received the prestigious Elder Overseas Scholarship from the Adelaide University. This enabled him to move to London and study at the Royal College of Music (RCM) with Professor Andrew Ball. He was selected as an RCM Rising Star and was awarded the Hopkinson Silver medal in the RCM’s Chappell Competition. From 2010-12, he was on staff as a Junior Fellow in Piano Accompaniment. In the Royal Over-Seas League Annual Music Competition, he won the Keyboard Final and the Accompanist Prize – the only pianist in the competition's distinguished history to have received both awards. In the International Haverhill Sinfonia Soloists Competition, he took second place plus many specialist awards. Michael has performed extensively throughout London and the UK and twice at the Edinburgh Fringe Festival. Much sort after as an associate artist for national and international guests, Michael is currently a staff pianist at the Elder Conservatorium. Lunchtime Concert Brought to Light Elizabeth Layton violin Michael Ierace piano Friday 31 July, 1:10pm PROGRAM Also notable was his relationship with his young cousin, Sergei Rachmaninoff.
    [Show full text]