DOCSLIB.ORG

22.11. at 19:00 Helsinki Music Centre Olari Elts Andrea Mastroni

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
22.11. at 19:00 Helsinki Music Centre Olari Elts Andrea Mastroni 22.11. at 19:00 Helsinki Music Centre Olari Elts conductor Andrea Mastroni bass Sergey Rachmaninov: The Isle of the Dead, Op. 29 20 min Modest Mussorgsky (orch. Kalevi Aho): Songs and Dances of Death 18 min Lullaby Serenade Trepak 1 The Field Marshal INTERVAL 20 min Modest Mussorgsky: Pictures from Crimea (orch. B.A. Zimmermann) 5 min Dmitri Shostakovich: Symphony No. 6 in B Minor, Op. 54 30 min Largo Allegro Presto Also playing in this concert will be five students from the Sibelius Academy, University of the Arts Helsinki, cho- sen for the Helsinki Music Centre’s Orchestra Academy: Marija Räisänen, violin I, Beata Kavander, violin 2, Liisa Orava, viola, Antto Tunkkari, cello and Saga Söder- ström, French horn. The Helsinki Music Centre Orchestra Academy is a joint venture by the Helsinki Philharmonic Orchestra, the FRSO and the Sibelius Academy aiming at training that is of an increasingly high standard and with a more prac- tical and international orientation. Interval at about 19:50. The concert will end at about 20:55, the late-night chamber music at about 21:40. Broadcast live on Yle Radio 1 and Yle Areena. The LATE-NIGHT CHAMBER-MUSIC will follow in the Con- cert Hall after an interval of about 10 minutes. Those at- 2 tending are asked to take (unnumbered) seats in the stalls. LATE-NIGHT CHAMBER MUSIC: Tomas Nuñez, cello / Kirill Kozlovski, piano Sergey Rachmaninov: Sonata for Cello and Piano in G Minor, Op. 19 35 min Lento – Allegro moderato Allegro scherzando Andante Allegro mosso PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! 3 Photographing, video and sound recording are prohibited during the concert. Sergey Modest Rachmaninov: Mussorgsky The Isle of (orch. Kalevi Aho): the Dead, Op. 29 Songs and Dances Hanging on the wall of every self-respe- of Death; cting bourgeois home in Central Europe Pictures from a century ago would be a black-and-whi- te print of a painting by the Swiss symbo- Crimea (orch. list Arnold Böcklin (1827–1901), and pre- B.A. Zimmermann) ferably his most famous: Die Toteninsel (1880, The Isle of the Dead). It was one Modest Mussorgsky (1839–1881) was such print that caught the eye of Sergey the most distinctive of the 19th-century Rachmaninov (1873–1943) in Paris, and Russian composers. He was at his best as gave him the idea of capturing the scene a vocal composer, combining words with in a work for orchestra. music, whether it be in a compact solo The mysterious painting by Böcklin song or a large-scale opera. Crowning shows a rocky island with steep cliffs, and this latter category is his only complet- 4 a little boat bearing two figures and a cof- ed opera, Boris Godunov, while the for- fin slipping into a sheltered haven. Thanks mer comprises some 50 songs and three to the painting, Rachmaninov’s late-Ro- fine song cycles: The Nursery (1868–1872), mantic music acquired a strong symbol- Sunless (1874) and Songs and Dances of ic charge. He completed his symphonic Death (1875–1877). For The Nursery he poem The Isle of the Dead in spring 1909. wrote the words himself; the others It begins on the border of silence, on a are settings of poems by Count Arseny dark stream in swinging 5/8 time. Woven Golenishchev-Kutuzov. into the texture is also the medieval Dies The Songs and Dances of Death paint irae melody adopted by Rachmaninov as three portraits of death. Each one is like a his personal motto. miniature drama, with Death as the lead- Having reached its climax, the music ing character. In Lullaby, a mother is cra- settles for a steady 3/4 time and a long, dling her sick infant, but Death intervenes lilting theme in a major key that, accord- and takes her place. In Serenade, Death ing to Rachmaninov, represented life. seduces a sick young girl with his song. The muffled Dies irae motif serves as a In Trepak, Death comes across a drunk- reminder of the power of death; the “life en peasant lost in a snowstorm, and they theme” is now in a minor key, the music dance together until the man falls into a reverts to the 5/8 swing and continues its snowdrift. In The Field Marshal, Death har- journey to the isle of the dead. vests the battlefield strewn with the dead and dying. Mussorgsky underlines his mes- sage by quoting a Polish patriotic song. Many composers have orchestrated this song cycle originally scored for voice and piano. The version for bass was made by Finnish composer Kalevi Aho in 1984. A trip he made in 1879 with alto Daria Around the middle, it even calls a military Leonova brought a little sunshine to march to mind. The speedy finale is spiced Mussorgsky’s ever-darker final years and with irony and the occasional duskier tone. inspired him to write a few small piec- It nevertheless ends in rollicking mood. es for piano. The best-known of these is Kimmo Korhonen The Song of the Flea, but more directly related to the journey are the two piano miniatures Baidarki (Near the Southern Shore of the Crimea) and Gurzuf (On the Southern Shore of the Crimea). The lat- Late-night ter was orchestrated by the German com- chamber music poser Bernd Alois Zimmermann in 1949. Sergey Rachmaninov: Dmitri Sonata for Cello Shostakovich: and Piano in G Symphony No. 6 Minor, Op. 19 in B Minor, Op. 54 Sergey Rachmaninov had taken so much 5 trouble over writing his first symphony The symphonist career of Dmitri that he felt quite empty after its premie- Shostakovich (1906–1975) did not always re in spring 1897. Incapable of writing any- proceed along a straight, logical line, but thing for several years, he only turned to rather as a dialectic series of theses and composing again after undergoing thera- antitheses. Even for him, the sixth sympho- py in spring 1900. ny (1939) was a strange bird, far removed In autumn of that year, he set to work from the straightforward fifth (1937) and on what was to prove his successful sec- the monumental Leningrad seventh (1941). ond piano concerto. This was premiered The sixth symphony is an abstract work, in November 1901, the month in which he a law unto itself. Its centre of gravity is the finished his Sonata for Cello and Piano. slow opening movement, of epic propor- Himself a virtuoso pianist, he concen- tions and longer than the two faster ones trated on the piano, the cello capping its put together. Though seemingly from two mounting energy with singing melodic almost opposite worlds, the three move- lines. The sonata is clearly cut from the ments do have some thematic links. same cloth as the second piano concerto. The slow first movement begins with a But if the concerto is unashamedly wist- glowing, sustained melody. At times, it dies ful, the sonata addresses the same expe- down into metaphysical embers, at others riences in a meditative and – even in its building up to a blaze, but at no point is the passionate moments – intimate way. The tragic undercurrent placed open to question. slow movement in particular is nothing The outward levity of the two oth- short of a personal confession. er movements prompted Shostakovich’s Auli Särkiö-Pitkänen contemporaries to liken him to Rossini. Programme notes translated (abridged) by The second movement is a lively scherzo. Susan Sinisalo Olari Elts Andrea Mastroni Winner of the international Jorma Panula Italian Andrea Mastroni has in recent Conducting Competition in 1999 and the years become one of the world’s greatest Jean Sibelius Conductors’ Competition basso profundo singers, excelling in opera, the following year, Olari Elts studied con- orchestral repertoire and Lied alike. ducting in Estonia and Vienna and in The 2017/2018 season featured his de- masterclasses with Esa-Pekka Salonen but at both London’s Covent Garden and and others. He regularly finds time in his the New York Metropolitan, soon to be busy international schedule to conduct followed by debuts in Rome and at the in Finland and has been Artistic Advisor Vienna State Opera. He has already been of the Kymi Sinfonietta since 2018. He heard at such prestigious venues as the has also been Principal Guest Conductor opera in Zurich, the Teatro Real in Madrid, of the Estonian National Symphony the Théâtre des Champs Elysées in Paris Orchestra since 2007. He was Principal and the Teatro Massimo in Palermo. Guest Conductor of the Scottish Chamber His personality as a singer has, Mastroni Orchestra from 2007 to 2010 and of the claims, been moulded especially by Handel Helsinki Philharmonic Orchestra from and Mozart, though his repertoire stretch- 2011 to 2014, in addition to guest appea- es from Monteverdi via the Baroque and 6 rances worldwide. Classical eras to the Romantics (Verdi, At home in Estonia, Olari Elts has also Puccini, Wagner) and the music of today. conducted opera, including productions Andrea Mastroni’s discography in- of Britten’s Albert Herring, Puccini’s Il cludes Verdi’s Sicilian Vespers, Gounod’s trittico and Mozart’s Don Giovanni and Romeo and Juliet, Rossini’s Semiramide and Idomeneo. Guest appearances have also songs by Henri Duparc. Among his most taken him to Rennes and Hungary. recent releases are Handel’s opera Serse, In 1993, Olari Elts founded the con- and Melancholia – Handel arias for bass. temporary NYYD Ensemble and is still its Artistic Director. With NYYD he has con- ducted a lot of Estonian music addition to works in the international contemporary repertoire.
Load more

Recommended publications
  • Songs for All Hallows'
    SONGS FOR ALL HALLOWS’ EVE MUSIC OF MODEST PETROVICH MUSSORGSKY Ben Flanders baritone Michael Delfín piano Songs and Dances of Death The Song of the Flea or “Mephistopheles’ Song in Auerbach’s Cellar” Pictures at an Exhibition The Songs and Dances of Death “Death be not proud, though some have called you mighty and dreadful, you are not so…” -John Donne The death in these songs is indeed mighty and dreadful, and full of pride in her work (for in Russian folklore death always comes for us in the guise of a woman) but these are not simply the songs and dances of death, there is another presence felt, that of the omniscient narrator. Each song begins with the narrator setting the scene, with the musical imagery, and words the narrator speaks. In the lullaby the endless rocking of the cradle by an exhausted mother is the prelude to the narrator’s first words.” The child, is moaning. A candle, almost consumed, sends the shadows dancing around the room” Soon, death comes to the door as a kindly grandmother to sing the baby to sleep. In Serenade, the only song where death appears as a man, the narrator describes the dark magic of night, an invalid young woman alone. Death appears as a foreign knight, a stranger of magic power, who sings a serenade beneath the window, seducing her away from a life of pain. In Trepak, the scene is set with an empty chord, which is completed by the singer as he describes a dark foreboding forest and clearing.
    [Show full text]
  • The Impact of Russian Music in England 1893-1929
    THE IMPACT OF RUSSIAN MUSIC IN ENGLAND 1893-1929 by GARETH JAMES THOMAS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham March 2005 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton.
    [Show full text]
  • Parody Theme Packet.Pdf
    (~ This packet was a result of about a week's worth of writing, in an effort to produce , a high-quality parody ofUel's packet for GhettoWarz I at USC in April 2004. The packet was initially submitted to UeI Open V to take place during. summer 2004, but the tournament was cancelled. Not ones to miss an opportunity, Steve Kaplan, Matthew Sherman, and Dwight Wynne extracted several non-parody questions, replaced the not-so-current events, and resubmitted the packet to Ghetto Warz II in May 200S.And now, without further ado, the complete, unedited, Parody Theme Packet. Ghetto Warz II: Hurricane Shaniqua Theme Packet by UCLA (S. Kaplan, M. Sherman, D. Wynne) Tossups 1. When Germany was reunited,. he was a mere three years from death at the age of 78. In 1933, he went underground to avoid arrest by the Gestapo. The same year he fled to Norway. In 1948 he was able to return to West Germany and he was elected to Parliament. In 1957 he became Mayor of West Berlin. FTP, who was this statesman of West Germany? Answer: Willy Brandt (prompt on Herbert Ernst Frahm) 2. Some historians link this system to feudalism, but it is not feudal because it had no connection to the military fief. Although in practice the dues required could range from exorbitant to trivial, by definition it never required work typically done by a noble knight The system is actually named for the French for lord. FIP, name this Medieval practice, by which men held land from the lord in return for fixed dues in kind, money, or services.
    [Show full text]
  • High-Fidelity-1964-1
    w NEW TRENDS IN SPEAKER. DESIGN The Haydn Masses a diicography www.americanradiohistory.com 1'I fSaAf 97 These are the speakers of the finest yet simplest stereo system you can buy today. All the other components are shown life -size under this fold. -4 www.americanradiohistory.com XP -10 Woofer: 15" free-piston; 19 cps free -air resonance; 2" voice coil with exclusive eddy -current damping; 6 -lb. magnet structure. i Midrange: 8" cone; 1 " voice coil; 51/2-1b. magnet structure. Tweeter: 2" soft -cotton dome type; 51/2 -1b. magnet structure; 14,000 gauss flux density. Crossover: Full 3 -way LC -type network with air -core coils; crossover points at 200 and 2500 cps. Impedance: 8 ohms. Frequency Response: 28 cps to beyond range of audibility. Power Requirement: 10 watts minimum; 60 watts maximum (program material). Cabinet: 301/2" high, 243/s " wide, 143A" deep; Scandinavian walnut. Weight: 80 lbs. CIRCLE 37 ON READER -SERVICE CARD DECEMBER 1964 1 www.americanradiohistory.com (V -15 AME -1 ELLIPTICAL STYLUS) NATURAL SOUND BEGINS WITH PICKERING Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT V -15 pickup for you. Each of these applications requires a cartridge with specific characteristics and specifications to produce the maximum in NATURAL SOUND that is possible from the record playing equipment and other components in your system. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the IIMEW AC -1 Most of you, no doubt are tracking lighter on the late model AUTOMATIC TURNTABLES and will use the Eff AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant V -15 AM -1 And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP V-15 AME -1 All four of these pickups are radically different from any other cartridge.
    [Show full text]
  • Schmidgall, Introduction Literature As Opera
    Anything can be set to music, true, but not everything will be effective. Giuseppe Verdi Literature and Opera In the 188os Emmanuel Chabrier addressed Shakespeare's last and perhaps greatest play with the idea of turning it into an opera. He wrote to his publisher explaining his views about its stage-worthiness: I now know The Tempest by heart; there are many good things in it, but Blau has reason to want some expanding of the love story, other- wise papa Prospero would get to be a bore. As for drama properly so called, where is it? Are they genuinely dramatic, those conspiracies of the old fogies Alonzo, Antonio, Gonzalo, Stefano? And those two debauchees Caliban and Interpocula [i.e., Trinculo]—who cares about their peregrinations around the island? So the interest will have to be spiced up elsewhere: first, in the idyll between Ferdinand and Miralda [sic] which is of the finest order; second, in the whole nuptial atmosphere and the spirits of air in Act IV; third, in the buffoonery with the drunkards. Is that enough to make an opera?' The answer to the question appears to have been no. Chabrier never wrote his Tempest opera, and—to judge from his cavalier and omi- nously bumptious attitude—we can be thankful he did not. His letter is a reminder that when masterly literature is taken up for op- eratic treatment, literary values do not necessarily loom importantly in the process. In this case the composer seemed almost completely oblivious to the complicated levels of meaning in the source and has focused upon the least interesting aspects of the action: the clowning scenes and the Ferdinand-Miranda love affair, surely the most insipid in all Shakespeare.
    [Show full text]
  • AND OTHER BAD GUYS Kevin Short, Bass Orchestre Philharmonique De Marseille Conducted by Lawrence Foster Mephistopheles and Other Bad Guys
    ORCHESTRE PHILHARMONIQUE DE MARSEILLE LAWRENCE FOSTER AND OTHER BAD GUYS Kevin Short, Bass Orchestre Philharmonique de Marseille Conducted by Lawrence Foster Mephistopheles and Other Bad Guys CHARLES GOUNOD (1818-1893) From “Faust” (1859) 1 Méphistophélès’ Rondo: “Le veau d’or”(The golden calf) 2. 17 2 Méphistophélès’ Serenade: “Vous qui faites l’endormie” 3. 10 ARRIGO BOITO (1842-1918) From “Mefistofele” (1868/1876) 3 Mefistofele’s Song of the whistle: “Son lo Spirito che nega” 3. 53 4 Mefistofele’s Ballad of the world: “Ecco il mondo” 2. 43 LUDWIG VAN BEETHOVEN (1770-1827) Orchestration by Dmitri Shostakovich (1906-1975) 5 Es war einmal ein König Op.75,3 2. 13 (Song of the flea from Goethe’s “Faust”) (1809/1975) LUDWIG VAN BEETHOVEN From “Fidelio” Op. 72 (1805/1814) 6 Pizarro’s Aria: ”Ha! Welch ein Augenblick” 3. 27 Male chorus of the Opéra de Marseille Chorus master: Emmanuel Trenque WOLFGANG AMADEUS MOZART (1756-1791) From “Die Entführung aus dem Serail” KV 384 (1782) 7 Osmin’s Song: “Wer ein Liebchen hat gefunden” 2. 19 8 Osmin’s Aria: “O, wie will ich triumphieren” 3. 44 CARL MARIA VON WEBER (1786-1826) From “Der Freischütz” J.277 (1821) 9 Caspar’s Aria: “Schweig, schweig, damit dich niemand warnt” 3. 17 JACQUES OFFENBACH (1819-1880) From “Les contes d’Hoffmann” (1881) 10 Lindorff’s Couplets: “Dans les rôles d’amoureux langoureux” 2. 41 11 Dappertutto’s Aria: “Scintille, diamant” 2. 40 GIUSEPPE VERDI (1813-1901) From “I Lombardi” (1843) 12 Pagano’s Aria: “Sciagurata! Hai tu creduto” 5. 02 HECTOR BERLIOZ (1803-1869) From “La damnation de Faust” Op.24 (1846) 13 Méphistophélès’ Aria: “Voici des roses” 2.
    [Show full text]
  • Music and Society
    Music and Society Elie Siegmeister (1938) Symbolic footnotes and headings added by Arun; Numeric endnotes are Siegmeister’s. ACKNOWLEDGMENT: For much prevails with regard to music, which is still consid- that may be of value in the follow- ered as largely a vague, intangible experience, unre- ing I wish to express my gratitude lated to all other experiences, whose chief function to four musicians: Henry Cowell, is to entertain, uplift, provide subjective emotional Hanns Eisler, the late Jacob Schae- satisfaction to each individual in his own way. Is a fer, and especially to Charles Seeger, piece of music pleasing? Is it good or bad music? whose learning is both brilliant and These, it is felt, are the only important questions. catholic. But who is to determine what is good and what Further thanks are due to Herbert is bad music, and furthermore, the question arises, Haufreucht, Josephine Metcalf and “Good for what?” To some the music of Stravin- Figure 1: Daniel Schwartz for their painstak- sky (or Shostakovich or Schoenberg or Gershwin) is ing reading and criticism of the manuscript; to Helen Schechter stimulating, vivid, challenging, good because it re- for her generous assistance in preparing the copy, and above flects the forces of contemporary life; to others it is all to my wife for her invaluable criticisms, comments and discordant, ugly and depressing. Some of the Negro suggestions. — Elie Siegmeister* Songs of Protest† have been received with tremen- dous enthusiasm by certain audiences, as good be- cause they express the deepest feelings of an op- The Status of Music in the 1930s pressed people; others no doubt find them harsh and bitter, bad music for the same reason.
    [Show full text]
  • 31 October 2008 Page 1 of 21 SATURDAY 25 OCTOBER 2008 06:23AM Adagio in E, K 261 Alexander Janiczek, Violin and Director Brkanovic, Željko (B
    Radio 3 Listings for 25 – 31 October 2008 Page 1 of 21 SATURDAY 25 OCTOBER 2008 06:23AM Adagio in E, K 261 Alexander Janiczek, violin and director Brkanovic, Željko (b. 1937) Scottish Chamber Orchestra SAT 01:00 Through the Night (b00f0z0m) Song Book II – for guitar trio LINN CKD287 Tr 10 Susan Sharpe Dubrovnik Guitar Trio 08:18 With Susan Sharpe. 06:30AM Eespere, René (b. 1953) BRAHMS 01:01AM Festina lente Drei Lieder, op 64 Marlis Petersen (soprano) Holland, Jan David (1746-1827) Talinn Music High School Chamber Choir, Evi Eespere Stella Doufexis (mezzo) Agatka, Czyli Przyjazd Pana (Agatha, or the Arrival of the (director) Werner Gura (tenor) Master) – Singspiel 1784 Konrad Jarnot (baritone) Christoph Berner (piano) Concerto Polacco, Marek Toporowski (director) 06:39AM HARMONIA MUNDI HMC 901945 Tr 19-21 Beethoven, Ludwig van (1770-1827) 01:53AM Romance (Op.40) in G major for violin and orchestra 08:31 Karlowicz, Mieczyslaw (1876-1909) Igor Ozim (violin), Slovenian Radio and Television Symphony Stanislaw i Anna Oswiecimowie [Stanislaw and Anna of Orchestra, Samo Hubad (conductor) SCRIABIN Oswiecim] – symphonic poem (Op.12) Twelve Etudes op.8 no.1 in C sharp minor National Polish Radio Symphony Orchestra, Stanislaw Wislocki 06:47AM Piers Lane, piano (conductor) Vivaldi, Antonio (1678-1741) HYPERION CDA 66607 Tr 2 The Autumn, from 'The Four Seasons' (Op.8/3) in F (RV.293) 02:16AM Concerto Copenhagen, Gottfried von der Goltz 08:35 Beethoven, Ludwig van (1770-1827) (violin/conductor) Quartet for strings (Op.59 No.1) in F major, 'Rasumovsky' BO HOLTEN Tankstream Quartet In Nomine SAT 07:00 Breakfast (b00f0z8n) National Youth Choir of Great Britain 02:57AM The complete Breakfast playlist is posted on this site after the Mike Brewer (conductor) Schütz, Heinrich (1585-1672) programme has been broadcast.
    [Show full text]
  • Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and His Contemporaries (1832–1840)
    Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and his Contemporaries (1832–1840) (2 Volumes) Volume 1 Cathal Mullan Thesis Submitted to Maynooth University for the Degree of Doctor of Philosophy Department of Music Maynooth University Maynooth, Co. Kildare October 2018 Head of Department: Professor Christopher Morris Supervisor: Professor Lorraine Byrne Bodley i Abstract Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and his Contemporaries (1832–1840) Despite being a pre-eminent figure of German literature, Goethe remains misunderstood in musicology and the extent of his influence on the formation of the German Lied remains largely uncharted. This is true of Faust I where research into musical settings of Goethe's Faust has traditionally centred around canonical musical realisations of Faust confined to those by Schumann (Szenen aus Faust, 1844–1853), Liszt (Faust Symphony, 1857) and Mahler (Symphony No. 8, 1906). There is an urgent need to trace the influence of Goethe's Faust in musicology and in particular, uncover influential Faust settings which fall beyond the rubric of eminent literature. The settings selected in this dissertation address an important lacuna in the nineteenth-century Lied, namely settings composed or published between 1832 – the year of both Goethe's death and the posthumous publication of Faust II – and 1840, Schumann's first Liederjahr. This study aims to challenge the perception that the 1830s was a lull period in the Lied by illustrating the significance of Faust in the development of the Lied with regard to text-music associations, text setting practice and the emancipation of musical rhythm from poetic rhythm.
    [Show full text]
  • Download Booklet
    110242-44 bk Boris US 26/04/2004 13:41 Page 16 ADD Great Opera Recordings 8.110242-44 Also available: MUSSORGSKY Boris Godunov Boris Christoff Nicolai Gedda Eugenia Zareska Kim Borg Andrzej Bielecki Russian Chorus of Paris French National Radio Orchestra Issay Dobrowen 8.110216-17 Recorded in 1952 3 CDs 8.110242-44 16 110242-44 bk Boris US 26/04/2004 13:41 Page 2 Great Opera Recordings Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of Modest specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been MUSSORGSKY nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1839-1881) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should Boris Godunov not call attention to itself, but rather allow the performances to be heard with the greatest clarity. (Revised and orchestrated by Nikolay Rimsky-Korsakov) There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Libretto by the composer after Pushkin and Karamzin consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings.
    [Show full text]