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RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under 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. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No. -
Prokofiev: Reflections on an Anniversary, and a Plea for a New
ИМТИ №16, 2017 Ключевые слова Прокофьев, критическое издание собрания сочинений, «Ромео и Джульетта», «Золушка», «Каменный цветок», «Вещи в себе», Восьмая соната для фортепиано, Янкелевич, Магритт, Кржижановский. Саймон Моррисон Прокофьев: размышления в связи с годовщиной и обоснование необходимости нового критического издания собрания сочинений Key Words Prokofiev, critical edition, Romeo and Juliet, Cinderella, The Stone Flower, Things in Themselves, Eighth Piano Sonata, Jankélévitch, Magritte, Krzhizhanovsky. Simon Morrison Prokofiev: Reflections on an Anniversary, And A Plea for a New Аннотация В настоящей статье рассматривается влияние цензуры на позднее Critical Edition советское творчество Прокофьева. В первой половине статьи речь идет об изменениях, которые Прокофьеву пришлось внести в свои балеты советского периода. Во второй половине я рассматриваю его малоизвестные, созданные еще до переезда в СССР «Вещи Abstract в себе» и показываю, какие общие выводы позволяют сделать This article looks at how censorship affected Prokofiev’s later Soviet эти две фортепианные пьесы относительно творческих уста- works and in certain instances concealed his creative intentions. In новок композитора. В этом контексте я обращаюсь также к его the first half I discuss the changes imposed on his three Soviet ballets; Восьмой фортепианной сонате. По моему убеждению, Прокофьев in the second half I consider his little-known, pre-Soviet Things in мыслил свою музыку как абстрактное, «чистое» искусство даже Themselves and what these two piano pieces reveal about his creative в тех случаях, когда связывал ее со словом и хореографией. Новое outlook in general. I also address his Eighth Piano Sonata in this критическое издание сочинений Прокофьева должно очистить context. Prokofiev, I argue, thought of his music as abstract, pure, even его творчество от наслоений, обусловленных цензурой, и выя- when he attached it to words and choreographies. -
Sergei Prokofiev Russia Modern Era Composer (1891-1953)
Hey Kids, Meet Sergei Prokofiev Russia Modern Era Composer (1891-1953) Sergei Prokofiev was born in Russia on April 27, 1891. He began studying the piano with his mother at the age of three. By the age of five Sergei was displaying unusual musical abilities. His first composition, written down by his mother, was called Indian Gallop. By the age of nine he had written his first opera, The Giant. At the age of thirteen Sergei entered the St. Petersburg Conservatory having already produced a whole portfolio of compositions. While at the conservatory he studied with Russian composer Nikolai Rimsky-Korsakov. Later in his life, Prokofiev was said to have regretted not having taken full advantage of this opportunity. The music that Prokofiev composed was new and different. He brought to the concert hall strange new harmonies, dynamic rhythms and lots of humor. When the Russian Revolution broke out, Prokofiev traveled to America. He hoped he would be able to compose in peace. American audiences, however, were not ready for his new sounds so he moved to Paris. In Paris, Prokofiev found greater success where his operas and ballets were well liked. Prokofiev returned to Russia in 1932 spending the last 19 years of his life in his home country. During this time, he produced some of his finest works including Peter and the Wolf for chamber orchestra and narrator, and the score for his ballet Romeo and Juliet which contained some of his most inspired music. Sergei Prokofiev died on March 5, 1953 as one of the most admired composers of the twentieth century. -
Pavel Lisitsian Discography by Richard Kummins
Pavel Lisitsian Discography By Richard Kummins e-mail: [email protected] Rev - 17 June 2014 Composer Selection Other artists Date Lang Record # The capital city of the country (Stolitsa Agababov rodin) 1956 Rus 78 USSR 41366 (1956) LP Melodiya 14305/6 (1964) LP Melodiya M10 45467/8 (1984) CD Russian Disc 15022 (1994) MP3 RMG 1637 (2005 - Song Listen, maybe, Op 49 #2 (Paslushai, byt Anthology Vol 1) Arensky mozhet) Andrei Mitnik, piano 1951 Rus MP3 RMG 1766 (2006) 78 USSR 14626 (1947) LP Vocal Record Collector's Armenian (trad) Armenian girls (Hayotz akhchikner) Matvei Sakharov, piano 1947 Arm Society 1992 Armenian girls (Hayotz akhchikner) LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG 1766 (2006) Armenian girls (Hayotz akhchikner) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Crane (Groong) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Russian Folk Instrument Orchestra - Crane (Groong) Central TV and All-Union Radio LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) - Vladimir Fedoseyev 1968 Arm MP3 RMG 1766 (2006) LP DKS 6228 (1955) Armenian (trad) Dogwood forest (Lyut kizil usta tvoi) Matvei Sakharov, piano 1955 Arm MP3 RMG 1766 (2006) Dream (Yeraz) (arranged by Aleksandr LP Melodiya 45465/6 (1984) Armenian (trad) Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG -
The Musical Partnership of Sergei Prokofiev And
THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Read Book Sergei Prokofiev Peter and Wolf Pdf Free Download
SERGEI PROKOFIEV PETER AND WOLF PDF, EPUB, EBOOK Sergei Prokofiev | 40 pages | 14 Sep 2004 | Random House USA Inc | 9780375824302 | English | New York, United States Sergei Prokofiev Peter and Wolf PDF Book Prokofiev had been considering making an opera out of Leo Tolstoy 's epic novel War and Peace , when news of the German invasion of the Soviet Union on 22 June made the subject seem all the more timely. This article contains a list of works that does not follow the Manual of Style for lists of works often, though not always, due to being in reverse-chronological order and may need cleanup. William F. You have entered an incorrect email address! The cat quickly climbs into the tree with the bird, but the duck, who has jumped out of the pond, is chased, overtaken, and swallowed by the wolf. Help Learn to edit Community portal Recent changes Upload file. To this day, elementary school children hear Peter and the Wolf during school assemblies or at concerts for young people. Merriam-Webster Dictionary. The Independent. However, Prokofiev was dissatisfied with the rhyming text produced by Antonina Sakonskaya, a then popular children's author. The Lives of Ingolf Dahl. Russian composer — Explore more from this episode More. Each character of this tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet playing staccato in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettle drums and bass drum. -
State Composers and the Red Courtiers: Music, Ideology, and Politics in the Soviet 1930S
JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s JYVÄSKYLÄN YLIOPISTO JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston Villa Ranan Blomstedtin salissa marraskuun 24. päivänä 2007 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities of the University of Jyväskylä, in the Building Villa Rana, Blomstedt Hall, on November 24, 2007 at 12 o'clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2007 State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2007 Editors Seppo Zetterberg Department of History and Ethnology, University of Jyväskylä Irene Ylönen, Marja-Leena Tynkkynen Publishing Unit, University Library of Jyväskylä Jyväskylä Studies in Humanities Editorial Board Editor in Chief Heikki Hanka, Department of Art and Culture Studies, University of Jyväskylä Petri Karonen, Department of History and Ethnology, University of Jyväskylä Matti Rahkonen, Department of Languages, University of Jyväskylä Petri Toiviainen, Department of Music, University of Jyväskylä Minna-Riitta Luukka, Centre for Applied Language Studies, University of Jyväskylä Raimo Salokangas, Department of Communication, University of Jyväskylä URN:ISBN:9789513930158 ISBN 978-951-39-3015-8 (PDF) ISBN 978-951-39-2990-9 (nid.) ISSN 1459-4331 Copyright ©2007 , by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2007 ABSTRACT Mikkonen, Simo State composers and the red courtiers. -
2018 Petroushka Ball Journal
2018 ROSSINI SEMIRAMIDE METROPOLITAN OPERA METROPOLITAN / PHOTO: MARTY SOHL ON STAGE FEB 19 – MAR 17 High-flying soprano Angela Meade takes on the virtuosic title role in Rossini’s masterpiece of dazzling vocal fireworks. The all-star cast also features Ildar Abdrazakov, Elizabeth DeShong, and Javier Camarena. Maurizio Benini conducts. Tickets start at $25 metopera.org 212.362.6000 TheThe 44th53rd Annual Annual PetroushkaPetroushka Ball Ball FebruaryFebruary 13,9th, 20092018 •• Waldorf=AstoriaThe Plaza Hotel •• NewNew YorkYork CityCity To Benefit thethe RussianRussian Children’s Children’s Welfare Welfare Society Society Dear Guests, It is with great pleasure that I welcome you to the 53rd Petroushka Ball The Russian Children’s Welfare Society’s mission is to help the thousands of disadvantaged children of Russia. The Society was founded in 1926 and, during the past 92 years, has undergone a number of permutations which were the result of the many political and social shifts over the 20th Century. Originally, the Society exclusively helped children of Russian decent outside of Russia who were victims of the Russian Revolution and World Wars I & II. Eventually Europe, followed by South America, became self-sufficient and the Society refocused its efforts on helping children in Russia after the fall of the Soviet Union. For the past two decades, the Society has devoted all of its aid to Russia. The Society’s primary activities include: pediatric maxillofacial surgery in partnership with the Russian Aid Foundation; a successful college scholarship program currently supporting 157 students; assisting vetted orphanages; and hosting an an- nual Christmas “Yelka” party where over 1,000 orphans from across Russia celebrate an unforgettable day in Moscow. -
1 Program Notes MONTANA CHAMBER MUSIC SOCIETY
Program Notes MONTANA CHAMBER MUSIC SOCIETY October 30, 2015, 7:30pm Reynolds Recital Hall, MSU Bozeman, 7:30pm MUIR STRING QUARTET Peter Zazofsky, violin Lucia Lin, violin Steven Ansell, viola Michael Reynolds, cello with guest Michele Levin, piano Quartet for Strings in C Minor, Quartettsatz, D. 703 (1820) FRANZ SCHUBERT [1797-1828] [Duration: ca. 10 minutes] "Picture to yourself," he wrote to a friend at this time, "a man whose health can never be reestablished, who from sheer despair makes matters worse instead of better; picture to yourself, I say, a man whose most brilliant hopes have come to nothing, to whom proffered love and friendship are but anguish, whose enthusiasm for the beautiful — an inspired feeling, at least— threatens to vanquish entirely; and then ask yourself if such a condition does not represent a miserable and unhappy man.... Each night, when I go to sleep, I hope never again to waken, and every morning reopens the wounds of yesterday." [Schubert, 1819] Schubert was extremely self-critical, leaving an unusually large number of incomplete works behind. The most celebrated is the Unfinished Symphony, however, many fragments survive of abandoned string quartets. Among these is the Quartettsatz ("Quartet Movement"), written just before Schubert turned 24, the only one to have entered the standard repertoire. When Brahms was working on the first scholarly edition of Schubert's music, he found, in the manuscript score of the Quartettsatz, the sketch (about 40 measures) for a second movement Andante in A-flat; apparently Schubert intended to write a four-movement work, though this movement is independently convincing and complete. -
Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys. -
The Man Who Found the Nose'
SPECIAL INTERVIEW The Man who found The Nose’ An Interview with Gennady Nikolayevich Rozhdestvensky By Alan Mercer Born in Moscow on 4 May 1931, (1974-1977 and 1992-1995), and Rozhdestvensky grew up with his the Vienna Symphony (1980-1982). spritely 85 years of age at conductor father Nikolai Anosov Also in the 1970s, Rozhdestvensky the time of our encounter at (1900-1962) and his singer mother worked as music director and con the Paris-based Shostakovich Natalia Rozhdestvenskaya (1900- ductor of the Moscow Chamber ACentre, Gennady Rozhdestvensky’s1997). After graduating from the Music Theatre, where together with demeanour has barely changed from Central Music School at the Mos director Boris Pokrovsky he revived that of the 1960s, when Western con- cow Conservatory as a pianist in Shostakovich’s 1920s opera The Nose. cert-goers were first treated to his the class of L.N. Oborin, he began Rozhdestvensky has focused individualistic podium style, not to studying what was to become his much of his career on music of mention his highly affable manner career vocation under the guidance the twentieth century, including with audiences and orchestras alike. of his father. In 1951, he trained at premieres of works by Shchedrin, As one of the few remaining artists the Bolshoi Theatre, and went on to Slonimsky, Eshpai, Tishchenko, to have worked closely with the 20th work at the famous venue at vari Kancheli, Schnittke, Gubaidulina, century’s music elite—Shostakovich ous periods between 1951 and 2001, and Denisov. included—the conductor’s career is when he became the establishment’s Prior to our conversation, the imbibed with both the traditions General Artistic Director.