BORODIN Prince Igor
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13 Foreword to Richard Taruskin's Essays On
13 FOREWORD TO RICHARD TARUSKIN’S ESSAYS ON MUSORGSKY Th e entry below initially appeared in 1993, as a Foreword to a book of ground-breaking essays on Modest Musorgsky by Richard Taruskin (Musorgsky: Eight Essays and an Epilogue [Princeton: Princeton University Press, 1993]). At the time Taruskin was the foremost authority on Russian music in the Western world; by now (2010) he has become foremost in several other areas as well. To his writings and generous mentorship I owe my education in this Russian composer. EXCERPTS FROM THE FOREWORD TO RICHARD TARUSKIN, MUSORGSKY: EIGHT ESSAYS AND AN EPILOGUE 1993 In 1839, the year of Musorgsky’s birth, the Marquis de Custine made a three-month journey through the Russian Empire. Th e travel account he published four years later, La Russie en 1839, became an international bestseller; to this day, fairly or no, it is read as a key to that country’s most grimly persistent cultural traits.1 Astolphe de Custine (1790–1857) was an aristocrat from a family ravaged by the French Revolution. Nevertheless, he came to view the Russian absolute autocracy (and the cunning, imitative, servile subjects it bred and fostered) as far more deceitful and potentially 1 See the reprint edition of the fi rst (anonymously translated) English version of 1843, Th e Marquis de Custine, Empire of the Czar: A Journey through Eternal Russia (New York: Anchor-Doubleday, 1989). Quotations in this essay occur on pp. 600, 109, and 206 respectively. George Kennan has called La Russie en 1839 “not a very good book about Russia in 1839” but “an excellent book, probably in fact the best of books, about the Russia of Joseph Stalin” (George F. -
Prince Igor Knyaz Igor Page 1 of 3 Opera Assn
San Francisco Civic 1996-1997 Prince Igor Knyaz Igor Page 1 of 3 Opera Assn. Auditorium Prince Igor (in Russian) Opera in five acts by Alexander Borodin Libretto by Alexander Borodin, after a scenario by Stasov Based on a 12th-century Russian epic "Song of the Army of Prince Igor" (See Notes) Conductor CAST Alexander Anissimov Igor Svyatoslavich, Prince of Seversk Sergei Leiferkus Production Galitsky, Prince of Galich, brother of Princess Yaroslavna Jeffrey Wells Francesca Zambello Vladimir Igorevich, Igor's son by his first marriage Mark Baker Designer Musicians: Skula Vladimir Ognovenko Zack Brown Musicians: Yeroshka Konstantin Pluzhnikov Lighting Designer Gary Rideout (9/10,13,15,21) Thomas J. Munn Yaroslavna, Igor's second wife Lauren Flanigan Sound Designer Yaroslavna's Nurse Catherine Cook Roger Gans Konchakovna, daughter of Khan Konchak Elena Zaremba Chorus Director Ovlur, a Christian Polovtsian Dennis Petersen Ian Robertson Konchak, Polovtsian Khan Paata Burchuladze Choreographer Solo dancers Teimuraz Koridze Alphonse Poulin Badri Esatia Musical Preparation Susanna Lemberskaya Bryndon Hassman *Role debut †U.S. opera debut Peter Grunberg PLACE AND TIME: The Russian city of Putivl; a Polovtsian Ian Robertson encampment on the Russian Steppes Svetlana Gorzhevskaya Supertitles Christopher Bergen Prompter Jonathan Khuner Assistant Stage Director Paula Williams Assistant Stage Director Yefim Maizel Stage Manager Jerry Sherk Fight Consultant Larry Henderson Friday, September 6 1996, at 6:30 PM PART I Tuesday, September 10 1996, at 8:00 -
The Russian Five Austin M
Masthead Logo Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2019 yS mposium Apr 3rd, 1:30 PM - 2:00 PM The Russian Five Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Art Practice Commons, Audio Arts and Acoustics Commons, and the Other Classics Commons Doub, Austin M., "The Russian Five" (2019). The Research and Scholarship Symposium. 7. https://digitalcommons.cedarville.edu/research_scholarship_symposium/2019/podium_presentations/7 This Podium Presentation is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Austin Doub December 11, 2018 Senior Seminar Dr. Yang Abstract: This paper will explore Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the Moguchaya Kuchka, or The Russian Five, sought to influence Russian culture and develop a pure school of Russian music. Comprised of César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimksy-Korsakov, this group of inspired musicians, steeped in Russian society, worked to remove outside cultural influences and create a uniquely Russian sound in their compositions. As their nation became saturated with French and German cultures and other outside musical influences, these musicians composed with the intent of eradicating ideologies outside of Russia. In particular, German music, under the influence of Richard Wagner, Robert Schumann, and Johannes Brahms, reflected the pan-Western-European style and revolutionized the genre of opera. -
International Scholarly Conference the PEREDVIZHNIKI ASSOCIATION of ART EXHIBITIONS. on the 150TH ANNIVERSARY of the FOUNDATION
International scholarly conference THE PEREDVIZHNIKI ASSOCIATION OF ART EXHIBITIONS. ON THE 150TH ANNIVERSARY OF THE FOUNDATION ABSTRACTS 19th May, Wednesday, morning session Tatyana YUDENKOVA State Tretyakov Gallery; Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, Moscow Peredvizhniki: Between Creative Freedom and Commercial Benefit The fate of Russian art in the second half of the 19th century was inevitably associated with an outstanding artistic phenomenon that went down in the history of Russian culture under the name of Peredvizhniki movement. As the movement took shape and matured, the Peredvizhniki became undisputed leaders in the development of art. They quickly gained the public’s affection and took an important place in Russia’s cultural life. Russian art is deeply indebted to the Peredvizhniki for discovering new themes and subjects, developing critical genre painting, and for their achievements in psychological portrait painting. The Peredvizhniki changed people’s attitude to Russian national landscape, and made them take a fresh look at the course of Russian history. Their critical insight in contemporary events acquired a completely new quality. Touching on painful and challenging top-of-the agenda issues, they did not forget about eternal values, guessing the existential meaning behind everyday details, and seeing archetypal importance in current-day matters. Their best paintings made up the national art school and in many ways contributed to shaping the national identity. The Peredvizhniki -
Pursuing Independence: Kramskoi and the Peredvizhniki Vs. the Academy of Arts
Pursuing Independence: Kramskoi and the Peredvizhniki vs. the Academy of Arts EVGENY STEINER On November 9, 1863, a minor incident in the Council Hall of the Russian Imperial Academy of Arts marked the professional and public debut of a group of artists—some of whom would dominate the Russian arts scene in the last three decades of the nineteenth century. Although this incident, popularly called the “Revolt of the Fourteen,” posed a direct challenge to the monopolistic authority of the Academy of Arts to bestow commissions, ranks, and monetary awards upon artists, these “democratic” artists (often misleadingly called the Itinerants or Wanderers) had no desire to fundamentally alter society. Instead, they sought an independent avenue to achieving professional and economic success within existing social parameters. This article will explore the sociocultural situation of the Petersburg Cooperative of Artists (Artel) and the Peredvizhniki—or what I call the “Kramskoi generation,” after their most representative member, Ivan Kramskoi (1837–87)—and in doing so will interpret the nature of Russian realist (in many respects, populist) art through the prism of the new reality artists of the time faced: the commodification of art and the commercialization of art’s circulation and distribution. From the first appearance of the Peredvizhniki, and throughout the course of the Soviet regime, scholars and critics of Russian art of the 1860s–1890s have used such expressions as “democratic cause,” “national motifs,” “social responsibility,” “condemnation of the tsarist regime,” and so on, more often than they have evaluated the artistic merits of artworks. In this respect, Soviet authors followed the trail blazed by Vladimir Stasov (1824–1906), an ardent supporter of Russian “national” art from the very onset of the Peredvizhniki “movement” in the early 1870s. -
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible. -
The Dynasty of Chernigov, 1146–1246
THE DYNASTY OF CHERNIGOV, 1146–1246 MARTIN DIMNIK published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru,UK 40 West 20thStreet, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, SouthAfrica http://www.cambridge.org C Martin Dimnik 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Adobe Garamond 11/12.5 pt. System LATEX 2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data applied for isbn 0 521 82442 7 hardback Contents List of figures page xi List of maps xii List of genealogical tables xiii Preface xv Acknowledgments xxii Chronological table of events xxiv Glossary xxxii Abbreviations xxxiv Introduction 1 Historiography 1 The first hundred years 5 1 The third generation continued: 1146–1164 14 Igor fails in Kiev 14 Svyatoslav Olgovichfightsfor survival 26 Svyatoslav flees to the Vyatichi lands 34 Bishop Onufry champions Klim Smolyatich 39 Svyatoslav recovers the Vyatichi lands 41 The Davidovichi plot treachery 43 Igor’s death -
Empire Brass
Houston Friends of Music PRESENT EMPIRE BRASS Rolf Smedvig, Trumpet Jeffrey Curnow, Trumpet Eric Ruske, French Horn Scott A. Hartman, Trombone J. Samuel Pilafian, Tuba Wednesday, December 5, 1990 8:00P.M. Hamman Hall Rice University FOURTH CONCERT H()LISt()Jl Fti(~tlds (>f~1usic PRESENT EMPIRE BRASS Procession of the Nobles, from Mlada . .... .. .......... ...... NIKOLAI RIMSKY-KORSAKOV Polovtsian Dance, from Prince Igor. .................................. ALEXANDER BORODIN Dance of the Comedians, from the Bartered Bride ........................... BED RICH SMETANA Nacht Poema (Night Poems) ............... .. ............................ PR. VAN EECHAUTE Prelude, Theme & Variations . ... .................................. ... GIOACCHINO ROSSINI Carmen Fantasy .......... ... .. ........ .... ........................... .. GEORGES BIZET Wedding Dance and Troika, from Lieutenant Kije ......................... SERGEI PROKOFIEV INTERMISSION Trio Sonata No.2 ..... ......................... ..... ..... ....... JOHANN SEBASTIAN BACH Allegro, Andante, Allegro Sabre Dance, from Gayane ...... ......... ................. ....... ARAM KHACHATURIAN Arabian Dance, from The Nutcracker. .......................... PIOTR IL YICH TCHAIKOVSKY Pavane, Op. 50 ........................................................... GABRIEL FAURE Boy Meets Horn ..... .. ....................... ... EDWARD KENNEDY "DUKE" ELLINGTON Jungle Nights ..... .... ....... ................... EDWARD KENNEDY "DUKE" ELLINGTON M-TV for Jerry (Jerome Robbins), from Dance Suite for Brass -
Lecture Slides
Lunch Lecture Inter-Actief will start at 12:50 ;lkj;lkj;lkj Modest Mussorgsky: Pictures at an Exhibition (orchestration: Maurice Ravel) Klaas Sikkel Münchner PhilharmonikerInter-Actief lunch conducted lecture, 15 Dec 2020 by Valery Gergiev 1 Pictures at an Exhibition and the Music of the Mighty Handful Inter-Actief Lunch Lecture 15 December 2020 Klaas Sikkel Muziekbank Enschede For Spotify playlist and more info see my UT home page (google “Klaas Sikkel”) Purpose of this lecture • Tell an entertaining story about a fragment of musical history • (hopefully) make you aware that classical music isn’t as boring as you thought, (possibly) raise some interest in this kind of music • Not a goal: make you a customer of the Muziekbank (instead, check out the Spotify playlist) Klaas Sikkel Inter-Actief lunch lecture, 15 Dec 2020 3 Classical Music in Russia around 1860 Two persons have contributed greatly to professionalization and practice of Classical Music in Russia: • Anton Rubinstein (composer, conductor, pianist) 4 Klaas Sikkel Inter-Actief lunch lecture, 15 Dec 2020 Classical Music in Russia around 1860 Two persons have contributed greatly to professionalization and practice of Classical Music in Russia: • Anton Rubinstein (composer, conductor, pianist) • Grand Duchess Yelena Pavlovna (aunt of Tsar Alexander II, patroness) 5 Klaas Sikkel Inter-Actief lunch lecture, 15 Dec 2020 Classical Music in 1859 Russia around 1860 Founding of the Two persons have contributed Russian greatly to professionalization and Musical Society practice of Classical -
The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu
The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Music 1988 December The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris The Russian piano concerto could not have had more inauspicious beginnings. Unlike the symphonic poem (and, indirectly, the symphony) - genres for which Glinka, the so-called 'Father of Russian Music', provided an invaluable model: 'Well? It's all in "Kamarinskaya", just as the whole oak is in the acorn' to quote Tchaikovsky - the Russian piano concerto had no such indigenous prototype. All that existed to inspire would-be concerto composers were a handful of inferior pot- pourris and variations for piano and orchestra and a negligible concerto by Villoing dating from the 1830s. Rubinstein's five con- certos certainly offered something more substantial, as Tchaikovsky acknowledged in his First Concerto, but by this time the century was approaching its final quarter. This absence of a prototype is reflected in all aspects of Russian concerto composition. Most Russian concertos lean perceptibly on the stylistic features of Western European composers and several can be justly accused of plagiarism. Furthermore, Russian composers faced formidable problems concerning the structural organization of their concertos, a factor which contributed to the inability of several, including Balakirev and Taneyev, to complete their works. Even Tchaikovsky encountered difficulties which he was not always able to overcome. The most successful Russian piano concertos of the nineteenth century, Tchaikovsky's No.1 in B flat minor, Rimsky-Korsakov's Concerto in C sharp minor and Balakirev's Concerto in E flat, returned ii to indigenous sources of inspiration: Russian folk song and Russian orthodox chant. -
Eljnral Mtttntt £>*Rt?0 3
UNIVERSITY- MUSICAL-SOCIETY (Eljnral Mtttntt £>*rt?0 3 Forty-Seventh Season Seventh Concert Vo* ?S —————No. CCCCXXXXII Complete Series — p « Detroit Symphony Orchestra •* OSSIP GABRILOWITSCH, Conducting •HUl Aufcttnrtam. Atm Arbor, IHirtjigan /^ MONDAY, MARCH 8, 1926, AT EIGHT O'CLOCK PROGRAM J| as Overture to the Opera "Oberon" Weber Fifth Symphony in C minor, Op. 67 Beethoven Allegro con brio Andante con moto 8$ Allegro (Scherzo); Trio Allegro Prelude and Love Death from the Opera "Tristan and Isolde"... Wagner <*§ Capriccio Espagnol, Op. 34 Rimsky-Korsakov J§i Alborada Jj£$ Variazioni Rfo Alborada j*g Scena e conto gitano c™ Fandango asturiano 85 (OVER) $£ raffftfft K^ AR Sa ON G A'VITA'BREVI S j ^^5^t^«^^5 THIRTY-THIRD ANNUAL MAY FESTIVAL EARL V. MOORE, Musical Director Six Concerts Four Days May 19, 20, 21, 22 ARTISTS, ORGANIZATIONS, AND PROGRAMS (Subject to Change) First Concert—Wednesday Evening, May 19 SOLOISTS LOUISE HOMER Contralto Metropolitan and Chicago Civic Operas CHICAGO SYMPHONY ORCHESTRA Frederick Stock, Conductor PROGRAM OVERTURE, "Im Fruhling" Goldmark ARIA MMU. HOMSR SYMPHONY IN B MINOR Chausson Intermission ARIA MME. HOMER "THE PLANETS" .Hoist ARIA MME. HOMER DANCES FROM "PRINCE IGOR" Bbrodine Second Concert—Thursday Evening, May 20 SOLOISTS MARIE SUNDELIUS Soprano Metropolitan Opera JEANNE LAVAL Contralto American Oratorio Singer CHARLES STRATTON Tenor Distinguished American Artist THEODORE HARRISON Baritone Authoratative "Elijah" UNIVERSITY CHORAL UNION ) _ . ,7 „ r , . CHICAGO SYMPHONY ORCHESTRA f hMl W' Moore> Conductor PROGRAM ELIJAH Mendelssohn An Oratorio with words from Holy Script CAST Theodore Harrison Elijah Marie Sundelius The Widow Charles Stratton Obadiah Jeanne Laval An Angel Third Concert—Friday Afternoon, May 21 SOLOISTS ALBERT SPAULDING Violinist CHILDREN'S FESTIVAL CHORUS J. -
Tchaikovsky, Manfred Symphony
rg Pyotr Ilyich TCHAIKOVSKY Manfred Symphony Pyotr Ilyich Tchaikovsky (7 May 1840 – 6 November 1893) was a Russian composer. He had begun piano lessons at the age of 5, and beFore turning 8, his sight-reading eclipsed that oF his teacher. Despite his musical precociousness, Tchaikovsky's parents did not believe that a career as a musician was Feasible in Russia, and sent the 10-year-old Tchaikovsky to boarding school to be educated for a career in the government. This early separation From his mother — who would die From cholera when Tchaikovsky was 14 — would create a liFelong trauma. Despite this turmoil, Tchaikovsky graduated at 19 and became a senior assistant at the Ministry of Justice in St. Petersburg the same year. Concurrently, Anton Rubinstein had founded the Russian Musical Society (Russia's First music school open to the public) in St. Petersburg, and Tchaikovsky attended classes at the school (which became the St. Petersburg Conservatory in 1862). As a prized student, Tchaikovsky was oFFered a job as a professor by Anton Rubinstein's brother, Nikolai, at what would soon become the Moscow Conservatory. In the following years, as his career grew, the public became increasingly interested in Tchaikovsky's private life. Contending with his homoseXuality — banned in Russia apart From the upper classes at the time — Tchaikovsky married a previous student of his, but ran away From her within 3 months. He had also Formed a relationship with Nadezhda von Meck in 1878, — the widow oF a railway magnate who greatly admired Tchaikovsky's work — who became his patroness, enabling him to devote all of his time to composition.