Herefore Didn’T Nikolai Tcherepnin, and He Felt There Was Still Compose at the Keyboard
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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. -
OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music -
S H a P E S O F a P O C a Ly P
Shapes of Apocalypse Arts and Philosophy in Slavic Thought M y t h s a n d ta b o o s i n R u s s i a n C u lt u R e Series Editor: Alyssa DinegA gillespie—University of Notre Dame, South Bend, Indiana Editorial Board: eliot Borenstein—New York University, New York Julia BekmAn ChadagA—Macalester College, St. Paul, Minnesota nancy ConDee—University of Pittsburg, Pittsburg Caryl emerson—Princeton University, Princeton Bernice glAtzer rosenthAl—Fordham University, New York marcus levitt—USC, Los Angeles Alex Martin—University of Notre Dame, South Bend, Indiana irene Masing-DeliC—Ohio State University, Columbus Joe pesChio—University of Wisconsin-Milwaukee, Milwaukee irina reyfmAn—Columbia University, New York stephanie SanDler—Harvard University, Cambridge Shapes of Apocalypse Arts and Philosophy in Slavic Thought Edited by Andrea OppO BOSTON / 2013 Library of Congress Cataloging-in-Publication Data: A bibliographic record for this title is available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved. ISBN 978-1-61811-174-6 (cloth) ISBN 978-1-618111-968 (electronic) Book design by Ivan Grave On the cover: Konstantin Juon, “The New Planet,” 1921. Published by Academic Studies Press in 2013 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. -
The St. Louis Symphony Orchestra and Music Director Stéphane Denève Announce Fall Programming for the 2021/2022 Season
FOR IMMEDIATE RELEASE [June , ] Contacts: St. Louis Symphony Orchestra: Eric Dundon [email protected], C'D-*FG-D'CD National/International: NiKKi Scandalios [email protected], L(D-CD(-D(MD THE ST. LOUIS SYMPHONY ORCHESTRA AND MUSIC DIRECTOR STÉPHANE DENÈVE ANNOUNCE FALL PROGRAMMING FOR THE 2021/2022 SEASON Highlights of offerings from September 17-December 5, 2021, include: • The return of full orchestral performances led by Music Director Stéphane Denève at Powell Hall featuring repertoire spanning genre and time that celebrates the resilience of the human spirit. • Denève opens the classical season with two programs at Powell Hall. The season opener includes the first SLSO performances of Jessie Montgomery’s Banner and Anna Clyne’s Dance alongside Pyotr Ilyich Tchaikovsky’s Symphony No. 4. In his second weeK, Denève leads the SLSO in the string orchestra version of Caroline Shaw’s Entr’acte, Charles Ives’ The Unanswered Question, Christopher Rouse’s Rapture, and Sergei Rachmaninoff’s Piano Concerto No. 3 with pianist Yefim Bronfman. • The SLSO and Denève continue their deep commitment to music and composers of today, performing works by Thomas Adès, Karim Al-Zand, William Bolcom, Jake Heggie, James Lee III, Jessie Montgomery, Caroline Shaw, Carlos Simon, Outi Tarkiainen, Joan Tower, and the U.S. premiere of Anna Clyne’s PIVOT. • Other highlights of Denève’s fall programs include performances of Ludwig van Beethoven’s Symphony No. 5, Dmitri ShostaKovich’s Symphony No. 5, and collaborations with pianist VíKingur Ólafsson in his first SLSO appearance and violinist Nikolaj Szeps-Znaider. • The highly anticipated return of the free Forest Park concert, which welcomes thousands of St. -
January 24, 2020, 8:00 P.M
PASADENA COMMUNITY ORCHESTRA WWW.PCOMUSIC.ORG Bethany Pflueger, Conductor Friday, January 24, 2020, 8:00 p.m. PROGRAM Coriolan Overture, Op. 62…………………………….……….Ludwig van Beethoven (1770-1827) The White Peacock ……………………………………......Charles Tomlinson Griffes (1884-1920) Stamping Grounds ……………………………………………………………..Dante Luna (b.1995) World Premiere INTERMISSION Symphony No, 1 in g minor ……………………………………….Vassili Kalinnikov (1866-1901) Allegro moderato Andante commodamente Allegro scherzando Finale: Allegro moderato CONCERT NOTES Dante Luna is a composer and performer based in Los Angeles, whose compositions are influenced by Viennese Classical to the New Simplicity movement. Luna’s original composition, Stamping Grounds, was inspired by a time when he flew as an unaccompanied seven-year-old minor to and from the east coast to the west coast, between his mother and father, who lived on opposite shores. Soon after the September 11th attack on the USA, the composer developed a fear of flying. But, over time, he overcame this fear. In Stamping Grounds, Luna’s experience is represented by several layers that come in and out of the foreground. Luna explains that “the ones that remain consistent are representative of the part of the experience at UCLA where I am grounded in reality; namely, the autopilot sense when walking in deep thought. The other layers that come in and out are the different memories of my childhood—from the good experiences with my family, to remembering the impact 9-11 had on me and this country.” The symmetrical form of the piece represents the composer’s thought process, with each end representing his home on each side of the country - his “stamping grounds.” Beethoven’s Coriolan Overture was written in 1807 for a German stage play by Heinrich von Collin. -
Departamento De Filosofía
DEPARTAMENTO DE FILOSOFÍA APROXIMACIÓN AL LENGUAJE DE OLIVIER MESSIAEN: ANÁLISIS DE LA OBRA PARA PIANO VINGT REGARS SUR L’ENFANT - JESÚS FRANCISCO JAVIER COSTA CISCAR UNIVERSITAT DE VALENCIA Servei de Publicacions 2004 Aquesta Tesi Doctoral va ser presentada a Valencia el día 12 de Febrer de 2004 davant un tribunal format per: - D. Francisco José León Tello - D. Salvador Seguí Pérez - D. Antonio Notario Ruiz - D. Francisco Carlos Bueno Camejo - Dª. Carmen Alfaro Gómez Va ser dirigida per: D. Román De La Calle D. Luis Blanes ©Copyright: Servei de Publicacions Francisco Javier Costa Ciscar Depòsit legal: I.S.B.N.:84-370-5899-6 Edita: Universitat de València Servei de Publicacions C/ Artes Gráficas, 13 bajo 46010 València Spain Telèfon: 963864115 UNIVERSIDAD DE VALENCIA FACULTAD DE FILOSOFIA Y CIENCIAS DE LA EDUCACION AREA DE ESTETICA Y TEORIA DEL ARTE APROXIMACION AL LENGUAJE DE OLIVIER MESSIAEN: ANALISIS DE LA OBRA PARA PIANO VINGT REGARDS SUR L´ ENFANT - JESUS TESIS DOCTORAL REALIZADA POR: FRANCISCO JAVIER COSTA CISCAR DIRIGIDA POR LOS DOCTORES: DR. D. LUIS BLANES ARQUES DR. D. ROMAN DE LA CALLE VALENCIA 2003 I N D I C E 1.- Introducción ........................................................................ 5 2.- Antecedentes e influencias estilísticas en el lenguaje de Olivier Messiaen ........................................... 10 3.- Elementos musicales del lenguaje de Messiaen y su aplicación en la obra para piano Vingt Regards sur l ´ Enfant - Jésus ........................................................ 15 4.- Vingt Regards sur l ´ Enfant - Jésus : Datos Generales. Características de su escritura pianística .................. 42 5.- Temática, simbología e iconografía en Vingt Regards sur l ´ Enfant - Jésus ........................................................ 45 6.- Análisis Formal de la obra .......................................... 67 7.- Evolución de los Temas de la obra: Estudio comparativo de su desarrollo y presentación ........ -
Limited Edition 150 Th Anniversary of the Moscow Tchaikovsky Conservatory
Limited Edition 150 th Anniversary of the Moscow Tchaikovsky Conservatory This production is made possible by the sponsorship of BP Это издание стало возможным благодаря спонсорской помощи компании BP Richter Live in Moscow Conservatory 1951 – 1965 20 VOLUMES (27 CDs) INCLUDES PREVIOUSLY UNRELEASED RECORDINGS VOLUME 1 0184/0034 A D D MONO TT: 62.58 VOLUME 2 0184/0037A A D D MONO TT: 59.18 Sergey Rachmaninov (1873 – 1943) Ludwig van Beethoven (1770 – 1827) Twelve Preludes: Piano Concerto No. 1 in C major, op. 15 1 No. 2 in F sharp minor, op. 23 No. 1 3.43 1 1. Allegro con brio 16.40 2 No. 20 in A major, op. 32 No. 9 2.25 2 2. Largo 11.32 3 No. 21 in B minor, op. 32 No. 10 5.15 3 3. Rondo. Allegro scherzando 8.50 4 No. 23 in G sharp minor, op. 32 No. 12 2.10 Sergey Prokofiev (1891 – 1953) 5 No. 9 in A flat major, op. 23 No. 8 2.54 Piano Concerto No. 5 in G major, op. 55 6 No. 18 in F major, op. 32 No. 7 2.03 4 1. Allegro con brio 5.07 7 No. 12 in C major, op. 32 No. 1 1.12 5 2. Moderato ben accentuato 3.54 8 No. 13 in B flat minor, op. 32 No. 2 3.08 6 3. Toccata. Allegro con fuoco 1.52 9 No. 3 in B flat major, op. 23 No. 2 3.13 7 4. Larghetto 6.05 10 No. -
Download Booklet
Sergey PROKOFIEV Romeo and Juliet Complete ballet Baltimore Symphony Orchestra Marin Alsop CD 1 75:03 CD 2 69:11 Sergey Prokofiev (1891–1953) Romeo and Juliet Act I Act II (contd.) It is a measure of the achievement of Prokofiev’s most ballet’). Rejecting the supposedly empty-headed 1 Introduction 2:39 1 Romeo at Friar Laurence’s 2:50 well-loved stage work that today we take for granted the confections of Marius Petipa (legendary choreographer of 2 Romeo 1:35 2 Juliet at Friar Laurence’s 3:16 concept of a narrative full-length ballet, in which every Tchaikovsky’s ballets), Radlov and his choreographers dance and action advances its story. Indeed, we are now aimed to create ballets with realistic narratives and of 3 The Street Wakens 1:33 3 Public Merrymaking 3:23 so familiar with this masterpiece that it is easy to overlook psychological depth, meanwhile teaching dancers how to 4 4 Morning Dance 2:12 Further Public Festivities 2:32 how audacious was the concept of translating so verbal a convey the thoughts and motivations of the characters 5 The Quarrel 1:43 5 Meeting of Tybalt and Mercutio 1:56 drama as Shakespeare’s Romeo and Juliet into a full- they portrayed. As artistic director of the Leningrad State 6 The Fight 3:43 6 The Duel 1:27 length ballet. Academic Theatre of Opera and Ballet (formerly the 7 The Duke’s Command 1:21 7 Death of Mercutio 2:31 We largely owe its existence to Sergey Radlov, a Imperial Mariinsky Theatre, but now widely known by the 8 Interlude 1:54 8 Romero Decides to Avenge Mercutio 2:07 disciple of the revolutionary theatre director Vsevolod abbreviation Akopera), Radlov directed two early 9 At the Capulets’ 9 Finale 2:07 Meyerhold. -
Coriolan Overture, Opus 62 Ludwig Van Beethoven (B. 1770, Bonn, Germany; D
Coriolan Overture, opus 62 Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna Austria) One of Shakespeare's most powerful tragedies is Coriolanus, the story (drawn from Plutarch's Lives) of a patrician Roman general destroyed by his overweening pride. After a decisive victory over the Volscians, Coriolanus refuses the consulship of Rome because it requires him to humble himself before the plebians or commoners; enraged at his arrogance, the people drive him into exile. But the willful general seeks revenge: he defects to his former enemies, the Volscians, and leads them against Rome. He battles his way to the very gates of Rome, where his compatriots send delegation after delegation asking him to spare his own city. When the stiff-necked warrior remains obdurate, his wife, mother, and son go out to plead with him, and he finally relents. Furious at his betrayal, the Volscians put him to death. Although Beethoven considered himself a republican and the foe of tyrants, he must have found many points in common between himself and this haughty Roman. He, too, possessed an iron will and, convinced of his genius, would not bend his neck even to princes. And he had practical reasons for creating an overture on this subject. In 1807, the composer was currying favor with the Viennese poet-playwright Heinrich von Collin, who was influential at Vienna's Imperial Theatre and who had written his own version of the Coriolanus tragedy five years earlier. Seeking a steady source of income, Beethoven wanted to secure a contract with the Theatre to write an opera annually for production there; he also hoped Collin would collaborate as his librettist. -
Symphony Shopping
Table of Contents | Week 1 7 bso news 15 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a message from andris nelsons 22 this week’s program Notes on the Program 24 The Program in Brief… 25 Dmitri Shostakovich 33 Pyotr Ilyich Tchaikovsky 41 Sergei Rachmaninoff 49 To Read and Hear More… Guest Artist 55 Evgeny Kissin 58 sponsors and donors 78 future programs 82 symphony hall exit plan 83 symphony hall information the friday preview talk on october 2 is given by bso director of program publications marc mandel. program copyright ©2015 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Chris Lee cover design by BSO Marketing BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 135th season, 2015–2016 trustees of the boston symphony orchestra, inc. William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
Piano Concerto No.23 Wolfgang Amadeus Mozart I
Program Coriolan Overture Op.62 Ludwig van Beethoven (1770-1827) Kamarinskaya Mikhail Glinka (1804-1857) Piano Concerto No.23 Wolfgang Amadeus Mozart I. Allegro (1756-1791) Wanli Wang, Piano Piano Concerto No.3 in C Minor, Op. 37 Ludwig van Beethoven I. Allegro con brio (1770-1827) Victoria Wong, Piano Millersville Orchestra Personnel Violin I Bassoon Annelise Lorentzen, Bass Robin Plant* Concertmaster Jonathan Sands Michael McCall Julia Povlow Harley Ludy Nina Vieru* Robert Murphy Horn Julia Aitken Violin II Cheryl Staherski* Gabby Crawl Flute Haley Richard Sarah Cahoe Trumpet David Houck* Katelyn Schmidt Logan Benoist Bobby Lugiano Viola Oboe Alex Gay Nick Jensen Brooke Van Veen* Elvis Zurita Kathy Horein* Trombone Rhiannon Fleming Benjamin Nase Taylor Schaub Clarinet Robert Ferry Katie Gorman Cello Alexis Bowen Timpani Evan Kazanjian Hudson Smith William Phillips* *Guest Musician Wanli Wang Miss Wanli Wang was born and raised in Dalian, China. She started her piano lessons when she was five, and went to the Central Conservatory of Music Gulangyu Piano School in Xiamen when she was in sixth grade, studied with Dr. Yang Yu and Prof. Yuanxizi Li. Miss Wanli Wang came to the United States in 2012 and studied at Lancaster Mennonite High School and Millersville University Pre-College Music Division Program. She is currently a senior piano performance major student at the Tell School of Music of Millersville University of Pennsylvania, studying with Dr. Xun Pan. Miss Wang won many prizes and awards include Young Intermediate Group in 12th Jong Kong Piano Competition in 2010; United States Music Open Competition in San Francisco in 2010; the 3rd Kawai Cup Piano Competition in Xiamen in 2009; the 15th Hong Kong Asian Piano Open Competition in 2009; and Young Group of National Furama Koeman Cup Piano Competition in 2005.