DOCSLIB.ORG

Pacifica Quartet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pacifica Quartet THE SOVIET EXPERIENCE VOLUME II ALSO WITH THE PACIFICA QUARTET ON CEDILLE RECORDS THE SOVIET EXPERIENCE VOL I STRING QUARTETS BY CDR 90000 127 DMITRI SHOSTAKOVICH “This is a marvelous beginning to what promises to be a AND HIS CONTEMPORARIES terrific Shostakovich cycle ...The Cedille engineers have outdone themselves with strikingly vivid sound quality.” SHOSTAKOVICH: QUARTETS NOS. 1- 4 —Ariama.com PROKOFIEV: QUARTET NO. 2 DECLARATIONS: MUSIC BETWEEN THE WARS CDR 90000 092 Music by Leoš Janáček, Ruth Crawford Seeger, & Paul Hindemith “This is not only a very fine demonstration of [the Pacifica’s] abilities but a winning recital on all counts.” —Fanfare MENDELSSOHN: THE COMPLETE STRING QUARTETS CDR 90000 082 “This box sets a new gold standard for performances of Mendelssohn’s string quartets.” —St. Louis Post-Dispatch DVOŘÁK: QUARTET OP. 106, QUINTET OP. 97 CDR 90000 059 “This is simply a lovely recording, warm in tone, sensitive, artfully played, and yet tastefully rambunctious when such bounce is appropriate.” —Fanfare PACIFICA QUARTET Producer & Engineer Judith Sherman THE SOVIET EXPERIENCE VOLUME II PACIFICA QUARTET Assistant Engineer & Digital Editing Bill Maylone Shostakovich Quartet No. 2 Editing James Ginsburg STRING QUARTETS BY SHOSTAKOVICH: QUARTETS NOS. 1-4 Editing Assistance Jeanne Velonis DMITRI SHOSTAKOVICH PROKOFIEV: QUARTET NO. 2 Recorded Shostakovich Quartets Nos. 1 & 2: November 18–20, 2011; Shostakovich Quartet No. AND HIS CONTEMPORARIES 3: July 23–24, 2010; Shostakovich Quartet No. 4 & Prokofiev: August 29–31, 2011— Foellinger Great Hall, Krannert Center, University of Illinois at Champaign-Urbana DISC ONE DISC TWO Microphones Sonodore RCM-402 & DPA 4006-TL DMITRI SHOSTAKOVICH (1906–1975) DMITRI SHOSTAKOVICH Front Cover Design Sue Cottrill String Quartet No. 1 in C major, Op. 49 (14:43) String Quartet No. 3 in F major, Op. 73 (31:17) Inside Booklet & Inlay Card Nancy Bieschke 1 I. Moderato (4:16) 1 I. Allegretto (6:58) 2 II. Moderato (4:45) 2 II. Andante (5:01) Front Cover Art The Red Army Broom Will Completely Sweep Away the Scum 3 III. Allegro molto (2:13) 3 III. Moderato—Allegretto—Andante (4:00) From the Ne boltai! Collection — Viktor Nikolaevich Deni; October 12, 1943 4 IV. Allegro (3:17) 4 IV. Adagio— (6:14) 5 V. Moderato—Adagio (8:53) At bottom left corner of image, torn order signed by Hitler with Nazi seal reads: Terror and Slavery String Quartet No. 2 in A major, Op. 68 (35:18) for the People. On the bayonet-broom are the names of liberated Soviet cities, from left to right: 5 I. Overture: Moderato con moto (8:23) SERGEI PROKOFIEV (1891–1953) Bryansk, Smolensk, Orylo, Kharkov, Stalino, Novorossisk, Poltava, Chernigov, Nevel, Taman, 6 II. Recitative and Romance: Adagio (10:29) String Quartet No. 2 in F major, Op. 92 (22:10) Melitopol. 7 III. Valse: Allegro (5:24) 6 I. Allegro sostenuto (6:25) 8 IV. Theme with Variations (10:49) 7 II. Adagio (7:28) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted 8 III. Allegro—Andante molto—Allegro I (8:09) to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s String Quartet No. 4 in D major, Op. 83 (25:18) 9 I. Allegretto (4:11) activities are supported in part by contributions and grants from individuals, foundations, corporations, and TT: (53:40) government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, bk II. Andantino (6:44) bl III. Allegretto— (4:17) NIB Foundation, Negaunee Foundation, Sage Foundation, and the Illinois Arts Council, a state agency. This project bm IV. Allegretto (9:58) Pacifica Quartet is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. Simin Ganatra, violin TT: (75:37) CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION Sibbi Bernhardsson, violin Masumi Per Rostad, viola MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. Brandon Vamos, cello CEDILLE RECORDS trademark of The Chicago Classical Recording Foundation All works published by G. Schirmer Inc. 1205 W Balmoral Ave., Chicago IL 60640, USA Shostakovich String Quartet No. 1, Op. 49 ©1935; String Quartet No. 2, Op. 68 ©1944; 773.989.2515 tel - 773.989.2517 fax WWW.CEDILLERECORDS.ORG String Quartet No. 3, Op. 73 ©1946; String Quartet No. 4, Op. 83 ©1949 CDR 90000 130 P & C 2012 Cedille Records All Rights Reserved. Made in U.S.A Prokofiev String Quartet No. 2, Op. 92 ©1941 2 3 Dmitri Shostakovich and The former brilliantly and wittily The four years between the Cello expression within an ideologically Sergei Prokofiev exploits pizzicato (plucked) and Sonata and the First String Quartet approved musical language. That Quartets 1938–1949 grotesque arco (bowed) effects, while were fraught with problems: Just after Shostakovich was able to do so Notes by Elizabeth Wilson in the latter, the soaring soprano recovering from a major personal without compromising the quality of melody is successfully emulated by crisis involving his divorce from and his music or limiting its all-embracing SHOSTAKOVICH the first violin (although the quartet remarriage to Nina Varzar, both in range of emotional expression, is Dmitri Shostakovich came to quartet cannot match the emotional or 1935, Shostakovich’s life was changed testimony to his fierce tenacity of writing as a fully mature composer. physical power of the full orchestra in forever by the infamous Party editorial purpose and his unparalleled ability When he embarked on his first the lead up to the culmination). of January 28, 1936, in Pravda, to innovate within the strictures of quartet, he was 32 and had behind titled “Muddle instead of Music” imposed boundaries. him a turbulent biography and large Shostakovich’s first piece of serious chamber music conceived in the — a vicious attack that reputedly As he approached his 32nd birthday, number of compositions, including represented the view and voice of five symphonies, three ballets, and classical tradition was his Cello the time had come for a respite from Sonata, Op. 40. Its structural para- Stalin himself. Shostakovich was public forms. Shostakovich’s desire to two operas, as well as much incidental ostracized and forced at the eleventh music for theatre and cinema. So his meters are worthy of Brahms, but master the string quartet stemmed the enormous gamut of emotions hour to withdraw from rehearsal his from his need for in-depth private interests lay more with large dramatic yet unperformed Fourth Symphony. forms, and also entertainment, expressed, from grotesque to tragic study, reinforced by the challenge of to ironic to sentimentally lyrical, is In trepidation, he set to work on his treading on the holy ground of the rather than with the intimacies of monumental Fifth Symphony, which chamber music. Shostakovich’s first an original and entirely characteristic great classical tradition of Haydn, feature. These and three youthful was inevitably regarded as an offering Beethoven, and Schubert. encounter with the string quartet to the shrine of “socialist realism.” medium dates from November 1931, pieces — the First Piano Trio, Op. The First Quartet (along with the 8; Three Pieces for cello and piano, After the triumphant first perform- when he produced a surprise gift ance in November 1937, the Party Seventh and 11th) is one of the Op. 9 (not extant); and Prelude and for the touring Vuillaume Quartet: authorities were ostensibly convinced shortest in Shostakovich’s output Scherzo for string octet, Op. 11 — transcriptions of two of his most of Shostakovich’s “reformation.” It for the genre. Over a mere 15 popular pieces, the Polka from his represented the composer’s entire minutes, the composer compressed chamber music output when he was a turning point in his biography, ballet The Golden Age, and Katerina’s irreversibly forcing him to turn his back the classical cycle into four tautly Aria (labelled simply “Adagio”) from decided to tackle the classical string structured movements with masterly quartet form. on avant garde experiment and seek the opera Lady Macbeth of Mtsensk. 4 5 authority. The opening Moderato noticeably lacks a slow movement.) It The apparent simplicity and charm lend themselves to all kinds of is effectively a sonatina with a comprises a set of variations written of the moderato movements stand rhythmic variation and syncopation. shortened recapitulation, where the in a “stile russe.” The variation form in contrast with the two faster The composer brilliantly exploits the extreme simplicity of the thematic almost seems an excuse for a formal movements that follow, where the instrumental possibilities of the material and transparency of the C exercise, similar to a task set in a musical language is more refined and quartet and the virtuosity of the major key emphasize the composer’s conservatory class. The modal nature elaborate, and technical demands players. The music surges with purity of expression. (In this regard, of the melody places it firmly in the on the performers are considerably uninterrupted vitality to the end it fulfils a similar function to the sound-world of Russian folk song, increased. The restless and fleeting with a triumphant reiteration of C opening Prelude of his great cycle although the theme is Shostakovich’s scherzo, in the far-off key of C-sharp major chords in the violins over the of 24 Preludes and Fugues for piano, own, not a borrowing or quotation. minor, recalls the fantastic world of lower strings’ resonating eighth- Op. 87.) The second subject theme In all, there are only three variations, Mendelssohn with its muted lightness notes. While Shostakovich’s public introduces a note of gentle humor, but the device of repeating the of touch, while its F-sharp major statements must always be taken as the viola’s repeated eighth- theme in two slightly varied phrases trio, full of wistful charm, sounds in with a grain of salt, the sunny nature note accompaniment and cello’s adds substance and instrumental a hushed pianissimo like a distant, of the finale appears to substantiate droll upward glissandi underpin diversity.
Load more

Recommended publications
  • University Symphony Orchestra "Encounters"
    FierbergerCollegeYEARS of Fine Arts University Symphony Orchestra "Encounters" Timothy Russell, conductor Mischa Semanitzky and Gunther Schuller, guest conductors Kimberly Marshall, organ David Ballou, trumpet Seamus Blake, tenor saxophone Allan Chase, alto saxophone With the ASU Concert Jazz Band School of Music Herberger College of Fine Arts Arizona State University Friday, September 17, 2004 7:30 p.m. Gammage Auditorium ARIZONA STATE M UNIVERSITY Program Overture to Nabucco Giuseppe Verdi (1813 — 1901) Timothy Russell, conductor Symphony No. 3 (Symphony — Poem) Aram ifyich Khachaturian (1903 — 1978) Allegro moderato, maestoso Allegro Andante sostenuto Maestoso — Tempo I (played without pause) Kimberly Marshall, organ Mischa Semanitzky, conductor Intermission Remarks by Dean J. Robert Wills Remarks by Gunther Schuller Encounters (2003) Gunther Schuller (b.1925) I. Tempo moderato II. Quasi Presto III. Adagio IV. Misterioso (played without pause) Gunther Schuller, conductor *Out of respect for the performers and those audience members around you, please turn all beepers, cell phones and watches to their silent mode. Thank you. Program Notes Symphony No. 3 – Aram Il'yich Khachaturian In November 1953, Aram Khachaturian acted on the encouraging signs of a cultural thaw following the death of Stalin six months earlier and wrote an article for the magazine Sovetskaya Muzika pleading for greater creative freedom. The way forward, he wrote, would have to be without the bureaucratic interference that had marred the creative efforts of previous years. How often in the past, he continues, 'have we listened to "monumental" works...that amounted to nothing but empty prattle by the composer, bolstered up by a contemporary theme announced in descriptive titles.' He was surely thinking of those countless odes to Stalin, Lenin and the Revolution, many of them subdivided into vividly worded sections; and in that respect Khachaturian had been no less guilty than most of his contemporaries.
    [Show full text]
  • 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.
    [Show full text]
  • 9 July 2018 21H20-22H30 Concert of Classical Music Programme Ruben Muradyan (Piano) Sergei Rachmaninov Melody Op
    International Conference on New Frontiers in Physics ICNFP 2018 OAC, Kolymbari, Crete, 4-12.07.2018 9 July 2018 21h20-22h30 Concert of Classical Music Programme Ruben Muradyan (Piano) Sergei Rachmaninov Melody Op. 21, N 9, D major , Svetlana NOR (Violin) for cello and piano Vladimir Nor (cello), Ruben Muradyan (piano) Vladimir NOR (Cello) Pyotr Tchaikovsky Pezzo capriccioso, in B-minor, Op. 62, RUBEN MURADYAN (piano), RUSSIA for cello and piano (1882) Graduated from Moscow Conservatory, class of A.A. Nasedkina Vladimir Nor (cello), Ruben Muradyan (piano) and L.N. Vlasenko. Won K. Kana International Competition in Paris, got a diploma at the International Chamber Music Alexander Glazunov Competition in Finale Ligure (Italy). Professor at the Department Grand Adagio from "Raymonda" ballet of Piano and Organ, GMPI MM Ippolitov-Ivanov and a piano Svetlana Nor (violin), Ruben Muradyan (piano) teacher at Ippolitov-Ivanov Music school and at the Art School Piano "Spring". Giving concerts and master classes in Russia, Henri Vieuxtemps Armenia, Germany, France and Australia. Participating "Fantasy" on "The Nightingale" as the jury of various regional, national and international competitions. by Alyabyev, G minor, Op. 24 Svetlana Nor (violin), Ruben Muradyan (piano) SVETLANA NOR (violin), RUSSIA Graduated from Moscow Gnessin Secondary Music School Pyotr Tchaikovsky (violin class of Elena Koblyakova-Mazor) and from Gnessin Trio in A minor for piano, violin, Musical Pedagogical Institute (violin class of Miroslav Rusin and cello, Op. 50 (1882) and quartet class of Prof. Valentin Berlinsky). For twenty years is playing in Alyabiev Quartet together with her husband "In memory of a great artist" Vladimir Nor.
    [Show full text]
  • Comparison and Contrast of Performance Practice for the Tuba
    COMPARISON AND CONTRAST OF PERFORMANCE PRACTICE OF THE TUBA IN IGOR STRAVINSKY’S THE RITE OF SPRING, DMITRI SHOSTAKOVICH’S SYMPHONY NO. 5 IN D MAJOR, OP. 47, AND SERGEI PROKOFIEV’S SYMPHONY NO. 5 IN B FLAT MAJOR, OP. 100 Roy L. Couch, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Donald C. Little, Major Professor Eugene Migliaro Corporon, Minor Professor Keith Johnson, Committee Member Brian Bowman, Coordinator of Brass Instrument Studies Graham Phipps, Program Coordinator of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Couch, Roy L., Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky’s The Rite of Spring, Dmitri Shostakovich’s Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev’s Symphony No. 5 in B flat major, Op. 100, Doctor of Musical Arts (Performance), May 2006, 46 pp.,references, 63 titles. Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba.
    [Show full text]
  • Tonical Ambiguity in Three Pieces by Sergei Prokofiev
    TONICAL AMBIGUITY IN THREE PIECES BY SERGEI PROKOFIEV by DAVID VINCENT EDWIN STRATKAUSKAS B.Mus.,The University of British Columbia, 1992 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1996 © David Vincent Edwin Stratkauskas, 1996 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of MlASlC- The University of British Columbia Vancouver, Canada •ate OCTDKER II ; • DE-6 (2/88) ABSTRACT There is much that is traditional in the compositional style of Sergei Prokofiev, invoking the stylistic spirit of the preceding two hundred years. One familiar element is the harmonic vocabulary, as evidenced by the frequent use of simple triadic sonorities, but these seemingly simple sonorities are frequently instilled with a sense of multiple meaning, and help to facilitate a tonal style which differs from the classical norm. In this style, the conditions of monotonality do not necessarily apply; there is often a sense of the coexistence of several "tonical" possibilities.
    [Show full text]
  • Sergei Prokofiev-Romeo and Juliet Suite
    Sergei Prokofiev (1891-1953) Romeo and Juliet Suite We are all not so distantly removed as to firmly recognize the tumultuous changes that shaped the world between 1891 and 1953. To imagine a composer’s life and work, within this period, without taking due notice of historical background is to ‘miss the boat’ entirely. If one could mention to what extent European composers from Ravel to Elgar were affected by World War I. If one could recognize the turmoil of World War II meted out upon music composition and performance in Europe. If one could add to this the emergence of the USSR on the one hand, and the climate of modernization on the other. This modernization in all matters would be no less prevalent in music and architecture. It would bring the Bauhaus school of Design and the sonically comparable Second Viennese School of Schoenberg, Webern and Berg to the fore, and deliver through the Darmstadt period the antecedence of our entire modern tableaux. One should also recognize how very quickly all this had happened, connecting in short shrift, the Victorian age emerging triumphalist from its industrial grime - to the second Elizabethan age of jet travel, the television and the Cold War. Prokofiev’s life, career and working style reflects his extraordinary presence in the global arena marked equally by his ‘on again-off again’ relationship with the authorities in the USSR. His early compositions, especially for piano are marked with an iconoclastic, willful, unconventional, revolution of their own. By 1908/9 Prokofiev had graduated in composition from the conservatory and by 1913/14 was the pride of the student body.
    [Show full text]
  • Sonata for Flute and Piano in D Major, Op. 94 by Sergey Prokofiev
    SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the Honors ColLege by Danielle Emily Stevens San Marcos, Texas May 2014 1 SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE Thesis Supervisor: ________________________________ Kay Lipton, Ph.D. School of Music Second Reader: __________________________________ Adah Toland Jones, D. A. School of Music Second Reader: __________________________________ Cynthia GonzaLes, Ph.D. School of Music Approved: ____________________________________ Heather C. GaLLoway, Ph.D. Dean, Honors ColLege 2 Abstract This thesis contains a performance guide for Sergey Prokofiev’s Sonata for Flute and Piano in D Major, Op. 94 (1943). Prokofiev is among the most important Russian composers of the twentieth century. Recognized as a leading Neoclassicist, his bold innovations in harmony and his new palette of tone colors enliven the classical structures he embraced. This is especially evident in this flute sonata, which provides a microcosm of Prokofiev’s compositional style and highlights the beauty and virtuosic breadth of the flute in new ways. In Part 1 I have constructed an historical context for the sonata, with biographical information about Prokofiev, which includes anecdotes about his personality and behavior, and a discussion of the sonata’s commission and subsequent premiere. In Part 2 I offer an anaLysis of the piece with generaL performance suggestions and specific performance practice options for flutists that will assist them as they work toward an effective performance, one that is based on both the historically informed performance context, as well as remarks that focus on particular techniques, challenges and possible performance solutions.
    [Show full text]
  • Study Guide: Graduate Placement Examination in Music History
    GRADUATE PLACEMENT EXAMINATION IN MUSIC HISTORY STUDY GUIDE The Graduate Placement Examination in Music History is designed to ascertain whether incoming graduate students have a knowledge of music history commensurate with an undergraduate degree in music. It is typically offered prior to the first day of classes each semester. Students are asked to identify important historical figures, define important terms, compose a brief essay, and draw conclusions from a musical score. Some knowledge of musical traditions beyond the Western/European classical traditions, including topics such as “world music,” “folk music,” and “popular music,” is also expected. The ninety-minute examination comprises the following sections: 1. identification of composers and schools of composition (choose from a list provided during the exam); worth 25 points, allow approximately 20 minutes 2. identification of terms (choose from a list provided during the exam); worth 25 points, allow approximately 20 minutes 3. essay (choose a topic from a list provided during the exam); worth 30 points, allow approximately 30 minutes 4. score identification, including: historical period and approximate date of composition; genre, its important stylistic features, and how/where they can be seen in the piece; and the name of the likely composer; worth 20 points, allow approximately 20 minutes. This study guide provides lists, organized by historical era (with approximate dates), of major figures, genres, and terms from music history. They are not necessarily complete or comprehensive lists of items that will appear on the test. For further review, the faculty recommend consulting the textbook (and accompanying scores and recordings) used in the undergraduate core music history sequence in the Department of Music.
    [Show full text]
  • 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.
    [Show full text]
  • Soviet Censorship Policy from a Musician's Perspective
    The View from an Open Window: Soviet Censorship Policy from a Musician’s Perspective By Danica Wong David Brodbeck, Ph.D. Departments of Music and European Studies Jayne Lewis, Ph.D. Department of English A Thesis Submitted in Partial Completion of the Certification Requirements for the Honors Program of the School of Humanities University of California, Irvine 24 May 2019 i Table of Contents Acknowledgments ii Abstract iii Introduction 1 The Music of Dmitri Shostakovich 9 Lady Macbeth of Mtsensk District 10 The Fifth Symphony 17 The Music of Sergei Prokofiev 23 Alexander Nevsky 24 Zdravitsa 30 Shostakovich, Prokofiev, and The Crisis of 1948 35 Vano Muradeli and The Great Fellowship 35 The Zhdanov Affair 38 Conclusion 41 Bibliography 44 ii Acknowledgements While this world has been marked across time by the silenced and the silencers, there have always been and continue to be the supporters who work to help others achieve their dreams and communicate what they believe to be vital in their own lives. I am fortunate enough have a background and live in a place where my voice can be heard without much opposition, but this thesis could not have been completed without the immeasurable support I received from a variety of individuals and groups. First, I must extend my utmost gratitude to my primary advisor, Dr. David Brodbeck. I did not think that I would be able to find a humanities faculty member so in tune with both history and music, but to my great surprise and delight, I found the perfect advisor for my project.
    [Show full text]
  • Borodin String Quartet
    UNIVERSITY MUSICAL SOCIETY BORODIN STRING QUARTET Mikhail Kopelman, Violinist Dmitri Shebalin, Violist Andrei Abramenkov, Violinist Valentin Berlinsky, Cellist Tuesday Evening, February 18, 1992, at 8:00 Rackham Auditorium, Ann Arbor, Michigan PROGRAM Quartet in C minor, Op. 51, No. 1 .......... Brahms Allegro Romanze: poco adagio Allegretto molto moderate e comodo, un poco piu animate Finale: allegro IN TERMISSION Quartet No. 15 in E-flat minor, Op. 144 Shostakovich Elegy: adagio Serenade: adagio Intermezzo: adagio Nocturne: adagio Funeral March: adagio molto Epilogue: adagio, adagio molto The Borodin Quartet is represented by Mariedi Anders Artists Management, San Francisco. The University Musical Society is a member of Chamber Music America. Activities of the UMS are supported by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts. Twenty-sixth Concert of the 113th Season Twenty-ninth Annual Chamber Arts Series Program Notes Quartet in C minor, as an uneasy, sinister, shadowy one. The contrasting central trio section, Un poco piu Op. 51, No. 1 animate, is a folklike tune accompanied by JOHANNES BRAHMS (1833-1897) unusual sounds from the open strings of the he musical manner that Brahms second violin and viola. In the Allegro finale, adopted as a young man and the Brahms refers again to the Scherzo, but the skill that he showed when he was musical materials are most closely related to only 20 years old, led Schumann those that open the Quartet, and the whole to proclaim him "a musician is presented with a concentrated force that chosenT to give ideal expression to his times." recalls and balances the entire opening move­ Even when he was young, Brahms had found ment.
    [Show full text]
  • World-Class Musicians Coming to Wimbledon 8 - 23 November 2014
    Patrons: Lord Birkett ● Alfred Brendel ● Rivka Golani ● Ian Partridge ● Raphael Wallfisch “Re-defining the Best” World-class musicians coming to Wimbledon 8 - 23 November 2014 The Borodin Quartet playing Beethoven and Borodin, and Mozart with Michael Collins; An original Festival Production of Stravinsky’s Soldier’s Tale; Mozart and Beethoven Octets with London Winds; Anthems for Doomed Youth with Myrthen – Katherine Broderick, Clara Mouritz, Benjamin Hulett, Marcus Farnsworth, Joseph Middleton; ‘Five star’ Russian pianist Denis Kozhukhin; Viola Day with Lawrence Power and Christopher Wellington; International jazz with Paris Washboard; “thrilling” piano duo York2; “astonishing” Hungarian guitar duo The Katona Twins; Mozart ‘Exultate Jubilate’, Haydn ‘Nelson’ Mass with Academy Choir and Baroque Players, and Joanne Lunn; The SIXTEEN and Harry Christophers; Players of the Globe Theatre; Schubertiade with Kathron Sturrock and The Fibonacci Sequence. Wimbledon International Music Festival ng our com rti m are proud to continue to support the o u p n p it u y Wimbledon S International Music Festival Surveyors, Valuers & Estate Agents Surveyors, Valuers & Estate Agents 35 High Street, Wimbledon Village, London35 High Street, Wimbledon Village, London Wimbledo n SW19 5BY Telephone: 020 8947 9833 SW19 5BY Telephone: 020 8947 9833 RH_Wimbledon Music Festival_A5_03.indd 1 23/05/2014 15:31 Wimbledon International Music Festival 3 ‘Anthems for Doomed Youth’, a moving collection of songs drawn from Russia, Germany, Welcome to Wimbledon for the 2014 Festival France, Spain, Britain and America, will be presented by four superb young singers, and Joseph Middleton, piano. I was most encouraged to receive such warm audience feedback after last year’s Festival which has spurred me on to raise the bar and continue to bring world-class artists The brilliant guitar duo, the Katona Twins, will bring a programme of Spanish music interwoven to Wimbledon.
    [Show full text]