Tag Archives: Heinrich Heine

Richard Wagner Overture from the Flying Dutchman: make music part of your life series


Richard Wagner Overture from the Flying Dutchman

Advertisements

Vasily Kalinnikov – The Cedar and the Palm, symphonic picture (1898): make music part of your life series


Vasily Kalinnikov – The Cedar and the Palm, symphonic picture (1898)

Picture: Monet – A palm tree at Bordighera

 
Vasily Kalinnikov / Васи́лий Серге́евич Кали́нников (January 13 [O.S. January 1] 1866. Oryol Governorate — January 11, 1901 [O.S. December 29, 1900], Yalta) was a Russian composer of two symphonies, several additional orchestral works and numerous songs, all of them imbued with characteristics of folksong.

Work: The Cedar and the Palm / Кедр и пальма / Le Cèdre et le palmier, symphonic picture after Heinrich Heine (1898)

Orchestra: Scottish National Orchestra
Conductor: Neeme Järvi

From Wikipedia, the free encyclopedia

Vasily Sergeyevich Kalinnikov (Russian: Васи́лий Серге́евич Кали́нников; January 13 [O.S. January 1] 1866. Oryol Governorate – January 11, 1901 [O.S. December 29, 1900], Yalta) was a Russian composer of two symphonies, several additional orchestral works and numerous songs, all of them imbued with characteristics of folksong. His symphonies, particularly the First, were frequently performed in the early 20th century.

His younger brother Viktor Kalinnikov (1870–1927) was also a composer, mainly of choral music.

Opera
  • In 1812 (В 1812 году) (1899–1900); incomplete
Orchestral
  • Fugue in D minor (1889)
  • Nymphs (Нимфы), Symphonic Picture after Ivan Turgenev (1889)
  • Serenade (Серенада) in G minor for string orchestra (1891)
  • Suite (Сюита) in B Minor (1891–1892)
  • Bylina (Былина: Эпическая поэма), Epic Poem (Overture) (c. 1892)
  • Overture in D minor (1894)
  • Symphony No. 1 in G minor (1894–1895)
  • Symphony No. 2 in A major (1895–1897)
  • Intermezzo No. 1 (Интермеццо № 1) in F minor (1896)
  • Intermezzo No. 2 (Интермеццо № 2) in G major (1897)
  • The Cedar and the Palm (Кедр и пальма; Le Cèdre et le palmier), Symphonic Picture after Heinrich Heine (1897–1898)
  • Tsar Boris (Царь Борис), Incidental Music to the tragedy by Aleksey Konstantinovich Tolstoy (1898)
Piano
  • Moderato in E minor
  • Polonaise on a Theme from Symphony No. 1 (Полонез на темы Симфонии № 1) in B major for piano 4-hands
  • Scherzo in F major (1888–1889)
  • Chanson triste (Грустная песенка) in G minor (1892–1893)
  • Nocturne (Ноктюрн) in F minor (1892–1893)
  • Élégie (Элегия) in B minor (1894)
  • Minuet (Менуэт) in E major (1894)
  • Russian Intermezzo (Русское интермеццо) in F minor (1894)
  • Waltz (Вальс) in A major (1894)
Vocal
  • Come to Me (Приди ко мне) for soprano, alto, baritone and piano; words by Aleksey Koltsov
  • I Am Yours, My Darling (Я ли тебя, моя радость) for voice and piano; words by Heinrich Heine
  • I Would Like to Make My Songs into Wonderful Flowers (Я желал бы своей песней) for voice and piano; words by Heinrich Heine
  • On the Old Burial Mound (На старом кургане) for voice and piano (1887); words by Ivan Savvich Nikitin
  • On Your Lovely Little Shoulder Dear (На чудное плечико милой; An Liebchens schneeweisse Schulter) for voice and piano (1887); words by Heinrich Heine in translation by Vasily Pavlovich Fyodorov (1883–1942)
  • When Life Is Weighed Down with Suffering (Когда жизнь гнетут страданья и муки) for voice and piano (1887); words by Polivanov
  • 16 Musical Letters (16 Музыкальных писем) for voice and piano (1892–1899)
  • Bright Stars (Звёзды ясные) for voice and piano (1894); words by Konstantin Fofanov
  • The Gentle Stars Shone Down on Us (Нам звёзды кроткие мерцали) for voice and piano (1894); words by Aleksey Pleshcheyev
  • There Was an Old King (Был старый король) for voice and piano (1894); words by Heinrich Heine in translation by Aleksey Pleshcheyev
  • A Present for 1 January 1900 for voice and piano (1899)
  • Bells (Колокола) for voice and piano (1900); words by K. R.
  • Prayer (Молитва: “О Боже мой”) for voice and piano (1900); words by Aleksey Pleshcheyev
  • Do Not Ask Why I Smile in Thought (Не спрашивай, зачем…) for voice and piano (1901); words by Alexander Pushkin
Choral
  • The Triumph of Lilliput for chorus and piano
  • Cherubic Hymn No. 1 (Херувимская песнь № 1) for chorus (1885)
  • Cherubic Hymn No. 2 (Херувимская песнь № 2) for chorus (1886)
  • The Mountain Tops (Горные вершины) for chorus (1887)
  • Christe Eleison for chorus (1889)
  • Lord, Our Lord for chorus (1889)
  • Ioann Damaskin (Иоанн Дамаскин), Cantata for soloists, chorus and orchestra (1890); words by Aleksey Konstantinovich Tolstoy
  • A Beautiful Girl Sits by the Sea (Баллада: Над морем красавица дева сидит), Ballade for female chorus and orchestra (1894); words by Mikhail Lermontov

D 957, No. 4 Standchen ~ Franz Schubert



Schwanengesang (“Swan song“) is the title of a posthumous collection of songs by Franz Schubert.

The tombstone of Franz Schubert

The tombstone of Franz Schubert (Photo credit: Wikipedia)

Unlike the earlier Die schöne Müllerin and Winterreise, it uses poems by three poets, Ludwig Rellstab (1799–1860), Heinrich Heine (1797–1856) and Johann Gabriel Seidl (1804-1875). Schwanengesang has the number D 957 in the Deutsch catalogue.

The collection was named by its first publisher Tobias Haslinger, presumably wishing to present it as Schubert’s final musical testament to the world.

In the original manuscript in Schubert’s hand, the first 13 songs were copied in a single sitting, on consecutive manuscript pages, and in the standard performance order. Some[who?] claim that the last song, Taubenpost, text by Johann Gabriel Seidl (1804–1875), catalogue number D 965 A, is not part of the cycle as Schubert conceived it. However, it’s not clear that Schubert intended it to be a cycle at all, or if he did, that he completed it before he died. It may have been Tobias Haslinger, Schubert’s publisher, who conceived of it as a cycle, or attempted to finish an incomplete work by adding Taubenpost onto the end. So most people consider Haslinger’s published version ‘the’ version, and that’s how it’s performed today. Taubenpost is considered to be Schubert’s last Lied.

Franz Liszt later transcribed these songs for solo piano.

Schubert also set to music a poem named Schwanengesang by Johann Senn, unrelated to this collection (number D744 in the Deutsch catalogue). ~Taken from Wikipedia

Enhanced by Zemanta