Tag Archives: Mily Balakirev


Nikolai Rimsky Korsakov: Sheherazade (Tale of Tsar Saltan, Suite for orchestra, 1-3 Op.57)

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Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor): make music part of your life series


Aleksandr Glazunov: Symphony no.6 op.58 (Gennadij Rozhdestvenskij, conductor)

Parts/Movements

  1. Adagio – Allegro passionato
  2. Tema con varazioni
  3. Intermezzo. Allegretto
  4. Finale. Andante maestoso

Review :

While the Symphony No. 6 in C minor, Op. 58, of 1896 by Alexander Glazunov is not the most personally characteristic of his eight completed symphonies — the optimistic Third or the Olympian Fifth are more typical of his confident symphonic aesthetic — it is arguably the most typically Russian of his symphonies. Part of the reason for this is the scoring — violins in octaves above massed brass at its climaxes à la Tchaikovsky and gorgeously colorful woodwind writing in its central movements — part of it is the themes — ardent and powerful with a yearning quality characteristic of fin de siècle Russian symphonies — but most of it is the furious tone of the opening movement.
******With the darkly unfolding Adagio leading into a Allegro appassionato that balances a passionately despairing first theme with a fervently supplicating second theme, Glazunov’s Sixth sounds like a Russian symphony composed after the death of Tchaikovsky. But the Sixth is more than the work of a symphonic epigone. While the tone of the opening movement sounds typically Russian, its chromatic melodic and cogent harmonic structure makes it sound much more modern than contemporary symphonies by Kalinnikov or even Rachmaninov. Even more modern are the Sixth’s second and fourth movements.
******The second movement is a theme and seven variations that slowly transmutes the tone of the symphony from the fury of the opening movement to one of calm acceptance.
******The brief third-movement Intermezzo that precedes the Finale is lighter in tone than anything else in the symphony.
******The Finale itself is one of Glazunov’s most successful closing movements. With its magisterial Andante maestoso introduction announcing the chorale theme that will ultimately cap the movement, its highly contrasted themes — the first confidently striding in the winds Moderato maestoso, the second a lilting Scherzando theme for the flutes, horns, and strings — the Finale seems at first too episodic to cohere. Glazunov’s superb technical skills, however, form all the Finale’s material into an organic whole and the tone of the Finale — powerfully positive — is altogether Glazunov’s own. ~ James Leonard, Rovi

Read more:
               http://www.answers.com/topic/symphony-no-6-in-c-minor-op-58#ixzz3AkekJ1oA

               http://www.bbc.co.uk/music/artists/5a0988a4-695c-4bff-bc68-4f312427495e.html
              http://www.allmusic.com/composition/symphony-no-6-in-c-minor-op-58-mc0002366895

 

great compositions/performancesTchaikovsky – Romeo and Juliet, Fantasy-Overture | Valery Gergiev, London Symphony Orchestra


[youtube.com/watch?v=ZxOtYNf-eWE]

Tchaikovsky – Romeo and Juliet, Fantasy-Overture | Valery Gergiev, London Symphony Orchestra

Published by  Adagietto on Jan 13, 2013/ 108,521 views

From Adagietto:
Pyotr Il’yich Tchaikovsky – Romeo and Juliet, fantasy-overture for orchestra in B minor, 1880. Maestro Valery Gergiev with the London Symphony Orchestra.

Numerous composers have responded to Shakespeare’s timeless drama of forbidden and youthful love, but Tchaikovsky’s response (along with Berlioz’s and Prokofiev’s) is at the top of the list. It is the only one of the three to be intended as a number in a symphony concert, and, hence is by default the most famous of the lot.

Tchaikovsky, a lawyer, was still developing as a composer at age 29 when Mily Balakirev (self-appointed father figure to Russian composers) persuaded him to write an orchestral work on the subject of the “star-cross’d lovers.” Balakirev outlined the form, planned the keys, and even suggested some of the actual music. After the 1870 premiere, he convinced Tchaikovsky to revise it. The work’s success in this form did much to transform the composer’s tendency toward crippling doubt into useful self-criticism. (Not that the transformation was ever total; Tchaikovsky suffered bouts of depression and self-doubt throughout his career.) The composer revised it again in 1880; this version is almost universally the one played. While the final version is probably the best one, the 1869 text is also a fine work and very much worth hearing. The earlier version begins with a charming tune that carries elements of the great love theme. In the first and second revisions Tchaikovsky eliminated this and replaced it with the benedictory theme representing Friar Laurence. The effect of this change on the overture’s structure is large. The first version seems to begin with Juliet still in a relatively childlike state, but with the potential for the great love present in the disguised premonitions of the love theme. The focus is, therefore, on the development of the drama as it unfolds. The later versions, beginning as it were with a prayer, seem to invite the hearer to look back on a tragedy that has already happened. Both versions proceed identically through depictions of the clashes between the houses of Montague and Capulet, and then unveil the great love music. After that, though, Tchaikovsky’s original idea seems to this writer to be superior: There is a great development, fugal-sounding and allowing for contrapuntal conflict based on the overture’s main rhythms and themes. It is tremendously exciting, more so than the music which replaced it. Justification for dropping it might be made along the lines that the original version has too much dramatic weight and overshadows the rest of the music. The main differences thereafter are in details of scoring, and in the finale, which in the original version is much too curt.

It is often instructive to see what a great composer has done at two different times with the same ideas and material. Whether or not it has greater musical merit, Tchaikovsky’s blessing of his final version served to ensure that it is the one that prevailed, and in that form it is accepted as one of the greatest programmatic pieces in the symphonic repertoire. The yearning love theme, in particular, is universally acknowledged as one of the greatest melodies ever written, while the exciting fight music and Tchaikovsky’s unfailingly clear and imaginative orchestration carry the listener through with hardly a misstep. But the original version is not far behind it in musical worth; it should be given more frequent revivals, if only for the sake of hearing the great fugato passage described above.

Pyotr Ilyich Tchaikovsky – Romeo und Julia, Romeo y Julieta, Roméo et Juliette, Romeo e Giulietta, Romeo en Julia, Romeu e Julieta, Romeo and Juliet, Romeu i Julieta, Romeo a Juliet, Romeo og Julie, Romeo kaj Julieta, Romeo i Julija, Romeo e Xulieta, Romeo dan Julia, Rómeó és Júlia, Romeo și Julieta, Romeowan Juliet, Romeo dhe Xhuljeta, Romeo ja Julia, Romeo och Julia, Romeo at Julieta, Romeo un Džuljeta

Visit  this site for many more wonderful unique musical moments! I suscribed to this channel  Adagietto

Make Music Part of Your Life Series: Rimsky Korsakov – Dance Of The Tumblers – (What a tremendous amount of energy!)


[youtube.com/watch?v=KVIB3T2Q-sY]

Rimsky Korsakov – Dance Of The Tumblers –

Please remember to visit http://www.youtube.com/user/shreddeds… and sign her petition.

Rimsky Korakov A lively classical instrumental, this recording made in the late 70s.

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Great Compositions/Performances: Tchaikovsky-Meditation from Souvenir d’un lieu cher op. 42 no. 1 (Orchestrated by A. Glazunov)



Isaac Stern: violin-National Symphony Orchestra-Mstislav Rostropovich: conductor-1977

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Make Music Part of Your Life Series: Rimsky-Korsakov – Scheherazade Symphonic Suite for Orchestra



Nikolai Rimsky-Korsakov – Rimsky-Korsakov – Scheherazade Symphonic Suite for Orchestra Op.35 – IV. Allegro molto (performed by unknown)

Nikolai Andreyevich Rimsky-Korsakov (Russian: ??????? ????????? ???????-????????; Russian pronunciation: [n??k??laj ?r?im.sk??j ?kors?k?f]; 18 March [O.S. 6 March] 1844[a 1] — 21 June [O.S. 8 June] 1908) was a Russian composer, and a member of the group of composers known as The Five.[a 2] He was a master of orchestration. His best-known orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy tale and folk subjects. Rimsky-Korsakov believed, as did fellow composer Mily Balakirev and critic Vladimir Stasov, in developing a nationalistic style of classical music. This style employed Russian folk song and lore along with exotic harmonic, melodic and rhythmic elements in a practice known as musical orientalism, and eschewed traditional Western compositional methods. However, Rimsky-Korsakov appreciated Western musical techniques after he became a professor of musical composition, harmony and orchestration at the Saint Petersburg Conservatory in 1871. He undertook a rigorous three-year program of self-education and became a master of Western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of The Five. His techniques of composition and orchestration were further enriched by his exposure to the works of Richard Wagner. For much of his life, Rimsky-Korsakov combined his composition and teaching with a career in the Russian military—at first as an officer in the Imperial Russian Navy, then as the civilian Inspector of Naval Bands. He wrote that he developed a passion for the ocean in childhood from reading books and hearing of his older brother’s exploits in the navy. This love of the sea might have influenced him to write two of his best-known orchestral works, the musical tableau Sadko (not his later opera of the same name) and Scheherazade. Through his service as Inspector of Naval Bands, Rimsky-Korsakov expanded his knowledge of woodwind and brass playing, which enhanced his abilities in orchestration. He passed this knowledge to his students, and also posthumously through a textbook on orchestration that was completed by his son-in-law, Maximilian Steinberg. Rimsky-Korsakov left a considerable body of original Russian nationalist compositions. He prepared works by The Five for performance, which brought them into the active classical repertoire (although there is controversy over his editing of the works of Modest Mussorgsky), and shaped a generation of younger composers and musicians during his decades as an educator. Rimsky-Korsakov is therefore considered “the main architect” of what the classical music public considers the Russian style of composition. His influence on younger composers was especially important, as he served as a transitional figure between the autodidactism which exemplified Glinka and The Five and professionally trained composers which would become the norm in Russia by the closing years of the 19th century. While Rimsky-Korsakov’s style was based on those of Glinka, Balakirev, Hector Berlioz, and Franz Liszt, he “transmitted this style directly to two generations of Russian composers” and influenced non-Russian composers including Maurice Ravel, Claude Debussy, Paul Dukas and Ottorino Respighi.

 

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Glazunov – The Seasons Op.67 Autumn:Petit Adagio



Prominent Russians: Aleksandr Glazunov

August 10, 1865 – March 21, 1936
Фотограф Альфред Федецкий. Портрет русского композитора и дирижёра Александра Константиновича Глазунова. Фотография. Харьков. 1899гPortrait photo of Aleksandr Glazunov taken by Alfred Fedetsky. 1899, Kharkov, Ukraine

Aleksandr Glazunov was a Russian composer, professor and rector of the St. Petersburg Conservatory. His works of the late Russian Romantic period reconciled nationalism and cosmopolitanism in Russian music.

Child musical prodigy

Glazunov was born into a wealthy merchant family – his father was a prominent publisher and book trader in St. Petersburg. Glazunov’s mother was a good pianist and had a major influence on Aleksandr’s music education. She hired the best piano teachers for her son. To her great satisfaction, Glazunov was an eager student and as early as 13 he revealed a great talent for composition. In 1879 he met Mily Balakirev, one of the founders of the Russian nationalist school of composers known as The Five or The Mighty Handful.

Impressed by Glazunov’s talent, Balakirev recommended him to Nikolai Rimsky-Korsakov, a composer and a member of The Five. Rimsky-Korsakov took it upon himself to teach Glazunov the theory of composition, harmony and instrumental accompaniment. Glazunov was a bright student and was able to cover the whole Conservatory program in just a year and a half.

Glazunov composed his first symphony at the age of 16, which was first played at a free school concert. It was also later performed at the Moscow Exhibition, conducted by Rimsky-Korsakov. Glazunov’s symphony was very well received and was followed by other works, which were just as fine as his first piece.

Glazunov with Fedor Chaliapin and Vladimir Stasov

Glazunov with Fedor Chaliapin and Vladimir Stasov
Portrait of the composer Alexander Konstantinovich Glazunov. Portrait of Alexander Glazunov.

 

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Fabulous Composers/Compositions: Nikolaj Rimski-Korsakov – Symphony No.1 in E minor, Op. 1


English: Photograph of Russian composer Nikola...

English: Photograph of Russian composer Nikolai Rimsky-Korsakov (18 March 6 March 1844 – 21 June 8 June 1908) in 1866, when he was in the Russian Navy (Photo credit: Wikipedia)


Nikolaj Rimski-Korsakov
Symphony No.1 in E minor, Op. 1

Brno State Philharmonic Orchestra.

From Wikipedia, the free encyclopedia

The symphony is written in the traditional four movements.

  1. Largo assai—Allegro
  2. Andante tranquillo
  3. Scherzo. Vivace
  4. Allegro assai

Nikolai Rimsky-Korsakov wrote his Symphony No. 1 in E minor, Op. 1 (originally in E-flat minor), between 1861 and 1865 under the guidance of Mily Balakirev. Balakirev also premiered the work at a concert of the Free Music School in December 1865. Rimsky-Korsakov revised the work in 1884.