Tag Archives: Russian Easter Festival Overture

Rimsky-Korsakov – Russian Easter Festival Overture, Op. 36 Conductor: Zubin Mehta Orchestra: Israel Philharmonic Orchestra


Rimsky-Korsakov – Russian Easter Festival Overture, Op. 36


Rimsky-Korsakov – Russian Easter Festival Overture, Op. 36 (1888), played on period instruments

make music part of your life series: SAMOHI (Philharmonic Orchestra) Procession of the Nobles from “Mlada” Nikolai Rimsky-Korsakov


[youtube.com/watch?v=GeVZpFjK6lg]

SAMOHI (Philharmonic Orchestra) Procession of the Nobles from “MladaNikolai Rimsky-Korsakov

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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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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Tchaikovsky : Symphony No.2 in C minor, Op.17 “Little Russian”



Tchaikovsky, Symphony No. 2Little Russian“Royal Concertgebouw OrchestraBernard Haitink

From Wikipedia, the free encyclopedia: 
 
 Pyotr Ilyich Tchaikovsky‘s Symphony No. 2 in C minor, Op. 17 was composed in 1872. One of Tchaikovsky’s joyful compositions, it was successful right from its premiere and also won the favor of the group of nationalistic Russian composers known as “The Five“, led by Mily Balakirev. Because Tchaikovsky used three Ukrainian folk songs to great effect in this work, it was nicknamed the “Little Russian” (Russian: Малороссийская, Malorossiyskaya) by Nikolay Kashkin, a friend of the composer as well as a well-known musical critic of Moscow.[1] Ukraine was at that time frequently called “Little Russia“.
  1. Andante sostenuto — Allegro vivo (C minor).
    A solo horn playing a Ukrainian variant of “Down by Mother Volga” sets the atmosphere for this movement. Tchaikovsky reintroduces this song in the development section, and the horn sings it once more at the movement’s conclusion. The rather vigorous second subject utilises a melody which would also be used subsequently by Nikolai Rimsky-Korsakov in his Russian Easter Festival Overture. The end of the exposition, in the relative E-flat major, leads straight into the development, in which material from both themes is heard. A long pedal note leads back to the second subject. Unusually, Tchaikovsky does not repeat the first subject theme in its entirety in this section, as is conventional, but instead uses it solely for the coda.
  2. Andantino marziale, quasi moderato (E-flat major).
    This movement was originally a bridal march Tchaikovsky wrote for his unpublished opera Undine. He quotes the folk song “Spin, O My Spinner” in the central section.
  3. ScherzoAllegro molto vivace (C minor).
    Fleet and scampering, this movement does not quote an actual folk song but sounds folk song-like in its overall character. It takes the form of a da capo scherzo and trio with a coda.
  4. Finale. Moderato assai — Allegro vivo (C major).
    After a brief but expansive fanfare, Tchaikovsky quotes the folk song “The Crane”, subjecting it to an increasingly intricate and colorful variations for orchestra. A more lyrical theme from the strings provides contrast before the symphony ends in a rousing C major conclusion.

Despite its initial success, Tchaikovsky was not satisfied with the symphony. Continue reading