Tag Archives: Saint Petersburg

poetry: Aleksandr Pushkin: The Bronze Horseman A Petersburg Story 1833


 

Aleksandr Pushkin

Aleksandr Pushkin

The Bronze Horseman

A Petersburg Story

1833INTRODUCTION

The incident, described in this story is based on a truth.
The details of the flood are taken from the contemporary magazines.
The curious ones can consult the record, prepared by V. I. Berkh.

PROLOGUE

On a deserted, wave-swept shore,
He stood – in his mind great thoughts grow –
And gazed afar. The northern river
Sped on its wide course him before;
One humble skiff cut the waves’ silver.
On banks of mosses and wet grass
Black huts were dotted there by chance –
The miserable Finn’s abode;
The wood unknown to the rays
Of the dull sun, by clouds stowed,
Hummed all around. And he thought so:
‘The Swede from here will be frightened;
Here a great city will be wrought
To spite our neighborhood conceited.
From here by Nature we’re destined
To cut a door to Europe wide,
To step with a strong foot by waters.
Here, by the new for them sea-paths,
Ships of all flags will come to us –
And on all seas our great feast opens.’ 

An age passed, and the young stronghold,
The charm and sight of northern nations,
From the woods’ dark and marshes’ cold,
Rose the proud one and precious.
Where once the Finnish fisherman,
Sad stepson of the World, alone,
By low riverbanks’ a sand,
Cast into waters, never known,
His ancient net, now on the place,
Along the full of people banks,
Cluster the tall and graceful masses
Of castles and palaces; and sails
Hasten in throng to the rich quays
From all the lands our planet masters;
The Neva-river’s dressed with rocks;
Bridges hang o’er the waters proud;
Abundantly her isles are covered
With dark-green gardens’ gorgeous locks… 

By the new capital, the younger,
Old Moscow’s eclipsed at once -
Such is eclipsed a queen-dowager
By a new queen when her time comes.
I love you, Peter’s great creation,
I love your view of stern and grace, 
The Neva wave’s regal procession,
The grayish granite – her bank’s dress,
The airy iron-casting fences,
The gentle transparent twilight,
The moonless gleam of your nights restless,
When I so easy read and write
Without a lamp in my room lone,
And seen is each huge buildings’ stone
Of the left streets, and is so bright 
The Admiralty spire’s flight,
And when, not letting the night’s darkness
To reach the golden heaven’s height,
The dawn after the sunset hastens –
And a half-hour’s for the night.
I love your so sever winter’s 
Quite still and fresh air and strong frost, 
The sleighs race on the shores river’s,
The girls – each brighter than a rose,
The gleam and hum of the balls’ dances,
And, on the bachelors’ free feast,
The hissing of the foaming glasses
And the punch’s bluish flaming mist.
I love the warlike animation
Of the play-fields of the god Mars,
And horse-and-footmen priests’ of wars 
So homogeneous attraction,
In their ranks, in the rhythmic moves,
Those flags, victories and rended,
The glitter of those helmets, splendid,
Shot through in military strives.
I love, O capital my fairest,
Your stronghold guns’ thunder and smoke,
In moments when the northern empress
Adds brunches to the regal oak
Or Russia lauds a winning stroke
To any new and daring foe,
Or, breaking up the light-blue ice,
The Neva streams it and exults,
Scenting the end of cold and snow.

City of Peter, just you shine
And stand unshakable as Russia!
May make a peace with beauty, thine,
The conquered nature’s casual rushes;
And let the Finnish waves forget
Their ancient bondages and malice
And not disturb with their hate senseless
The endless sleep of Peter, great!

The awful period was that,
It’s fresh in our recollection…
This time about, my dear friend,
I am beginning my narration.
My story will be very sad.


PART ONE

On Petrograd, sunk into darkness,
November breathed with fall cold’s harshness.
And, splashing, with the noisy waves
Into the brims of her trim fences,
The Neva raved, like the seek raves
In a bed, that has become the restless.
Now it was very dark and late;
The rain stroke ‘gainst the window’s flat.
And the wind blew with sadly wailing.
Right at this time, from being a guest
Evgeny, for his nightly rest,
Came home. This name was most prevailing
In our young hero’s name choice.
It sounds pleasantly. Of course,
With it my pen’s had long connections
It needn’t the special commendations,
Though in the times, in Lithe gone,
It might have been the most attractive
And under Karamzin’s pen, fine,
Sung in some legends, our native;
But now it is forgotten by 
The world and rumors. Our guy
Lives in Kolomna: he’s in service,
Avoids the rich ones, and ne’er sad is
For his kin which had left the world,
Or for the well-forgotten old.

So, he is home – our Evgeny,
Took off his greatcoat, undressed,
Lay in his poor bed, but oppressed 
He was by his thoughts, so many.
What did he thought of? Well, of that
That he was poor and that his bread, 
His honour and his independence
Just by hard work must be achieved, 
That God should send to him from heavens
More mind and money. That do live 
Such idle, fully happy creatures –
The lazy-bones, quite ludicrous,.
Whose life is absolutely light!
That he had served for two long years;
And that the weather, former fierce,
Hadn’t come less fierce, that the flood
In the Neva is getting higher,
The bridges might be got entire,
And that his sweet Parasha’s place
For two-free days wouldn’t be accessed.
There sighed Evgeny with his soul,
And dreamed as dreams a real bard:

“To marry then? Of course it’s hard. 
But why don’t marry, in a whole?
I’m of the young and healthy sight,
Ready to work for day and night;
I’ll someway find the good repose,
The simple and shy place, at last,
Parasha will be there composed. 
The year or, may be, two will pass –
I’m in position, to my dear 
I’ll give all family to bear
And bring our children up, at once...
Such we’ll start life, at last repose,
With hand-in-hand, such we’ll come both,
And our grandsons will bury us...” 

Thus he did dream. And a great sadness
Embraced his soul in that night,
He wished the wind’s weep to be lesser,
Rain’s siege of windows – not so tight.
At last his sleepy eyes were closed...
And now the night is getting gray –
That night, so nasty and morose, 
And it is coming – the pale day
The awful day! During the night
Neva had strived for sea ‘gainst tempests
But, having lost all her great battles,
The river ceased the useless fight…
And in the morn on her shores proud,
Stood people in a pressed in lot
And saw the tall and heard the loud 
Fierce waters’ mountains, it had brought.
But by the force of airy breathing
Blocked from the Gulf, the wide Neva
Came back – the wrathful one and seething -
And flooded islands, near and far;
The weather grew into the cruel,
Neva – more swelling and more brutal,
Like in a kettle boiled and steamed,
And then, as a wild creature seemed,
Jumped on the city. And before it,
All ran away from its strait path,
And all got emptied there; at once.
The waters flew into the cellars,
And raised up to the fence of canals –
And, like Triton, Petropol sails
Sunk in the water till his waist. 

Siege and assault! The evil waters
Thrust into windows, like slaughters.
The mad boats row into a glass.
The stalls are under the wet mass.
The wrecks of huts, the logs, roofs’ pieces,
The stores of the tread, auspicious,
The things, carried the pale want from,
The bridges got away by storm,
The coffins from the graveyards - float,
Along the streets!
                               The populace
Sees God’s great wrath and waits for death.
All is destroyed: bread and abode.
And how to live?
                           The monarch, blessed, 
Tsar Aleksandr, in a good fashion,
Still governed Russia that year, dread,
And from the balcony he, sad 
And pale, said: “Ne’er the God-made nature
Can be subdued by any tsars.”
And, in a thought, looked at the evil’s 
With his full of deep sadness eyes.
The streets turned into the fast rivers,
Running to made lakes, dark and grievous,
The Palace was an island, sad,
That loomed over the blackened waters.
The Tsar decreed – from end to end,
Down the shortest streets and longest,
On danger routs over the waves,
His generals set into the sailing –
To save the drawing and straining
On streets and in their homes-graves.

Then on the widest Square of Peter,
Where with his glass a new pile glittered,
Where on its porch, too highly placed,
With their paw raised, as if they’re living,
Stood two marble lions, overseeing.
On one of them, as for a race,
Without his hat, arms – tightly pressed,
Awfully pale – no stir appeared –
Evgeny sat. And there he feared
Not his own death. He did not hear
How the wrathful roller neared,
Greedily licking his shoes’ soles,
And how flagged him the rain coarse,
And how the fierce wind there wailed,
Or how it’d blown off his hat.
His looks of deepest desperation
Were all set on a single place
Without a move. The waves, impatient, 
Had risen there, like tallest crags,
Lifted from waked deeps in a madness,
There wreckage swam, there wailed a tempest …
O, God! O, God! – Right on that place,
Alas! so close to the waves,
And by the shores of the Gulf Finnish,
A willow-tree, a fence unfinished
And an old hut: there they must be –
A widow and her child Parasha –
His soul’s dream … Or does he see
It in a dream? … And, like the usher 
Of dreams – a sleep, is our life none –
Just Heavens make of Earth a fun?  

And he, like under conjuration,
Like in jail irons’ limitation,
Cannot come down. Him around
Only black waters could be found!
And turned to him with his back, proudest,
On height that never might be tossed,
Over Neva’s unending wildness,
Stands, with his arm, stretched to skies, lightless, 
The idol on his brazen horse. 


PART TWO

But now, sated with distraction
And tired of its rude attack,
Neva, at last, was coming back,
Looking at ruins with satisfaction
And leaving with a little attention
Its prey behind. A reprobate,
With his sever and low set,
Thus, thrusting in a village, helpless,
Breaks, slaughters, robs all and oppresses:
The roar, rape, swore, alert and wails!...
And, under their large booty posted,
Afraid of chases and exhausted,
The robbers speed to their old place,
Losing their loot along the road.

The waves were gone, the pavement, broad,
Was opened, and Evgeny, stressed, 
With heart half-dead and stifled throat,
In a hope, fear and awful pains,
Runs to the stream, just now restrained.
But, in the winning celebration,
Waves still were boiling with a passion,
As if to flames, under them fanned;
They still were with white foam covered,
And Neva’s breast was heavily moved,
Like the steed’s one after a race.
Evgeny sees a boat here;
He runs to it – a find, revered, –
He calls a boatman at once –
The boatman, a guy quite careless,
Just for ten kopeks, with great gladness,
Takes him into the waves’ wild dance.

And for a long with these waves, close,
The much trained rower was in fight,
And to sink deeply mid their rows,
The scuff, with its brave sailors both,
Was apt all time… The other side
Is reached, at last. And the frustrated
Runs through the so well-known street
To his old places. He doesn’t meet
A thing, he’d known. The view’s rated
As the worst one! All’s in a mess –
All is failed down or swept or stressed:
The little houses are bent down,
Some – shifted, some – razed to their ground
By awful forces of the waves;
The bodies, waiting for their graves,
Are lying round, like aft fight, merciless.
Our poor Evgeny – his mind’s flamed – 
Half-dead under the tortures, endless,
Runs there where the inhumane fate
Would give him the unknown message,
As if a letter, sealed to bear;
He’s now in the suburbs’ wreckage,
There is the Gulf, the house is near… 
But what is this? He stopped, frustrated,
Went back, returned a little later…
He looks… he walks … he looks once more.
There is the place their house for
And willow-tree. The gates were here –
They’re swept… But where’s the house, o grace? 
And full of troubles, hard to wear,
He walked and walked around the place. 
Told to himself in voices loud –
And suddenly, as if all’s found,
Struck his forehead and fell in laugh.
The night embraced the city, stuffed
With all its woe. And still for hours
A sleep was running from each house –
The folk recalling the past day.
Now, through the clouds, weak and pale,
The morn ray flashed o’er the mute city
And did not found e’en a trace
Of the past woe. The dawn, witty,
Had safely screened the doing, base.
The former life had got its place.
Along the streets now free of flooding,
With cold indifference, folks are moving.
Just having left his lodge of night,
The clerk is going at his site.
The petty tradesman, very dauntless, 
Is opening his cellar – wet, 
Robbed by the waves’ impudent set –
Intending to revenge his losses
On brothers-humans. From the yard
Is pulled the boat, full of mud.
Count Khvostov, a pet of Zeus,
Now is singing his songs, deathless,
To the Neva shores’ former plight.

What’s of Evgeny, our poor hero? …
Alas! His agitated mind,
Against the immense woe’s billow
Didn’t stand untouchable. The wind’s
And Neva’s noise was always growing 
In his poor ears. Mute and half-blind,
With awful thoughts, he was a-roaming, 
Being quite tortured by some dream.
A week, month passed by as a stream,
At his past home he wasn’t returning
And his landlord, when the rent’s time
Had gone, gave his corner to some
Bard, sunk in a poverty unduly.
Evgeny didn’t come for his stuff
And soon became a stranger, fully,
To world: his day wasn’t long enough
For walk; he slept on wharfs till morning
His bread was one a beggar has,
He wore the dirt and rotten dress.
The evil children, with cries joyful, 
Sometimes threw stones to his back,
Often the coachmen’ whips, wrathful,
Stung his thin body – for his track
Was cast without choosing direction –
He seemed to notice nothing else –
He was quiet deafened and oppressed
By noise of inner agitation. 
And thus he strayed in his life’s mist – 
Not humane being, nor some beast –
Not fish, nor flesh – not living creature,
Nor ghost of dead … But once he slept 
By Neva’s wharf – the summer’s features
Were now like autumn’s. The wind, bad,
Was breathing there. The roller, sad,
Was splashing its complain and groan
And striking ‘gainst the steps of stone,
Like the offended at the door
Of justice that doesn’t hear him more.
The poor waked up. All was gloom round:
Falling the rain, wind wailing loud,
And it was answered through the night
By some alone distant guard...
Evgeny got up in a hurry, 
He recollected his all flurry,
Stood on a spot, began to walk 
And stopped again, almost choked, 
Intently gazing him around
With a wild terror on his face... 
It seemed that he himself had found
By a big house where were placed,
With their paw up, as if quite living,
Two marble lions, overseeing,
And in the height, strait o’er him posed,
Over the rock, fenced with cast iron, 
With arm stretched into the skies, sullen, 
The idol sat on his bronze horse.

Evgeny startled. Became clear
The strange thoughts, torturing his mind –
He named the place where played the flood,
Where ran the waters-spoilers, fierce, – 
Merging in one rebellious stream, –
The lions, square and, at last, him,
Who stood without a move and sound –
The cooper head piercing black skies –
Him, by whose fatal enterprise
This city under sea took ground...
He’s awful in the nightly dark!
In what a thought his brow’s sunk!
What a great might in it lies, hidden!
And what a fire’s in this steed!
O, proud horse, where do you speed!
Where will you down your bronze hoofs, flittin’?
O, karma’s mighty sovereign!
Not thus you’d reared Russia, sullen,
Into the height, with a curb, iron,
Before an abyss in your reign?

The poor madman circled around
The foot of the black idol’s mass,
He gazed into the brazen face 
Of the half-planet’s ruler, proud.
And was his breast oppressed. He laid
On the cold barrier his forehead.
His eyes were veiled with a mist-cover,
His heart was all caught with a flame,
His blood seethed. Gloomy he became
Before the idol, looming over, 
And, having clenched his teeth and fist,
As if possessed by evil powers,
“Well, builder-maker of the marvels,”
He whispered, trembling in a fit,
“You only wait!...”- And to a street,
At once he started to run out –
He fancied: that the great tsar’s face,
With a wrath suddenly embraced,
Was turning slowly around...
And strait along the empty square
He runs and hears as if there were,
Just behind him, the peals of thunder,
Of the hard-ringing hoofs’ reminders, –
A race the empty square across,
Upon the pavement, fiercely tossed;
And by the moon, that palled lighter,
Having stretched his hand over roofs,
The Brazen Horseman rides him after –
On his steed of the ringing hoofs.
And all the night the madman, poor,
Where’er he might direct his steps,
Aft him the Bronze Horseman, for sure,
Keeps on the heavy-treading race.

And from this time, when he was going,
Along this square, only by chance,
A sense of terror was deforming 
His features. And he would then press
His hand to heart in a great fastness,
As if to make its tortures painless,
Take off the worn peaked cap at once,
Didn’t turn from earth his fearful eyes
And try to pass by.
                                  A small island’s
Seen in the sea quite near a shore.
A fisherman, the late catch for,
Would sail to it with his net, silent,
Sometimes – and boil there his soup, poor;
Or an official clerk would moor
To it in a boat-walking Sunday’s.
The empty isle. Seeds don’t beget
There any plant. A player, sightless,
The flood, had pulled there a ghost, sad, 
Of an old hut. The water over,
It had been left like a bush, black.
Last spring, by a small barging rover,
It was conveyed to the shore, back –
Destroyed and empty. By its entry,
They’d found the poor madman of mine
And, for a sake of the Divine, 
Buried his corpse in that soil, scanty. 


Translated by Yevgeny Bonver, March, 2004 - March, 2005
© Copyright, poetryloverspage.com, 2004-2005

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today’s birthday: Alexander Sergeyevich Pushkin (1799)


Alexander Sergeyevich Pushkin (1799)

Among the giants of Russian literature, Pushkin was a poet and writer whose masterpieces include the poem The Bronze Horseman, the drama The Stone Guest, and his verse novel Eugene Onegin, which contains witty descriptions of 19th-century Russian society. Pushkin established the modern poetic language of Russia, using Russian history for the basis of many works, but his career was cut short when he died after a duel with a young Frenchman. How old was he when he died? More… Discuss

great compositions/performances: Prokofiev – Symphony No.1 Opus 25 “Classical” (Mariinsky Theatre Orchestra, Valery Gergiev)


Prokofiev – Symphony No.1 Opus 25 “Classical” (Mariinsky Theatre Orchestra, Valery Gergiev)

Published on May 1, 2015

Recorded on 15 April 2012 at the Great Hall of the Moscow Conservatory.

Symphony Orchestra of the Mariinsky Theatre, St Petersburg / Valery Gergiev – musical director

Sergei Prokofiev – Symphony No.1 Opus 25 “Classical” (15’)
0:35 I. Allegro
5:20 II. Larghetto
9:35 III. Gavotta (Non troppo allegro)
11:17 IV. Finale (Molto vivace)

The Easter Festival is an internationally renowned event among classical music lovers, traditionally opened in Moscow on Easter Sunday. Each year the Mariinsky Theatre Orchestra and its musical director Valery Gergiev travel across Russia – for the past 10 years now!
In 2012 we were given an exceptional musical gift: the Mariinsky Theatre Symphony Orchestra under the baton of Valery Gergiev performed the complete cycle of Sergei Prokofiev’s symphonies and piano concerti – a composer with whom Maestro Gergiev and the orchestra seem particularly in tune.

 

Historic Musical Bits: Wieniawski – Violin Concerto No. 2 in d minor op. 22 Isaac Stern and Philadelphia Orchestra-Eugene Ormandy: conductor-1957


Isaak Stern plays Wieniawski-Violin Concerto No. 2 in d minor op. 22 

Mikhail Glinka – A Life for the Tsar – III. Waltz


Mikhail GlinkaA Life for the Tsar – III. Waltz

Nikolay Rimsky-Korsakov – Fantasia on Russian Themes / Фантазия на русские темы , great compositions/performances


Nikolay Rimsky-Korsakov – Fantasia on Russian Themes / Фантазия на русские темы

Nicolai Rimsky-Korsakov,Symphonic Suite:”Antar” (Symphony No.2) , great compositions/performances


Nicolai Rimsky-Korsakov,Symphonic Suite:”Antar” (Symphony No.2).


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

Borodin In the Steppes of Central Asia – Svetlanov , great compositions/performances


Borodin In the Steppes of Central Asia – Svetlanov

Scenes de Ballet for Orchestra in A Major, Op. 52, VII Valse, VIII Polonaise , great compositions/performances


Scenes de Ballet for Orchestra in A Major, Op. 52, VII Valse, VIII Polonaise

Carl Maria von Weber, Konzertstück f-moll für Klavier und Orchester, Op.79. Alfred Brendel & London Symphony Orchestra: great compositions/performances


Carl Maria von Weber, Konzertstück f-moll für Klavier und Orchester, Op.79. Alfred Brendel & LSO

Barbirolli – Arensky: Variations on a Theme by Tchaikovsky,: great compositions/performances


[embes]https://www.youtube.com/watch?v=tRKiE8o3NQU[/embed]

Barbirolli – Arensky: Variations on a Theme by Tchaikovsky (improved sound)

this pressed: BBC News – Elgin Marbles: British Museum loans statue to Russia


The British Museum has loaned one of the Elgin Marbles statues to Russia.

The British Museum has loaned one of the Elgin Marbles statues to Russia.

A headless depiction of the river god Ilissos will go on display in St Petersburg‘s State Hermitage Museum until mid-January.

It is one of a number of relics acquired by Lord Elgin in Athens in the early 19th Century now known collectively as the Elgin Marbles.

Ownership of the artefacts, once part of the 2,500-year-old Parthenon temple, is disputed by Greece.

It maintains that Lord Elgin removed them illegally while the country was under Turkish occupation as part of the Ottoman Empire.

The items have remained in the British Museum ever since.

Continue reading the main story

“Start Quote

The greatest things in the world should be… shared and enjoyed by as many people in as many countries as possible”

Neil McGregor Director, British Museum

The museum director, Neil McGregor, said: “The British Museum is a museum of the world, for the world and nothing demonstrates this more than the loan of a Parthenon sculpture to the State Hermitage Museum in St Petersburg to celebrate its 250th anniversary.”

In a blog for the museum’s website, he wrote that the British Museum had opened its doors in 1759 and the Hermitage just five years later – making them “almost twins… the first great museums of the European Enlightenment“.

The British Museum was today “the most generous lender in the world”, he said, “making a reality of the Enlightenment ideal that the greatest things in the world should be seen and studied, shared and enjoyed by as many people in as many countries as possible”.

“The trustees have always believed that such loans must continue between museums in spite of political disagreements between governments.”

He added: “When our colleagues at the Hermitage asked if we might also make an important loan to celebrate their 250th anniversary, the Trustees immediately answered yes.

“And no loan could more fittingly mark the long friendship of our two houses, or the period of their founding, than a sculpture from the Parthenon.”

via BBC News – Elgin Marbles: British Museum loans statue to Russia.

None but the Lonely Heart – Pyotr Tchaikovsky, make music part of your life series


None but the Lonely Heart – Pyotr Tchaikovsky

Camille Saint-Saëns: Carnival of Animals – The Dying Swan (Le Cygne) – Dancer, Svetlana Zakharova: great compositions/performances


Camille Saint-Saëns: Carnival of Animals – The Dying Swan (Le Cygne) – Dancer, Svetlana Zakharova

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/performances: Mussorgsky: Pictures at an exhibition ( Full ) – BPO / Karajan*


[youtube.com/watch?v=kkC3chi_ysw]

Mussorgsky: Pictures at an exhibition ( Full ) – BPO / Karajan*

Herbert Von Karajan for PIFAL

Herbert Von Karajan for PIFAL (Photo credit: Arturo Espinosa)

With the original survived pictures of Hartmann and others

Prokofiev – Romeo & Juliet – Leningrad / Mravinsky


[youtube.com/watch?v=DXyv4SZmKyY]

Prokofiev – Romeo & Juliet – Leningrad / Mravinsky

Prokofiev - Romeo and Juliet

Prokofiev – Romeo and Juliet

great compositions/performances: Barbirolli – Arensky: Variations on a Theme by Tchaikovsky (improved sound)


[youtube.com/watch?v=tRKiE8o3NQU]

Barbirolli – Arensky: Variations on a Theme by Tchaikovsky

London Symphony Orchestra
Recorded in 1947

John Barbirolli in the mid-1960s

John Barbirolli in the mid-1960s (Photo credit: Wikipedia)

John Barbirolli
Born: 12/2/1899 – Holborn, London, England
Died: 7/29/1970 – London, England

Anton Stepanovich Arensky (Russian: Антон Степанович Аренский) (12 July 1861 — 25 February 1906), was a Russian composer of Romantic classical music, a pianist and a professor of music.

Anton Arensky, 1895

Anton Arensky, 1895

Arensky was born in Novgorod, Russia. He was musically precocious and had composed a number of songs and piano pieces by the age of nine. With his mother and father, he moved to Saint Petersburg in 1879, where he studied composition at the Saint Petersburg Conservatory with Nikolai Rimsky-Korsakov. After graduating from the Saint Petersburg Conservatory in 1882, Arensky became a professor at the Moscow Conservatory. Among his students there were Alexander Scriabin, Sergei Rachmaninoff and Alexander Gretchaninov. In 1895 Arensky returned to Saint Petersburg as the director of the Imperial Choir, a post for which he had been recommended by Mily Balakirev. Arensky retired from this position in 1901, spending his remaining time as a pianist, conductor, and composer. Arensky died of tuberculosis in a sanatorium in Perkjärvi, Finland. It is alleged that drinking and gambling undermined his health.

Pyotr Tchaikovsky was the greatest influence on Arensky’s musical compositions. Indeed, Rimsky-Korsakov said, “In his youth Arensky did not escape some influence from me; later the influence came from Tchaikovsky. He will quickly be forgotten.” The perception that he lacked a distinctive personal style contributed to long-term neglect of his music, though in recent years a large number of his compositions have been recorded. Especially popular are the orchestral Variations on a Theme of Tchaikovsky based on one of Tchaikovsky’s Songs for Children, Op. 54.

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Make Music PArt of Your Life: Pyotr Tchaikovsky – Souvenir de Florence



The String Sextet in D minor “Souvenir de Florence“, Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the European summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled “Souvenir de Florence” because the composer sketched one of the work’s principal themes while visiting Florence, Italy, where he composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892.

1. Allegro con spirito (00:00)
2. Adagio cantabile e con moto (10:16)
3. Allegretto moderato (19:56)
4. Allegro con brio e vivace (26:11)

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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: Shostakovich – Symphony No. 1 in F minor, Op. 10 [Kirill Kondrashin, USSR State SO, 1951]



Symphony No. 1 in F minor, Op. 10 (1923-25)

I. Allegretto – Allegro non troppo [0:00]
II. Allegro (Scherzo) [9:16]
III. Lento – [13:43]
IV. Allegro molto [23:29]

The first symphony by Russian composer Dmitri Shostakovich (1906-1975), which he dedicated to his friend Mikhail Kvadri. Shostakovich completed the work at age 19 as his graduation assignment for the Petrograd (formerly St. Petersburg, later Leningrad) Conservatory, which was directed at the time by Alexander Glazunov. Shostakovich’s main composition teacher Maximilian Steinberg oversaw the project. The composer initially wished to use his Scherzo, Op. 7 (1923-24) as the second movement of the symphony, but Steinberg was appalled by its grotesque character and suggested that Shostakovich compose a different movement. He followed his teacher’s advice in composing a new movement, but it was ever more steeped in grotesquerie than the earlier scherzo, and the same brash, brittle character pervades much of the symphony; as Shostakovich wrote to his friend Lev Oborin, “It would be more fitting to call this work the ‘Symphony-Grotesque’.” Although the symphony is vintage Shostakovich, it also bears the influence of earlier Russian masters – from the piquant harmonies of Stravinsky’s Petrushka and the sharp wit of the young Prokofiev to the lush colours and chromaticism of Scriabin and the long-drawn lyricism of Tchaikovsky.

The symphony’s premiere on May 12, 1926 in the Great Hall of the Leningrad Philharmonic (conducted by Nikolai Malko) was a resounding success. Shostakovich’s mother recalled the performance: “All went more than brilliantly – a splendid orchestra and magnificent execution … At the end, Mitya was called to the stage over and over again. When our handsome young composer appeared, looking almost like a little boy, the enthusiasm turned into one long thunderous ovation.”

This recording dates from 1951. The conductor Kirill Kondrashin leads the USSR State Symphony Orchestra.

 

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Make Music Part of Your Life: Nicolai Glinka – Russlan and Ludmilla Overture – Performance by Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra.



Performance by Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra.
*****violinthief: “Though most of my uploads are of singing, I am actually an orchestral musician. Here is a recording of one of my favorite conductor/orchestra combinations. The string playing here is second to none.”

From Wikipedia, the free encyclopedia

Mikhail Glinka
Mikhail Glinka 1840.jpg

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Make Music Part of Your Life Series: Dmitri Shostakovich – The second waltz


Make Music Part of Your Life Series:
*****Dmitri Shostakovich – The second waltz*****

Tombstone of Shostakovich, showing his D-E♭-C-...

Tombstone of Shostakovich, showing his D-E♭-C-B motif. Novodevichy Cemetery, Moscow. (Photo credit: Wikipedia)

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Make Music Part of Your Life -Series: Nikolaj Rimski-Korsakov – Symphony No.1 in E minor, Op. 1


Nikolaj Rimski-KorsakovSymphony No.1 in E minor, Op. 1

Brno State Philharmonic Orchestra

 

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Great Compositions/Performances: Prokofiev – ‘The Love for Three Oranges Suite’, Op 33bis – BBC Symphony Orchestra, Rudolf Kempe conducting



Sergei Prokofiev
The Love for Three Oranges Suite, Op 33bis

00:00 I. The Clowns
03:04 II. The Magician and the Witch Play Cards
06:19 III. March
07:44 IV. Scherzo
09:15 V. The Prince and Princess
13:01 VI. The Flight

BBC Symphony Orchestra
Rudolf Kempe, conductor

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Fabulous Compositions/Great Performances: Weber Invitation to the Dance



April 2003- Weber, Invitation to the Dance

Maestro Edvard Tchivzhel returns to St. Petersburg, Russia to once again conduct the St. Petersburg Philharmonic for the 100th anniversary of the legendary Yevgeni Mravinsky. 

“He is, simply put, a master… There is an authority and authenticity in Maestro Tchivzhel’s music making that is indisputably commanding and communicative.”– Yo Yo Ma 

http://www.maximaltd.com/edvardtchivz…
ttp://www.greenvillesymphony.org/

 

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Great Composers/Compositions: Edvard Grieg. Symphonic Dances No.1



Youth Symphony Orchestra Mussorgsky College of St. Petersburg
Conductor Lev Dunaev
Молодёжный симфонический оркестр музыкального колледжа им.М.П.Мусоргского (Санкт-Петербург)
Дирижёр Лев Дунаев
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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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ARTICLE: THE TREPOV INCIDENT


The Trepov Incident

In July 1877, a Soviet political prisoner refused to remove his cap in the presence of St. Petersburg governor Theodore Trepov, a colonel known for violently suppressing rebellions. In retaliation, Trepov ordered that the man be flogged, which outraged Vera Zasulich, a fellow prisoner allied with a revolutionary group. In January 1888, Zasulich wounded Trepov with a revolver shot. In the trial that followed, a sympathetic jury found Zasulich not guilty. What happened to her? More… Discuss

 

Sergei Prokofiev – Symphony No. 1 in D major “Classical”, Op. 25



Sergei Prokofiev began work on his Symphony No. 1 in D major (Op. 25) in 1916, but wrote most of it in 1917, finishing work on September 10. It is written in loose imitation of the style of Haydn (and to a lesser extent, Mozart), and is widely known as the Classical Symphony, a name given to it by the composer. It premiered on April 21, 1918 in Petrograd, conducted by Prokofiev himself, and has become one of his most popular and beloved works.

The symphony can be considered to be one of the first neoclassical compositions. However, although it was composed in an attempt to emulate the style of Joseph Haydn, it does not do so strictly, and strongly reflects modern compositional practices and Prokofiev’s own voice. The work was partly inspired by his conducting studies at the Saint Petersburg Conservatory‎, where the instructor, Nikolai Tcherepnin, taught his students about conducting Haydn, among other composers.

The symphony is in four movements:

– Allegro 0:00
Larghetto 3:50
– Gavotta: Non troppo allegro 7:45
– Finale: Molto vivace 9:22

Conductor: Kurt Masur
Orchestra: Dresdner Philharmonie

 

Pyotr Tchaikovsky – Souvenir de Florence


Pyotr Tchaikovsky – Souvenir de Florence

The String Sextet in D minor “Souvenir de Florence”, Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the European summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled “Souvenir de Florence” because the composer sketched one of the work’s principal themes while visiting Florence, Italy, where he composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892.

1. Allegro con spirito (00:00)
2. Adagio cantabile e con moto (10:16)
3. Allegretto moderato (19:56)
4. Allegro con brio e vivace (26:11)

 

Today’s Birthday: Ekaterina II Of Russia (1729)


Catherine II of Russia (1729)

Catherine II was empress of Russia from 1762 to 1796. The daughter of a German prince, she was chosen at 14 to be the wife of the future czar, Peter III. In 1762, conspirators led by her lover staged a coup and proclaimed her empress. Peter was murdered shortly thereafter. As czarina, she increased Russia‘s power by skillful diplomacy and by extending its frontiers into central Europe. She was a patron of the arts and corresponded with many of the prominent minds of her era, including whom? More… Discuss