Camille Saint-Saëns Le Déluge, Opp. 45 Videos
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2024-03-28
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Mariinsky Theater Bolshoi Tchaikovsky Rimsky Korsakov Beethoven Berlioz 1863 1889 1895 1899 1901 1902 1903 1906 1915
Not a great deal is known about the life and career of Gavriil Alexeivich Morskoj +••.••(...)). Born in the Chernigov province of the Ukraine, Morskoj sang in choirs as a child and enrolled in the St. Petersburg Conservatory at the age of 20. His operatic debut occurred in Odessa in 1889 and he seems to have sung leading roles there and in Kiev for the next several seasons. St. Petersburg’s Mariinsky Theater offered Morakoj a long-term contract in 1895 and he sang a variety of roles there over the next decade. The tenor made a guest appearance as Herman in Tchaikovsky’s Pique Dame at the Bolshoi in 1903. Morskoj must not have left much of an impression on Moscow audiences, for he was offered no further engagements with the company. In St. Petersburg, however, Morskoj was a well respected artist and amassed a repertoire of some 50 roles, including Radames in Aïda, Alfredo in La Traviata, the title roles in Werther and Samson et Dalila, Don José in Carmen, Raoul in Les Huguenots, Lensky in Yevgeny Onegin, Vodemon in Iolanta, The False Dmitri in Boris Godunov, Lykov in The Tsar’s Bride, Tsar Berendey in The Snow Maiden, Sobinin in A Life For the Tsar, Finn in Ruslan and Lyudmila and Trasea in the world premiere of Rimsky-Korsakov’s Servilia in October of 1902. Morskoj was also an accomplished recitalist and oratorio singer. Among the operatic works in his repertoire were Beethoven’s 9th Symphony, Saint-Saëns’ Le Déluge, the Berlioz Requiem and Rimsky- Korsakov’s cantata The Song of Oleg the Wise, in which he created the tenor part at the world premiere in 1899. Sadly, Morskoj’s health began to deteriorate as he approached his mid-forties and he was compelled to abandon his stage career in 1906. The following year, he was appointed Professor of Voice at the St. Petersburg Conservatory, where he remained until his death in 1915 at the age of 52. Morskoj made but a handful of recordings for G&T between 1901 and 1903. These discs were primarily issued in Russia and are exceedingly rare. In this recording, Morskoj sings "Sing, Little Cuckoo, in the Dark Forest" from Rimsky-Korsakov's The Maid of Pskov. This was recorded in St. Petersburg for G&T in 1901.
Sigismond Stojowski Ignacy Jan Paderewski Henryk Bobiński Władysław Żeleński Anton Rubinstein Rubinstein Louis Diémer Léo Delibes Théodore Dubois Jules Massenet Tchaikovsky Brahms Busoni Bax Melcer Szczawiński Bortkiewicz 1619 1729 1852 1870 1887 1891 1909 1910 1946 1953 2002
Zygmunt Stojowski - Drugi koncert fortepianowy Composed from 1909-1910 Pianist: Witold Wilczek Conductor: Marek Wroniszewski Orchestra: Sinfonia Iuventus 0:00 - Prologue: Andante con Moto 8:10 - Scherzo: Presto 13:41 - Theme and Variations: Theme 14:49 - I. Molto Sostenuto 16:19 - II. Con espressione, poco rubato 17:29 - III. Piu mosso 18:52 - IV. Allegretto moderato 19:53 - V. Molto vivace 20:31 - VI. Con fuoco, agitato 21:37 - VII. Con moto energico 23:15 - VIII. Andante sostenuto 24:28 - IX. Andantino ben moderato 27:01 - X. Allegro molto Bio Zygmunt Stojowski +••.••(...)) was a Polish composer born in Strzelce (which is near Kielce), who would be best known for his friendship with Ignacy Jan Paderewski and his promotion of the Polish cause abroad. Stojowski would run through a gauntlet of incredible teachers beginning with Henryk Bobiński and Stanisław Dybowski among others in his youth. The Stojowski family moved to Kraków where took private lessons with Władysław Żeleński. His mother ran a music salon there, which is where he first met Ignacy Paderewski and Anton Rubinstein. After graduating in 1887, he moved to Paris to continue his musical education. There, he studied piano with Louis Diémer, composition with Léo Delibes, and harmony with Théodore Dubois. He consulted with Saint-Saëns and Jules Massenet, and he befriended Tchaikovsky and Brahms while in Paris. In 1891, he became a student of Ignacy Jan Paderewski. After graduating from the Paris Conservatory, he toured and gave concerts in England, France, Belgium, Germany, and Poland. He won a prize for his Symphony in D-Minor in Leipzig, and continued with much success. Despite this, he decided to move to New York and stayed there until his death. He taught at the Institute of Musical Art (a precursor to the Juilliard School of Music) and then the Von Ende School of Music all while giving private lessons. He won a reputation as an effective musical teacher. While he was abroad, he never ceased supporting the Polish cause. He founded the Polish Institute of Arts and Letters and worked for the Kosciuszko Foundation while also writing articles. In addition to music, he also studied philosophy and languages. He was fluent in English, German, Russian, French, Latin, and Ancient Greek in addition to his native Polish. All of this is to say that Stojowski had a cosmopolitan education with influences pouring in from across Europe. In the face of such a deluge of influence, he never forgot his homeland. His friendship with Ignacy Jan Paderewski and his dedication to promoting Polish culture ensured that he would remain close to his roots stylistically while integrating fresh ideas from other schools of music. The Piano Concerto By 1909, we start seeing some composers break away from the typical sonata-allegro form, reordering movements in their concerti. The structure of prologue, scherzo, and variations had once been incredibly unusual, but by this time, composers like Busoni and Bax had used 'prologue' movements to great effect. Other composers used programmatic names for movements in otherwise standard works. What we gleam from this is that the structure of the piano concerto can be bent and reshaped in new, interesting ways, and this concerto twists that structure around, forming something unique. Prologue - Setting the pace for this understated movement, the prologue states the fantastically hollywood-esque main theme at 2:39 after a slow introduction. The orchestration is subtle and the piano technique remains firmly grounded. Of course, there is some chromaticism and virtuosity, but it is neither flashy nor opulent. As the prologue makes its way, it restates the main theme (6:00) to set it firmly in the listener's memory. Taking advantage of the movement's earlier economy, the restatements fill the air with the full-blooded romantic brilliance that the listener eagerly awaits. Scherzo - Like the previous movement, there is something of Melcer-Szczawiński's 2nd piano concerto lurking here. The economic and patient use of time dotted by the piano and sparse, yet full orchestral figurations characterize an unexpected transition between the prologue and the more substantial 'theme and variations' movement. Theme and Variations - It is necessary to remember the prologue's lofty main theme here because the juxtaposition between it and the passionate, slow theme introduced here forms the basis for the whole movement (see 24:07, 25:50 orch, and obviously 30:42 and 33:13). We see everything here: storming virtuosity, cool, shimmering andantes, and a radiant climax prefiguring Bortkiewicz's 3rd piano concerto. At the very end, the tenth variation forms a stand-in finale movement. Info sources: (http•••) (http•••) (http•••) Imslp: (http•••)
Sigismond Stojowski Dux Ignacy Jan Paderewski Henryk Bobiński Władysław Żeleński Anton Rubinstein Rubinstein Louis Diémer Léo Delibes Théodore Dubois Jules Massenet Tchaikovsky Brahms Chopin Rachmaninoff 1606 1630 1701 1870 1887 1890 1891 1946 2002
*Re-Up with Dux Recording* Zygmunt Stojowski - Koncert fortepianowy fis-moll Pianist: Marek Szlezer Conductor: Marek Wroniszewski Orchestra: Sinfonia Iuventus 0:00 - Andante poco mosso 14:42 - Romanza. Andante sostenuto e molto cantabile 23:32 - Allegro con fuoco Biography Zygmunt Stojowski +••.••(...)) was a Polish composer born in Strzelce (which is near Kielce), who would be best known for his friendship with Ignacy Jan Paderewski and his promotion of the Polish cause abroad. His parents were incredibly talented people. His mother was well connected in the arts and in the aristocracy, so she served to be Stojowski's first piano teacher. Stojowski would run through a gauntlet of incredible teachers beginning with Henryk Bobiński and Stanisław Dybowski among others in his youth. The Stojowski family moved to Kraków where took private lessons with Władysław Żeleński. His mother ran a music salon there, which is where he first met Ignacy Paderewski and Anton Rubinstein. After graduating in 1887, he moved to Paris to continue his musical education. There, he studied piano with Louis Diémer, composition with Léo Delibes, and harmony with Théodore Dubois. He consulted with Saint-Saëns and Jules Massenet, and he befriended Tchaikovsky and Brahms while in Paris. In 1891, he became a student of Ignacy Jan Paderewski. After graduating from the Paris Conservatory, he toured and gave concerts in England, France, Belgium, Germany, and Poland. He won a prize for his Symphony in D-Minor in Leipzig, and continued with much success. Despite this, he decided to move to New York and stayed there until his death. He taught at the Institute of Musical Art (a precursor to the Juilliard School of Music) and then the Von Ende School of Music all while giving private lessons. He won a reputation as an effective musical teacher. While he was abroad, he never ceased supporting the Polish cause. He founded the Polish Institute of Arts and Letters and worked for the Kosciuszko Foundation while also writing articles. In addition to music, he also studied philosophy and languages. He was fluent in English, German, Russian, French, Latin, and Ancient Greek in addition to his native Polish. All of this is to say that Stojowski had a cosmopolitan education with influences pouring in from across Europe. In the face of such a deluge of influence, he never forgot his homeland. His friendship with Ignacy Jan Paderewski and his dedication to promoting Polish culture ensured that he would remain close to his roots stylistically while integrating fresh ideas from other schools of music. The Piano Concerto This concerto was composed in 1890 and premiered in Paris in 1891. If we trace back Stojowski's education, this concerto sounds nothing like Żeleński. Instead, it takes the cosmopolitan approach of Tchaikovsky and Paderewski with many echoes of Chopin. Overall, it feels somewhere between Chopin's concerti and Rachmaninoff's 1st piano concerto. Andante poco mosso - The introductory movement is absolutely vast. There are moments of subtilty that are reminiscent of Chopin and there are explosions of virtuosity and drama that bring Rachmaninoff and Tchaikovsky to mind. The first several bars set the stage for a dark, desolate movement, but the piano introduces itself and instantly pulls the concerto back to Chopin. This tension is what characterizes the 1st mvt. as the virtuosic transitions thunder between the sensitive, lyrical sections. What is important to note is that the lyrical sections do not always harken back to Chopin and the virtuoso sections do not always employ a cosmopolitan approach. For example, see how Rachmanovian the lyrical passage at 11:53 is and how Chopinesque the virtuosity is at 5:45. The final passage breaks through the subtilty and aggressively announces the triumph of the bold over the subtle. Romanza. Andante sostenuto e molto cantabile - The slow movement of the piece maintains the tension of the earlier movement. There is both Chopinesque and Rachmaninovian lyricism (compare 17:01 and 16:06). What is extremely interesting is that there is some repeated material that Stojowski snuck in from the 1st mvt. Compare the rhythm at 16:30 with the timpani at the beginning of the 1st mvt and it's subsequent restatements. The passage that begins at 20:37 is the most lyrical and heartfelt moment in the whole piece and contrasts the 1st mvt.'s bombastic ending. Allegro con fuoco - The stormy final movement showcases some of the best virtuosity the concerto has to offer. The melodies are dramatic and the texturing is forceful. Despite this, there are still plenty of lyrical passages to keep the finale from outrunning itself. Info sources: (http•••) (http•••) (http•••) Imslp: (http•••)
Gabriel Willaume Camille Saint Saëns 1919
Gabriel Willaume, violin Camille Saint-Saëns, piano Recorded in Paris 24 November 1919
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