Sergei Sergejewitsch Prokofjew 5 Melodien, Opp. 36 Videos
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2024-04-17
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Milanova Sergei Prokofiev 1970
Provided to YouTube by KVZ Music Ltd. 5 Mélodies, Op.35bis · Stoyka Milanova · Dora Milanova Recital of Stoyka Milanova violin and Dora Milanova piano ℗ BALKANTON AD Released on: 1970-07-23 Composer: Sergei Prokofiev Auto-generated by YouTube.
Einojuhani Rautavaara Mikko Franck Sibelius Shostakovich Prokofiev Stravinsky Wiggins Sinfonia Finlandia 1545 1956 1988 2003
Belgium National Orchestra conducted by Mikko Franck I - Andante: 0:00 II - Poetico: 15:45 III - Allegro: 23:28 Rautavaara's first symphony was completed in 1956, when the composer was studying in the United States. Originally, the work was divided in the traditional four movements (two slow and two fast alternating), in 1988, however, Rautavaara decided, as he said it, to “rewrite my history, rewrite my life”. I have re-cast the work into two movements and reorchestrated the remainder, bringing “the expression of the work into a precise shape, according to what one well remembers of the fragrance and atmosphere of that era”. In 2003, a third version emerged with the addition of a lyrical slow movement based on a solo song that he had written in the 1950s. The first movement, andante, is the most extensive, being romantic in spirit. After the entry of the timpani, the strings presents a wide, lyrical main theme, stylistically near to the music of Sibelius. The second theme reminds us of the lyrical melodies of Shostakovich. Development takes us to its climax. The recap begins with the interpretation of the main theme in a more solemn way. It ends with a coda based on that motive. The second movement, poetico, is based on a previous song as already mentioned. It opens with a calm, lyrical theme presented between a duo of the horn and clarinet with the support of the strings. The dissonances of the strings add a very vivid colour to the music. The orchestra leads up in a brief, dissonant anticlimax, before returning to the inicial statism. Woodwind interventions add thematic variety to a very passive, poetic music. It ends with a calm coda. The third movement, allegro, is actually a scherzo, derived from the original second movement. It consist in an ironic dance that reminds us of Prokofiev, which is sometimes interpreted grotesquely. A vibrant coda ends the work with a big bang. In the 50s, Stravinsky, Bartok, Shostakovich and Prokofiev, who were studied by Rautavaara, were considered modernists. According to the composer himself, these authors influenced the first stage of his compositional life. He says that his first symphony was a project too ambitious for that time and therefore he rewrote it in 1988. But it still seemed to me that a slow movement was missing, which I added in 2003, he recounts in an interview conducted by Mark Wiggins, reproduced in Diverdi magazine. Picture: A photograph of a Tsunami of clouds (Illinois, USA). Sources: (http•••) Musical analysis done partially by me (the second movement)
Arnold Bax Mahler Arnold Schoenberg Alexander Scriabin Prokofiev Szymanowski Arthur Benjamin 1755 1923
Arnold Bax - Sonata Wiolonczelowa Composed in 1923 Cello / Bernard Gregor-Smith Piano - Yolande Wrigley 0:00 - Moderato. Tempo vaccilando 11:15 - Poco Lento 20:25 - Molto vivace ma non troppo -Bio- Arnold Bax is one of those unknown geniuses of the 20th century, hastily dismissed for his 'conservatism.' He was born to a wealthy family, and thus, he was able to pursue music wherever and however he wished. He travelled enough to chase a Ukrainian girl to the Russian Empire, where he absorbed the Russian musical style, he had an awakening of his Celtic roots while in Ireland, and he drew on Nordic influences. Fortunately, his music has been rediscovered lately, and his own eclectic influences came together with his individual creativity to spawn incredible soundscapes that stretch across all genres of music. As a matter of style, Bax went after his own influences, and while he was certainly aware of Strauss and Mahler, he did not try to follow after them. For Bax, the Russian and Celtic styles influenced him the most. Despite this, one cannot divorce Bax from the context of music at the time, which was growing ever more chromatic. The chromaticism of late-romanticism is deeply embedded in Bax's work, which, to his credit, Bax makes tremendous use of, carefully texturing his melodies with the most intense palettes of color. By the time Arnold Bax began his post-WWI career, Arnold Schoenberg was experimenting with tonality in a totally new way, and the creative ecstasies of Alexander Scriabin were inspiring geniuses like Prokofiev and Szymanowski. Bax, on the other hand, would not take full advantage of the flurry of new innovations in the music world, writing: "I believe that there is little probability that the twelve-note scale will ever produce anything more than morbid or entirely cerebral growths. It might deal successfully with neuroses of various kinds, but I cannot imagine it associated with any healthy and happy concept such as young love or the coming of spring." This, unfortunately, would condemn him in the eyes of progressive critics and, thus ensure his neglect as one of those old-fashioned romantics. The reasons for this had to do with Bax's own idea of sincerity, which he followed to the death. Expressing this, he wrote to Arthur Benjamin: "I want Arthur Benjamin, who is a new discovery to me, and about whom I am rather excited, not to care a damn about being a modern composer, but (as Sir Philip Sidney said) 'look in his heart and write'. I am absolutely certain that the only music that can last is that which is the outcome of one's emotional reactions to the ultimate realities of Life, Love and Death. (All damned romantic, but I believe true.)[...]" -Cello Sonata- Moderato. Tempo vaccilando - As far as sonata form movements go, this moderato is incredibly well balanced and equally well varied. There are moments that surprise like the lento section (8:01), and there are moments that display such variety in such a short time that they cannot help but dazzle (7:01-7:45). Of course, Bax's skill at both writing flowing textures in the piano and modulating those textures to provide a sea of color beneath the melodies in the cello is on full display. Poco Lento - The impressionistic quality of this movement is impossible to ignore. The light texture in high registers with the intermittent arpeggios in the left hand combined with the almost melodic figurations that follow them produce a dreamland that is both idyllic and nightmarish. The cello melody navigates this soundscape with extreme agility, imitating some of the figurations in the piano. The inner Molto tranquillo section, rather than providing contrast, perfectly complements the early section with it's nocturne-like texture. This section builds until an explosion of contemplation breaks forth (17:55). Molto vivace ma non troppo - After the barrage of seriousness in the previous movement, Bax gives the listener a bit of a break. The focus here is on the rhythmic and staccato elements that give the introduction some fun, lighthearted energy. Of course, there must be some contrasting element, so Bax adds some sections of restrained lyricism that can't quite escape the gravity of the intense piano textures that accompany them. Epilogue - There are often spots in the finale where composers will tie in material from the first movement to give the work a sense of completeness or wholeness. This sonata's epilogue is a whole section dedicated to that idea. The first theme of the first movement is the first element to emerge. Interestingly, this section seems almost totally dominated by previous movements with barely any hints to the Molto vivace ma non troppo. This focus on previous material ties the work into a neater bow and gives a greater sense of finality. IMSLP: (http•••)
Maurice Ravel David Oistrakh Bauer Debussy Ysaÿe Prokofiev 1966
Provided to YouTube by Universal Music Group Ravel: Violin Sonata In G Major, M 77 - 2. Blues (Moderato) · David Oistrakh · Frida Bauer · Maurice Ravel Debussy/Ravel/Ysaÿe: Violin Sonatas/Prokofiev: 5 Mélodies ℗ 1966 Universal International Music B.V. Released on: 1966-01-01 Composer: Maurice Ravel Auto-generated by YouTube.
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