Alexei Davidov News
Russian musician and businessman (1867-1940)
- cello
- Russian Empire, Soviet Union
- banker, composer, cellist
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2024-04-24
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2021-03-06 05:22:00
Classical Music News of the Week, March 6, 2021
American Bach Soloists Debut “Artist Profiles”We know the feeling! At a concert, while watching and listening to an artist perform, we often wonder about the person behind the instrument. What makes them tick? What happened in their lives that led them to a career in music and that brought them to us, to hear and enjoy?All kinds of questions might come to mind as we want to know more about the musicians who have made our lives better through their music.That's exactly what our new “Artist Profile Series” is all about. Over the course of the next half year, you'll have access to more than a dozen interesting and delightful videos that explore the personal motivations and inspirations of some of your favorite ABS musicians.They're filmed in crystal-clear 4K (Ultra High Definition) video resolution, and we're happy to bring the first one to you today. Just click and enjoy!Cynthia Black, […]
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Faces of classical music
2019-06-15 04:15:00
Musical Love Letters: Dedications By LGBT Composers
Aaron Copland with Samuel Barber and Gian Carlo Menottiin Bernardsville, New Jersey, 1945 By Heather O'DonovanJune 7, 2019June is Pride Month, commemorating the anniversary of the Stonewall riots, which took place in 1969 in New York City. To mark 50 years since those history-changing events, we've decided to compile a special playlist of musical dedications by LGBT composers – musical love letters, if you will – in honor of Pride.In 1969, for many composers, dedicating their compositions to a same-sex romantic partner, or even referencing aspects of their lives in their work, could be considered risky, to say the least. From societal prejudices to legal ramifications, the world did not – and still does not always – look kindly upon the LGBT community. Today, these musical love letters can be viewed in the greater history of Pride as small acts of subversion and assertions of the fundamental rights owed to everyone, regardless […]
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Faces of classical music
2018-12-11 17:11:00
Pyotr Ilyich Tchaikovsky: Symphony No.6 in B minor "Pathétique" – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)
Under the baton of the talented Finnish conductor Santtu-Matias Rouvali, the Gothenburg Symphony Orchestra performs Pyotr Ilyich Tchaikovsky's Symphony No.6 in B minor "Pathétique", Op.74. Recorded at Gothenburg Concert Hall, on October 11, 2018.✻Tchaikovsky composed the Symphony No.6 in B minor between February and August 1893, and conducted the first performance on October 28 of that year in St Petersburg. Already in 1890 Tchaikovsky had written to his patroness of 13 years, Nadezhda von Meck, about a possible "Program Symphony". By 1893 he was ready to follow through on the idea, dedicated to his nephew Vladimir Davidov, the "Bobyk" (or "Bob") of many diary-entries and letters during the 1880s. After a successful premiere, however, he was not satisfied with Program Symphony (No.6) on the title page. Several days later Modest suggested "patetichesky", which in Russian means "(1) enthusiastic, passionate, (2) emotional, and (3) bombastic" (rather than "pathetic" or "arousing pity," as in English). Pyotr […]
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Faces of classical music
2018-07-16 14:46:00
Pyotr Ilyich Tchaikovsky: Symphony No.6 in B minor "Pathétique" – San Francisco Symphony, Michael Tilson Thomas (Download 44.1kHz/16bit)
The Backstory. At its premiere, Piotr Ilych Tchaikovsky's (1840-1893) Pathétique was not received with contemptuous silence, like Brahms's First Piano Concerto, nor did it elicit anything like a Sacre-sized scandale; rather, the occasion was that always depressing event, a succès d'estime. Tchaikovsky put it this way in a letter to his publisher, Piotr Jürgenson: "It is very strange about this symphony. It was not exactly a failure, but it was received with some hesitation".We can only guess at the reasons. It is nearly impossible now to imagine encountering the Pathétique for the first time and as a new piece, but if we can make that leap we might see how an Adagio finale with a close on cellos and basses alone could have been puzzling and somehow "unfinal". Another factor would have been a weakness in the presentation. Tchaikovsky, though he lacked a performer's temperament, had become an efficient conductor […]
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