Aleksandr Verzhbilovich Vídeos
violonchelista
- violonchelo
- música clásica
- Imperio ruso
Última actualización
2024-05-11
Actualizar
Tchaikovsky Eugen Albrecht Mikhail Ippolitov Ivanov Ivanov Aleksandr Verzhbilovich Aleksandr Kuznetsov Kuznetsov Leopold Auer Henryk Pachulski Aleksandr Goldenweiser 1886 1887 1888 1890 1891 1892 1952
Tchaikovsky: String Sextet in D minor, Op. 70 "Souvenir de Florence" (1892) II. Adagio cantabile e con moto (D major) Tchaikovsky's string sextet in D minor, Souvenir de Florence, Op. 70 (TH 118 ; ČW 94) was composed and scored in June and July 1890 at Frolovskoye, and revised at Maydanovo between November 1891 and January 1892. Movements and Duration: There are four movements, lasting around 35 minutes in performance: I. Allegro con spirito (D minor) II. Adagio cantabile e con moto (D major) III. Allegro moderato (A minor) IV. Allegro vivace (D minor) Composition: In response to his being awarded honorary membership of the Saint Petersburg Chamber Music Society, Tchaikovsky made the following pledge to Eugen Albrecht on 5/17 October 1886: "I give you my firm promise to write and dedicate to your Society some sort of chamber music work". However, it was only in June 1887 that Tchaikovsky decided the new work should be a sextet for string instruments. On 16/28 June 1887, while staying in Borzhom, the composer noted in his diary: "Composed a little (start of a sextet)". "I jotted down sketches for a string sextet, but with little enthusiasm... I haven't the slightest inclination to work...", Tchaikovsky reported in a letter to Mikhail Ippolitov-Ivanov on 20 June/2 July. "Because I have only a passing desire to compose, I'm beginning to fear that I am losing my powers of composition, and becoming angry with myself". He also wrote about starting the sketches for the sextet to Nikolay Hubert and Aleksandra Hubert, and to Yuliya Shpazhinskaya. Neither in his diaries or in his letters for the rest of the year are there any further references to the sextet. Summarising his recent work, Tchaikovsky wrote to Pyotr Jurgenson that the Pezzo capriccioso "has been the only product of my musical endeavours all summer". It would therefore appear that Tchaikovsky's dissatisfaction with himself meant that he quickly gave up composition of the sextet. However, the composer did not abandon the concept. On 13/25 April 1888, he wrote to Nadezhda von Meck: "I am thinking about a new symphony, and a string sextet...". Performances: The first public performance of the sextet (in its original version) took place at the fourth chamber music concert of the Saint Petersburg branch of the Russian Musical Society on 28 November/10 December 1890, with Eugen Albrecht and Franz Hildenbrandt (violins), Oskar Gille and Bruno Heine (violas), Aleksandr Verzhbilovich and Aleksandr Kuznetsov (cellos). The revised version was first heard at the fourth RMS chamber concert in Saint Petersburg on 24 November/6 December 1892, with Leopold Auer and Franz Hildenbrandt (violins), Emmanuel Kruger and Sergey Korguey (violas), Aleksandr Verzhbilovich and Dmitry Bzul (cellos). Publication: The full score appeared in print in June 1892 in an edition by Pyotr Jurgenson, the parts in August, and a four-hand arrangement by Henryk Pachulski (made at Tchaikovsky's request) in October the same year. In volume 32Б of Tchaikovsky's Complete Collected Works (1952), edited by Aleksandr Goldenweiser, The principal passages from the first version that were replaced in the second are included in an appendix. Autographs Tchaikovsky's manuscript score is preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 105). Dedication: The sextet is dedicated to the Saint Petersburg Chamber Music Society.
Davidov Aleksandr Verzhbilovich 1904 2018
Imitation of a recording by Aleksandr Verzhbilovich (1904) Octavie Dostaler-Lalonde, cello Artem Belogurov, piano — Video by Noelia Nicolas and sound by Antal van Nie Led by Artem Belogurov and Octavie Dostaler-Lalonde, the Romantic Lab is an online video blog dedicated to the study of late 19th- and early 20th-century performance practice, presenting the results of research and experimentation with Romantic performance by imitating historical recordings. Since 2018, Artem and Octavie have been using close imitation of early recordings as a research method to better understand and integrate into their playing the elements of style that make those recordings so mesmerizing, and different from contemporary approaches. These videos were made after having reached a satisfactory result, and can be seen as experiments; they are showing the progress made over time as the two musicians become more familiar with various techniques and stylistic features. Their observations and methods, as well as other topics, are discussed on the Romantic Lab website at (http•••) We acknowledge the support of the Canada Council for the Arts. Nous remercions le Conseil des arts du Canada de son soutien. ABOUT THE PROJECT AND THE APPROACH WE CHOSE FOR THIS VIDEO: At the core of this project is imitation of historical recordings with the goal of getting a better understanding of the Romantic styles of playing as well as acquiring technical skills to produce the expressive devices we hear on these recordings. We start by selecting recordings that are of special interest to us. For example, they may be a recording by a student of the composer who wrote the piece of music, or there is a particular aspect of the performance that strikes us as especially expressive or successfully integrated. For each of these recordings, we use the following method: - Listening: We listen to the recordings multiple times as a whole and to small sections. - Analysis: We then analyse the performance and annotate the score using a system of signs that we find most effective at visually representing various features (this has some degree of variation depending on the piece). We more recently started using the software "Sonic Visualizer" to analyse features of the performance that our ears alone cannot clearly decipher. - Imitation: We practice and play along the recording separately and then come together to compare our impressions and notes, and try to imitate the recording one section at a time. Throughout the process, we keep discovering new details that our ears didn’t register with the first listening sessions, so we repeat these steps several times. Moreover, playing along with the recording has been key in achieving the best possible result. We record ourselves at frequent intervals and compare the result with the original, using a visualizing software to study the differences in detail. - Filming: Once we feel we have familiarised ourselves with the recording and can produce a close imitation of the whole piece, we get together with our sound engineer and videographer and film the imitation, using gut strings and a late 19th- or early 20th-century piano in the house of one of our generous hosts.
Seres August Wilhelmj Johann Sebastian Bach Aleksandr Verzhbilovich Haydn Wolfgang Amadeus Mozart Malas Ley 1717 1723 1782 1785 1902
Del mismo modo que en el video anterior (Piano Relaxing, que pueden ver aquí (http•••) en este video les propongo realizar un ejercicio de relajación meditativa, abstracción y concentración mental. Es ideal para hacerlo antes de dormir, logrando así un sueño profundo y reparador. Para ello, debemos colocarnos en un lugar cualquiera en donde estemos cómodos (puede ser acostados o sentados), a obscuras o con poca luz y escuchar las hermosas melodías clásicas de violín (preferentemente con auriculares para lograr efectos más poderosos y apreciar mejor cada nota musical). Es recomendable hacer el ejercicio con los ojos cerrados pero, si lo prefieres, puedes hacerlo con los ojos abiertos y disfrutando las hermosas imágenes que acompañan al video. Luego, debes concentrarte en cada nota de violín que suene, tratando de imaginar el arco frotando cada cuerda y provocando así la vibración de las mismas, produciendo cada nota y juntas componiendo estas maravillosas obras musicales. Debes intentar imaginar con lujo de detalles la textura, el aroma y la temperatura del instrumento musical y la vibración de cada cuerda transmitiendo las ondas de sonido a través de tus oídos. Presta mucha atención en las emociones que provocan en ti las dulces armonías que escuchas y si vienen a tu mente pensamientos de otro tipo solo déjalos pasar y concéntrate nuevamente en las melodías y todos sus detalles. Si te gusto el video y lograste relajarte unos minutos con él, por favor, dame tu apoyo suscribiéndote a este canal, haciendo click en este enlace: (http•••) También puedes regalarme un “Me gusta”, darle un toque a la “Campanita” para que te notifiquen cuando suba nuevos videos, “Compartir” este video con tus seres queridos y “Comentar”️ como fue tu experiencia y los resultados que obtuviste. ¡¡¡Muchas Gracias y Buena Vida!!! Las piezas musicales de este video están conformadas, en primer lugar, por El Aria para la cuerda de sol (Air on the G String, from Orchestral Suite no. 3, BWV 1068). Este es un arreglo musical hecho por el violinista August Wilhelmj del segundo movimiento (un aria) de la Suite Orquestal No. 3 en Re Mayor, BWV 1068 de Johann Sebastian Bach. La suite orquestal fue escrita por Bach entre los años 1717 y 1723. El subtítulo “para la cuerda de sol” proviene del arreglo que, a finales del Siglo XIX, hizo el violinista August Wilhelmj adaptándola para violín y piano. En la versión original los violines tocan tres cuerdas (paradójicamente ninguna de ellas es la de sol). Actualmente se la conoce con el título “para la cuerda de sol”. El Aria para la cuerda de sol fue la primera obra de Bach grabada, en 1902. La interpretación, llamada simplemente «Aria de Bach» corrió a cargo de un pianista cuyo nombre no fue registrado, y del chelista ruso Aleksandr Verzhbilovich. Luego, encontramos una pieza del Cuarteto de cuerda No. 19 en Do Mayor 'Disonante', K. 465. II Andante Cantabile (String Quartet No. 19 in C Major, K. 465, Haydn Quartet No. 6, "Dissonance") de Wolfgang Amadeus Mozart. Mozart completó su Cuarteto en Do Mayor, K. 465 en 1785. El último de los seis cuartetos que Mozart dedicó a Haydn, debe su apodo “disonante” a su introducción lenta y tensa, llena de armonías sin resolver sobre una línea de violonchelo palpitante. Conocidos hoy como los "Cuartetos Haydn", fueron compuestos entre 1782 y 1785. El Cuarteto en Do Mayor, llamado popularmente "de la disonancia", es el último de la serie, terminado el 14 de Enero de ese último año. La música clásica es siempre una excelente elección musical a la hora de estudiar, trabajar, meditar o incluso dormir. Las composiciones musicales de Wolfgang Amadeus Mozart, además de favorecer tu estado de ánimo, han demostrado beneficios en las capacidades de razonamiento y memorización sin mencionar los efectos relajantes que generan. Esta música es perfecta también para relajarse, meditar, estudiar o leer. Ayuda a combatir la ansiedad, el estrés y el insomnio ya que facilita la relajación y nos ayuda a eliminar las malas vibraciones. El audio de este video está bajo Licencia Creative Commons. Etiqueta de Dominio Público 1.0. Sin derechos autorales, libre de restricciones conocidas bajo la ley derecho autoral, incluyendo todos los derechos conexos. Puede copiar, modificar, distribuir e interpretar la obra, incluso para fines comerciales, todo esto sin pedir permiso. (http•••) Las imágenes de este video están bajo Pixabay License. Gratis para usos comerciales. No es necesario reconocimiento. (http•••)
o
- cronología: Intérpretes (Europa).
- Índices (por orden alfabético): V...