Atsutada Otaka Vídeos
compositor japonés
Conmemoraciones 2024 (Nacimiento: Atsutada Otaka)
- música clásica
- Japón
- compositor, musicólogo
Última actualización
2024-06-27
Actualizar
Atsutada Otaka Otaka 1944 1982 2008 2021 2022
尾高惇忠 +••.••(...)):独奏チェロのための「瞑想」 (1982/2008) 山澤慧(チェロ) YAMAZAWA Kei (Violoncello) 山澤慧 チェロ リサイタル 邦人作曲家による作品集 第2回 note: (http•••) Kei Yamazawa Cello Recital A Collection of Works by Japanese Composers vol.2 2022年4月15日(金)トーキョーコンサーツ・ラボ Tokyo Concerts lab. (http•••)山澤慧(チェロ) 助成 公益財団法人東京都歴史文化財団 アーツカウンシル東京 公益財団法人 野村財団
Alexander Glazunov Tadaaki Otaka Otaka Stravinsky Russo Rimsky Korsakov Bbc National Orchestra Wales 1899 1905 1906 1917 1930 2009
BBC National Orchestra of Wales conducted by Tadaaki Otaka. I - Allegro moderato - Poco più mosso - Più mosso, agitato - Poco meno mosso - Animando - Più pesante - Poco meno mosso - Poco più mosso - Meno mosso, Tranquillo - Più mosso: 0:00 II - Mesto - Con moto - Tempo I - Agitato poco - Largamente - Agitato - Con moto - Poco più mosso - Poco meno mosso - Tranquillo: 10:19 III - Scherzo. Allegro - Più tranquillo - Poco meno mosso - Tranquillo - Più animato - Con moto - Feroce - Tempo I - Poco più tranquillo - Più mosso - Feroce - Più mosso - Presto: 20:56 IV - Finale. Moderato sostenuto - Con moto - Allegro moderato - Poco meno mosso - Moderato sostenuto - Allegro moderato - Poco meno mosso - Animando - Più mosso - Poco più sostenuto - Animato - Poco meno mosso - Animando ed agitato - Moderato maestoso - Animando - Poco più mosso: 27:54 Glazunov's Symphony No.8 was composed between July 18 and October 30 of 1905. It was premiered in St Petersburg in December 22 of 1906, conducted by the own composer. The piece was very well received, many considering it his best work in the genre. It inspired Stravinsky to write his own Symphony in E flat. 1905 was a very turbulent year for Glazunov and Russia in general. The humiliating defeat in the Russo-Japanese war of that year begun a widespread revolution. As the Russian state attempted to industrialize and modernize itself, most of the population (farmers, students, industrial workers, etc) demanded more rights and social changes in an absolute monarchy as it was the Russian tsardom. The failure of Tsar Nicholas II to properly solve the crisis would set the stage for the 1917 revolution and the triumph of the communists. The St. Peterburg Conservatory, in which Glazunov was a teacher since 1899, was affected by these revolts as well. Many students and teachers demanded freedom of expression and the end of the state inreventions in the Conservatory, many of these students were prosecuted and expelled. Glazunov resigned as a sign of solidarity after his compatriot Rimsky-Korsakov had been expelled, for siding with the students. Shortly after Glazunov became the new director and remained until 1930, what was one of the most agitated and violent periods in Russian history. The first movement is structured in sonata form. It begins with a majestic but nostalgic main theme, full of romantic grandeur. It is contrasted by a calmer second theme presented by the oboe, which grows in a passionate climax. The development combines these materials contrapuntally, culminating in a rich and dramatic fugato before it continues with increasing dramatism. The recapitulation brings back the main themes in a varied way, rising in a grand climax. A low-key, subdued coda ends the movement. The second movement is structured in ternary form. It opens with a dark and tragic main theme, derived from the main theme of the previous movement. It unfolds with an almost funereal expression, rising in a solemn climax. The middle section begins with a hopeful second theme of pastoral character, presented by the flute, followed by clarinet and horn. The main theme is then recapitulated, but there is no redemption nor positive outcome. A desparing coda ends the movement. The third movement is a weird kind of scherzo: without a trio and in rondo form (A-B-C-A'-B'-C'-Coda). It begins with a nervous but playful main theme, it is followed by a more melodic and charming second theme on woodwinds, in counterpoint with faster motives. A more dissonant and agitated third theme appears on strings and brass, before the main theme of the scherzo is recapitulated, followed by the rest of them. A boisterous coda brings the movement to an end. The fourth movement is structured in sonata form. It opens with a slow introduction, in which the brasses present a solemn Russian chorale. A vigorously rhythmic main theme is presented through a dense fugue. It is derived from the main theme of the first movement as well. It is contrasted by a lyrical second theme presented by the clarinet, exhuberantly unfolded. The opening chorale reappears, beginning the development section, which is surprisingly mostly calm and laid back. Music suddenly accelerates in a massive climax, followed by the recapitulation of the themes. A triumphant coda ends the whole work. Picture: "Ancient Rostov the Great" (2009) by the Russian painter Ilya Glazunov. Musical analysis mostly written by myself. Sources: (http•••) (http•••) and (http•••) To check the score: (http•••)
Alexander Glazunov Tadaaki Otaka Otaka Nikolay Rimsky Korsakov Anton Rubinstein Rubinstein Bbc National Orchestra Wales 1527 1881 1893 1894
BBC National Orchestra of Wales conducted by Tadaaki Otaka. I - Andante - Allegro moderato - Poco più tranquillo - Tempo I - Più mosso - Tempo I - Più mosso - Tranquillo - Allegro ed agitato - Più tranquillo - Più agitato - Passionato - Tempo I - Poco più tranquillo - Tempo rubato (animato e passionato) - Andante - Allegro moderato: 0:00 II - Scherzo. Allegro vivace - Poco meno mosso. Tranquillo - Tempo I: 15:27 III - Andante - Più mosso. Allegro moderato - Allegro - Meno mosso e tranquillo - Tempo I - Più sostenuto - Tranquillo - Tempo I - Più mosso - Presto: 21:10 Glazunov's Symphony No.4 was finished in 1893, being premiered in January 22 of 1894, performed by the RMS Orchestra conducted by Nikolay Rimsky-Korsakov. The work was (rather curiously) dedicated to Anton Rubinstein, founder and director of the St Petersburg conservatory and a pioneer Russian composer, who would die in November 20 of that year. Rubinstein was one of the first to recognize the talent of the young composer: After the premiere of Glazunov's String Quartet No.1 +••.••(...)), he calledthe schoolboy onto the podium to acknowledge the audience's applause. On a personal level, however, these two artists had relatively little contact: even though Glazunov's parental home was a meeting point for various Russian musicians of the time, Rubinstein was not among them. Following the third symphony, which many found "too western", with the fourth Glazunov strikes a balance between the east and west. The first movement is structured in sonata form. It begins with a slow and substantial intoduction, almost like a small slow movement in itself. The English horn presents a lyrical but melancholic theme of Russian flavour, almost like a wordless song. The upper string take it expressively, turning the music rom darkness to a hopeful bright. The allegro begins with a gentle main theme of pastoral nature. A second theme is also presented almost like a waltz, derived from the opening theme. Follows an agitated development section, which transforms these materials fascinatingly. As fragments of the theme are passed from the woodwind to the strings, we often hear passages that anticipate pages of the future ballet "Raymonda". The recapitulation brings back the main themes. A bright coda, based on the main theme, leads us to a gentle coda. The second movement is a scherzo in ternary form. It opens with a playful main theme in form of a rustic dance, presented by the woodwinds. The trio begins with a lyrical and graceful waltz, offering the adequate contrast and reminding us again to the ballet world. The scherzo is then resumed, leading us to a calm coda that ends the movement. The third movement is structured in sonata form. It begins with a contemplative introduction that, again, doubles as a small slow movement. A lyrical theme of great beauty is presented, before a blazing of fanfares leads us to the allegro. A vigorous and rhythmic main theme is presented by the whole orchestra, followed by a deeply lyrical second theme of nocturnal character. A forceful and dynamic development section ensues, with references to materials from the previous movement, thus giving the whole work a cyclical structure. The music reaches a grandiose climax, after a calm passage which refernces the opening's melancholic theme. A portentous and massive coda brings the work to a satisfactory end. Picture: "Winter Dusk" by the American painter Robert Girrard (Thomas Kinkade). Musical analysis partially written by myself. Sources: (http•••) and (http•••)
o
- cronología: Compositores (Asia).
- Índices (por orden alfabético): O...