Valentina Levko Vídeos
cantante, cantante de ópera y profesor de música
- mezzosoprano
- Unión Soviética, Rusia
- cantante de ópera, profesor de música
Última actualización
2024-05-16
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Sergei Rachmaninoff Laborde Tchaikovsky Riesemann Rimsky Korsakov Mussorgsky Blaze Pavel Pabst 1873 1890 1893 1915 1920 1931 1934 1943 2019
Sergei Rachmaninoff (1873–1943) Suite No. 1 'Fantaisie-Tableaux' for two pianos in G minor, Op. 5 I. Barcarolle (G minor – Allegretto) 00:00 II. La Nuit... l'Amour (D major – Adagio sostenuto) 07:31 III. Les Larmes (G minor – Largo di molto) 13:10 IV. Pâques (G minor – Allegro maestoso) 19:31 Gabrielle de Laborde Gahres, piano Allen Wisler, piano Duo-Recital live recording. Barcelona, Spain (April 2019) All rights reserved de Laborde/Wisler. Cover: Portrait of Rachmaninoff, c.1920. George G. Bain Collection, Library of Congress, Washington, D.C., United States. Photos: – Young Sergei Rachmaninoff with his dog, Levko, in 1890. – Rachmaninoff seated at Steinway grand piano, c.1915. – Sergei Rachmaninoff in his study at Villa Senar, Hertenstein, Switzerland, 1934. Courtesy Sergei Rachmaninoff Foundation. – Rachmaninoff in his study at his home in Beverly Hills, California, 1934. Sergei Rachmaninoff was twenty years old when he wrote his Suite No.1 for two pianos, and yet this expansive four-movement work displays many of the characteristics of his later works – scintillating pianistic virtuosity, lyricism tinged with melancholy, and (perhaps most dramatically) a preoccupation with the ringing of Russian church bells. In fall of 1893 Rachmaninoff had returned to Moscow from a summer country sojourn with a handful of fine pieces, including his orchestral fantasy The Rock, Op. 7, Five Pieces for Piano, Op. 3 (with the famous Prelude in C sharp minor), as well as the First Suite. That he was quite the up-and-coming golden boy of Russian music is evidenced by the respect and admiration he received from no less than Tchaikovsky, who was impressed with the success of the Prelude, as well as with the considerable amount of music his young colleague had managed to produce over just one summer. "And I, miserable wretch, have only written one Symphony!" he lamented. (Then again, that one Symphony was the Pathétique, the last work to come from his pen, hardly a trivial accomplishment.) Rachmaninoff told Tchaikovsky about his new suite for two pianos – at the time titled Fantaisie-Tableaux and dedicated to the older master – although he declined to play it at their meeting, probably fearing that it would be unacceptably compromised by performance on only one piano. (What transpired at that meeting is related in Rachmaninoff’s Recollections, told to Oskar von Riesemann.) Sadly, the two artists were never to meet again; Tchaikovsky died several weeks later. The Suite represents Rachmaninoff’s first attempt at writing program music. Not only is it dedicated to Tchaikovsky but it also reflects a great deal of his musical influence. The definitive Rachmaninoff stamp is not yet affixed to this work, though there are many passages which are unmistakably characteristic and prophetic, while the technical, tonal and interpretive resources of the two keyboards have been employed with masterly insight. Unlike the bulk of Rachmaninoff’s keyboard music, the First Suite has strong programmatic underpinnings. Each of its four movements is headed by a passage of verse, each by a different poet. The first movement takes as its topic the Barcarolle from Romantic poet Mikhail Lermontov (who also inspired The Rock) that describes a lost love as the passing of a Venetian gondola. Gently rocking rhythms, underlaying a Tchaikovskian melody, retain an introverted mood even amid a steady accretion of keyboard pyrotechnics. La Nuit... l'Amour (The Night…The Love) takes its inspiration from the opening lines of Lord Byron’s Parisina: "It is the hour when from the boughs / The nightingale’s high note is heard." A tiny fragment of a motive in the second piano repeats itself almost hypnotically against increasingly lavish punctuations in the first; the mood intensifies into a mid-place Agitato (that retains that modest motive as a recurring element) until fading back to the hush of the opening. Fyodor Tyutchev’s Les Larmes (Tears) provides the impetus for a heartfelt Largo di molto characterized by a four-note figure that, one way or another, makes itself felt throughout, even during a faster middle section. In last place comes Pâques (Easter) after Aleksey Khomyakov and an all-stops-out evocation of those iconic Russian bells that inform so much Russian music, like Rimsky-Korsakov’s Russian Easter Overture, or any number of Rachmaninoff’s works. A short, exuberant carillon, a wonderful imitation of the bells of the Kremlin ringing out on Easter morning. Rachmaninoff and Mussorgsky must have heard those bells with ears similarly attuned, for there is a marked affinity between the Easter movement of this Suite and the sound of the bells in the great Coronation Scene from Boris Godunov, which also takes place before the Kremlin. Jubilant, extroverted, even perhaps a bit obsessive, the movement closes out the Suite in a blaze of burnished sonority. The work was premiered on November 30, 1893 by Rachmaninoff and Pavel Pabst in Moscow.
Valentin Silvestrov Borys Lyatoshynsky Gustav Mahler Lahti Symphony Orchestra 1937 1955 1958 1964 1974 1977 1980 1982
Valentin Silvestrov - Ukraine, Валентин Сільвестров 1937* Kyiv Ukraine (http•••) Valentin Vasilyevich Silvestrov Васильевич Ukrainian: Валенти́н Васильйович Сильве́стров,[1][2] born 30 September 1937 in Kyiv, in the Ukrainian SSR of the Soviet Union) is a Ukrainian pianist and composer of contemporary classical music. Silvestrov began private music lessons at age 15. He studied piano at the Kyiv Evening Music School from 1955 to 1958, then at the Kyiv Conservatory from 1958--1964; composition under Borys Lyatoshynsky, harmony and counterpoint under Levko Revutsky. Silvestrov is perhaps best known for his post-modern musical style; some, if not most, of his works could be considered neoclassical and post-modernist. Using traditional tonal and modal techniques, Silvestrov creates a unique and delicate tapestry of dramatic and emotional textures, qualities which Silvestrov suggests are otherwise sacrificed in much of contemporary music. "I do not write new music. My music is a response to and an echo of what already exists," Silvestrov has said. In 1974, under pressure to conform to both official precepts of socialist realism and fashionable modernism, Silvestrov chose to withdraw from spotlight. In this period he began to reject his previously modernist style. Instead, he composed Silent Songs (Tихие Песни (1977)) a cycle intended to be played in private. Silvestrov's Symphony No. 5 +••.••(...)), considered by some to be his masterpiece, may be viewed as an epilogue or coda inspired by the music of late Romantic composers such as Gustav Mahler. "With our advanced artistic awareness, fewer and fewer texts are possible which, figuratively speaking, begin 'at the beginning'... What this means is not the end of music as art, but the end of music, an end in which it can linger for a long time. It is very much in the area of the coda that immense life is possible." Silvestrov's recent cycle for violin and piano, Мелодії Миттєвостей (Fleeting Melodies), a set of seven works comprising 22 movements to be played in sequence (and lasting about 70 minutes), is intimate and elusive - the composer describes it as "melodies [...]on the boundary between their appearance and disappearance
Valentin Silvestrov Borys Lyatoshynsky Gustav Mahler Lahti Symphony Orchestra 1937 1955 1958 1964 1974 1977 1980 1982
Valentin Silvestrov - Ukraine, Валентин Сільвестров 1937* Kyiv Ukraine (http•••) Valentin Vasilyevich Silvestrov Васильевич Ukrainian: Валенти́н Васильйович Сильве́стров,[1][2] born 30 September 1937 in Kyiv, in the Ukrainian SSR of the Soviet Union) is a Ukrainian pianist and composer of contemporary classical music. Silvestrov began private music lessons at age 15. He studied piano at the Kyiv Evening Music School from 1955 to 1958, then at the Kyiv Conservatory from 1958--1964; composition under Borys Lyatoshynsky, harmony and counterpoint under Levko Revutsky. Silfestrov is perhaps best known for his post-modern musical style; some, if not most, of his works could be considered neoclassical and post-modernist. Using traditional tonal and modal techniques, Silvestrov creates a unique and delicate tapestry of dramatic and emotional textures, qualities which Silvestrov suggests are otherwise sacrificed in much of contemporary music. "I do not write new music. My music is a response to and an echo of what already exists," Silvestrov has said. In 1974, under pressure to conform to both official precepts of socialist realism and fashionable modernism, Silvestrov chose to withdraw from spotlight. In this period he began to reject his previously modernist style. Instead, he composed Silent Songs (Tихие Песни (1977)) a cycle intended to be played in private. Silvestrov's Symphony No. 5 +••.••(...)), considered by some to be his masterpiece, may be viewed as an epilogue or coda inspired by the music of late Romantic composers such as Gustav Mahler. "With our advanced artistic awareness, fewer and fewer texts are possible which, figuratively speaking, begin 'at the beginning'... What this means is not the end of music as art, but the end of music, an end in which it can linger for a long time. It is very much in the area of the coda that immense life is possible." Silvestrov's recent cycle for violin and piano, Мелодії Миттєвостей (Fleeting Melodies), a set of seven works comprising 22 movements to be played in sequence (and lasting about 70 minutes), is intimate and elusive - the composer describes it as "melodies [...]on the boundary between their appearance and disappearance
Valentin Silvestrov Borys Lyatoshynsky Gustav Mahler Lahti Symphony Orchestra 1937 1955 1958 1964 1974 1977 1980 1982
Valentin Silvestrov - Ukraine, Валентин Сільвестров 1937* Kyiv Ukraine (http•••) Valentin Vasilyevich Silvestrov Васильевич Ukrainian: Валенти́н Васильйович Сильве́стров,[1][2] born 30 September 1937 in Kyiv, in the Ukrainian SSR of the Soviet Union) is a Ukrainian pianist and composer of contemporary classical music. Silvestrov began private music lessons at age 15. He studied piano at the Kyiv Evening Music School from 1955 to 1958, then at the Kyiv Conservatory from 1958--1964; composition under Borys Lyatoshynsky, harmony and counterpoint under Levko Revutsky. Silvestrov is perhaps best known for his post-modern musical style; some, if not most, of his works could be considered neoclassical and post-modernist. Using traditional tonal and modal techniques, Silvestrov creates a unique and delicate tapestry of dramatic and emotional textures, qualities which Silvestrov suggests are otherwise sacrificed in much of contemporary music. "I do not write new music. My music is a response to and an echo of what already exists," Silvestrov has said. In 1974, under pressure to conform to both official precepts of socialist realism and fashionable modernism, Silvestrov chose to withdraw from spotlight. In this period he began to reject his previously modernist style. Instead, he composed Silent Songs (Tихие Песни (1977)) a cycle intended to be played in private. Silvestrov's Symphony No. 5 +••.••(...)), considered by some to be his masterpiece, may be viewed as an epilogue or coda inspired by the music of late Romantic composers such as Gustav Mahler. "With our advanced artistic awareness, fewer and fewer texts are possible which, figuratively speaking, begin 'at the beginning'... What this means is not the end of music as art, but the end of music, an end in which it can linger for a long time. It is very much in the area of the coda that immense life is poss)ble." Silvestrov's recent cycle for violin and piano, Мелодії Миттєвостей (Fleeting Melodies), a set of seven works comprising 22 movements to be played in sequence (and lasting about 70 minutes), is intimate and elusive - the composer describes it as "melodies [...]on the boundary between their appearance and disappearance
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- cronología: Cantantes líricos (Europa). Intérpretes (Europa).
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