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Bolshoi Theatre Borissenko Ivanov Vera Firsova Firsova 1950
1950 Дир. - А. Ш. Мелик-Пашаев My darling little friend (sung in russian) (Queen of Spades) Chorus and Orchestra of the Bolshoi Theatre Veronika Borissenko Andrej Ivanov Vera Firsova
Kipras Petrauskas Herzog Shaliapin Rimsky Korsakov Gounod Mariinsky Theatre Scala Odeon 1885 1905 1911 1920 1928 1933 1936 1948 1949 1958 1968 2008
The great Lithuanian tenor Kipras Petrauskas +••.••(...)) received his musical education from his father (who was a woodworker by trade and also worked as organist for various churches) and his elder brother Mikas (who was a well-known music teacher and composer). His artistic career began in 1905 (and after many striking twists, ended!) in Vilnius where he began to sing in his brother‘s musical productions. Realizing that he needed further training, Petrauskas subsequently moved to St. Petersburg where he continued his vocal studies at the conservatory. During his four years there, he sang the leading tenor roles in many student productions, including Yevgeny Onegin, Faust and others. Upon leaving the Conservatory, then already a popular tenor Кипрiанъ Пiатровскiй was bombarded by contracts. He chose the Mariinsky theatre in St. Petergsburg where he debuted in the Herzog‘s role in Rigoletto in 1911. Petrauskas remained there for the next decade and developed more than 50 memorable roles, including those in La Traviata, Tosca, La Bohème, Manon, Faust and others. As Petrauskas matured, he began to take on more dramatic roles such as Don José in Carmen, Radames in Aida, Canio in Pagliacci, the title roles in Andrea Chénier, Lohengrin and even Otello. The handsome tenor swept along many beauties of St. Petersburg (the M. and K. Petrauskas‘ museum in Kaunas keeps some 400 their billets-doux). After returning to his native Lithuania in the early 1920s, the singer was instrumental in establishing the Lithuanian Opera Theatre in the town of Kaunas (the Opera was opened on December 31, 1920; after the WWII, it moved to Vilnius). In 1928 Petrauskas accompanied Fedor Shaliapin, his close friend since St. Peterburg days, on the Berlin stage. The next year and with the same company he took a long tour through Europe to the South America (a similar trip took place also in 1936). In 1933, the singer made his impressive La Scala debut as Grishka Kuterma in Rimsky-Korsakov’s opera The Legend of the Invisible City of Kitezh. Kipras Petrauskas is remembered for his charming lyricism, natural artistic restraint, good taste and his considerable musicianship which permeated every phrase he sang. He enjoyed an unusually long career (more than fifty years) and developed an impressive repertoire of over eighty roles. His final stage appearance was as Don José in Carmen in 1958 in Vilnius, at the age of 73. By that time, the elderly tenor was a Professor of Voice at the Vilnius Conservatory, a post he assumed in 1949. Most of his his ‘golden’ records were produced between 1920 and 1948 on the shellac disks. ‘The great Lithuanian tenor’ is a splendid set of two CDs (Lithuania, Prior Musica, 2008) containing Petrauskas’ remastered records from Algirdas Motieka collection and a 32-page booklet. The first CD is devoted to the operatic repertoire, the second one covers song repertoire. In this recording, Petrauskas offers a Russian language version of Faust‘s cavatine ‘Salut, demeure chaste et pure’ from the famous Gounod’s opera. The shellac record was published by Odeon.
Bronislaw Huberman Beethoven Johann Sebastian Bach Smetana Hahn Barzin Ignaz Friedman Heiden 1930 1942 1944
Dedicated to my dearest best friend & greatest among artists Laetitia Hahn (http•••) • Ludwig van Beethoven: Violin Concerto in D Major, Op. 61 Bronislaw Huberman, violin National Orchestral Association, Leon Barzin Recorded in New York, 1944 • Ludwig van Beethoven: Sonata for Violin and Piano in A Major, Op. 47: II. Andante con variazione & III. Presto (previously unissued takes of the commercial recording made in London in 1930) Bronislaw Huberman, violin & Ignaz Friedman, piano • Bedrich Smetana: From My Homeland (R.1942) • Johann Sebastian Bach: Nun komm der Heiden heiland (R.1942) Bronislaw Huberman, violin & Boris Roubakine, piano For other great productions have a look at: (http•••) & (http•••)
Paul Hindemith Gansch Bach 1895 1939 1963 2017
Piano Accompaniment: (http•••) More Accompaniments: (http•••) Donate: (http•••) Buy me a coffee: (http•••) Sonata for Trumpet and Piano op. 137 (1939) Paul Hindemith +••.••(...)) Biographical Info The sonata opens with the trumpet proclaiming a sturdy theme over piano figuration to the performance direction mit Kraft (with strength). Two more ideas are presented, with the movement’s eventual form set out in the neatly symmetrical arrangement of A-B-C-A-C-B-A. The second movement has a quirky, whimsical air to it, somewhat like a comical march but with a pronounced undercurrent of tension. The last movement is the longest and the sonata’s center of emotional gravity. Entitled ''Trauermusik'' (music of mourning), it takes the trumpet, so often used as an instrument of brilliance and pomp and celebration, on a troubled, meditative journey that culminates in the somber intoning of the chorale-theme ''Alle Menschen müssen sterben'' (all men must die), which Bach had set as a chorale-prelude (BWV 643). This sonata was one of several Hindemith composed in 1939, as part of his project to supply music of substance and challenge to serious amateur performers on various instruments. This particular work took on a depth quite beyond the scope of its companion sonatas; it became one of Hindemith’s most personal expressions, and in that sense suggests a link to such works as the opera Mathis der Maler and the more familiar three-part symphony he created from materials in that work The music that became the flashpoint of his unplanned confrontation with the Nazi authorities in his native country. In 1939, the year he composed this sonata, Hindemith was living as an exile in Switzerland, where he watched his own country annex Austria, occupy Czechoslovakia, and finally ignite World War II by invading Poland, while its leaders were intensifying their obsession with anti-Semitism and moving determinedly toward full-scale genocide. The Trumpet Sonata, perhaps to Hindemith’s own surprise, became a protest and a profound lamentation. Perhaps as a reflection of these ominous events, Hindemith’s Trumpet Sonata took on a rather somber hue. Hindemith held this sonata in high esteem. To a friend he wrote that “it is maybe the best thing I have succeeded in doing in recent times.” Source: (http•••) Follow me for more on: Bandcamp: (http•••) Facebook: (http•••) Instagram: trumpetrecords #trumpetrecords #sivopenev Paul Hindemith - Sonata for Trumpet and Piano - I. Mit Kraft (Hans Gansch)
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- cronología: Directores de orquesta. Intérpretes.
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