Serguéi Prokófiev Seven, They Are Seven, Op. 30 Vídeos
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Sergei Prokofiev Repin Vladimir Ashkenazy Rozhdestvensky 1891 1917 1924 1933 1953 2002
Sergei Prokofiev +••.••(...)) - Seven, They Are Seven, Op. 30 (1917, rev. 1933) Leonid Repin, tenor St. Petersburg Conservatory Choir St. Petersburg Philharmonic Orchestra, Vladimir Ashkenazy (2002) Prokofiev's cantata Seven, They Are Seven is a work for large orchestra, chorus, and tenor soloist typically lasting around seven minutes. It was composed in 1917, just after his Classical Symphony, and was revised later in 1933. "This short cantata, which indeed lasts about seven minutes, is a fantastic work which feasts on its own hypnotic repetitions and bizarre sound world. Prokofiev himself related his excitement at composing the work; periodically he had to seek relief from the task, owing to overwhelming anxiety that developed from his enthusiasm. This was among Prokofiev's first truly revolutionary large compositions, and it must have been a disappointment that he never saw it performed in Russia. It was, however, premiered in France, in 1924. Seven, They Are Seven uses the poem 'Ancient Calls' by Konstantin Balmont, which is a Russian translation of a cuneiform in a Mesopotamian temple from the third millennium BC. It describes seven demonic gods who have power over the elements, and also describes the power of these gods. The work begins violently with a snare drum roll and seething orchestral music, with the chorus then entering the chaos in hysterical but dramatic style. The tenor incites the chorus, which sings with delicious fanaticism many repetitions involving the word 'seven.' A dark, grim rhythmic buildup then begins as the sinister tenor sings, seemingly possessed, above the ensemble. Suspense mounts, and the music reaches a fever pitch of bizarre and fantastic sounds; it detours briefly for a descent to some dark hell, after which tension builds anew. A climax of surreal manner is reached, with the orchestra roiling wildly. Finally peace comes, as the music fades to the dark sounds of the drums and bass singers. This is a thoroughly distinctive masterpiece and one of the most underrated works of its kind." (source: AllMusic, Wikipedia) * You can view an alternate version of this video with Rozhdestvensky's recording here: (http•••) *
Sergei Prokofiev Igor Morozov Alexander Ramm Ramm Valery Gergiev Mariinsky Theatre 2016
Сергей Прокофьев Sergei Prokofiev 0:00:00 Скифская сюита, соч. 20 / Scythian Suite, op 20 0:24:58 Кантата "Семеро их", соч. 30 / Cantata Seven, They Are Seven, op.30 0:35:55 Кантата к 20-летию Октября, соч. 74 / Cantata for the 20th Anniversary of the October Revolution, Op. 74 01:18:55 Симфония-концерт для виолончели с оркестром, соч. 125 / Sinfonia concertante for cello & orchestra, Op. 125 Солисты - Игорь Морозов (тенор), Александр Рамм (виолончель) Хор и симфонический оркестр Мариинского театра Музыкальный руководитель и дирижер - Валерий Гергиев Запись: апрель 2016 года Soloists: Igor Morozov (tenor), Alexander Ramm (cello) Mariinsky Chorus and Orchestra Conductor: Valery Gergiev 2016 Mariinsky Theatre • Telmondis • Mezzo • Arthaus Musik
Sergei Prokofiev Xavier Puig Puig Karol Szymanowski Paul Kochanski Stravinsky Bronisław Huberman Nathan Milstein Sergei Koussevitzky Kurt Weill Joseph Szigeti Fritz Reiner Georges Auric Vladimir Horowitz Boston Symphony Orchestra 1915 1916 1917 1923 1925
Sergei Prokofiev - Violin Concerto No 1 in D major, Op. 19 I Andantino II Scherzo: Vivacissimo - 10:03 III Moderato - Andante - 14:12 Spanish Symphony Orchestra Radio and Television Xavier Puig, conductor Ana María Valderrama, violin / Despite the events leading to the abdication of Tsar Nicholas II of Russia and eventually the October Revolution, 1917 became Prokofiev's most productive year compositionally. Along with this concerto he completed the "Classical" Symphony, the Third and Fourth Piano Sonatas, and the Visions Fugitives for piano. He also began the cantata Seven, They are Seven, based on Chaldean texts, and worked on the Third Piano Concerto. Nevertheless, Prokofiev continued his habit of incorporating previously composed sections in the violin concerto (something he would also do in the Third Piano Concerto). He composed the concerto's opening melody in 1915, during his love affair with Nina Mescherskaya. The remaining movements were partly inspired by a 1916 Saint Petersburg performance of Karol Szymanowski's Myths by Polish violinist Paul Kochanski. Its premiere in Paris was a relative failure, partly due to the work being overshadowed by Stravinsky's more modish Octet. The Concerto's premiere had also been delayed some seven years after it had been completed, due to Prokofiev's itinerant existence at that time and the difficulty in finding a soloist. Had the premiere taken place in Petrograd in 1917, as initially planned, Kochanski would have taken the part. By 1923, however, Kochanski was unavailable for the scheduled Paris premiere. Bronisław Huberman would not even look at the score. Nathan Milstein was still in Russia. The violinist who finally tackled the solo part was Sergei Koussevitzky's concertmaster, Marcel Darrieux; although not famous, he was a solid musician and a more than able violinist, which was all that was necessary for a performance (Darrieux also premiered Kurt Weill's Concerto for Violin and Wind Instruments in 1925.) Joseph Szigeti was in the audience, and was so impressed with the work that he took the Concerto into his repertory. The following year Szigeti achieved success when he played the Concerto in Prague with Fritz Reiner as conductor, then toured it around Europe and the United States. However, the U.S. premiere was not played by Szigeti, but by Richard Burgin, the concertmaster of the Boston Symphony Orchestra, on 24 April 1925, again under Koussevitzky. There were also the musical tastes of the Parisian public to consider. Audience members, especially those who came to Koussevitzky concerts, wanted modern music with a certain amount of shock value. The fact that The Rite of Spring had failed a decade earlier was relative—the choreography had been a failure; the music was a success, as proved a few months later when it was heard enthusiastically in concert. While Paris welcomed spiked dissonant works such as the ballet Chout (The Buffoon) and the Scythian Suite, the First Violin Concerto was simply too Romantic in tone for their preferences. The composer Georges Auric even called the work "Mendelssohnian." The premiere of the work in the Soviet Union is also worth noting since it was given just three days after the Paris premiere by two 19-year-olds, Nathan Milstein and Vladimir Horowitz. Horowitz played the orchestral part on the piano. Milstein later wrote in his memoirs, From Russia to the West, "I feel that if you have a great pianist like Horowitz playing with you, you don't need an orchestra." Milstein and Horowitz also introduced Karol Szymanowski's First Violin Concerto at the same concert. The work opens ethereally, gains momentum and becalms; this describes both the opening movement, and the piece taken as a whole. The three movements begin in D major, E minor, and G minor respectively, and the work closes in a manner similar to that of the opening movement, seeming to climb peacefully. Apart from the solo violin, the concerto is scored for moderate-sized orchestra including two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, tuba, timpani, snare drum, tambourine, harp, and strings.
Prokofiev Hass Queen Elizabeth Hall 2010
Goldsmiths Chamber Choir & Sinfonia Matt Hass / tenor solo Alexander Ivashkin / conductor 8 December 2010, Queen Elizabeth Hall, London Concert in memory of Noelle Mann
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