Bbc National Orchestra Of Wales Vidéos
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2024-04-28
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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•••)
Jean Sibelius Thomas Søndergård Bbc National Orchestra Wales
Performed by the BBC National Orchestra of Wales Conducted by Thomas Søndergård
Maxim Rysanov Bach Mischa Maisky Nicola Benedetti Vilde Frang Janine Jansen Boris Brovtsyn Alexander Sitkovetsky Sitkovetsky Sergei Krylov Henkel Yusupov Leonard Elschenbroich Kelemen Dobrinka Tabakova Lionel Tertis Valentino Bucchi Richard Dubugnon Leonid Desyatnikov Giya Kancheli Penderecki Vasks Heilbron Martinu Last Night Proms Salzburg Festival Vale Glamorgan Festival Lithuanian Chamber Orchestra London Mozart Players Scottish Ensemble Russian National Orchestra Orquesta Sinfónica Castilla León National Symphony Orchestra Detmold Chamber Orchestra Southbank Sinfonia Budapest Festival Orchestra Sofia Philharmonic Bbc National Orchestra Wales Orchestre Philharmonique Strasbourg Hong Kong Sinfonietta Scottish Chamber Orchestra 1780 2013 2014 2016
Buy Maxim's CDs here: (http•••) Official website: (http•••) Facebook: (http•••) Ukrainian-British violist and conductor Maxim Rysanov has established himself as one of the worlds most vibrant and charismatic musicians. He is principally known for his performances as a violist, guest of the crème of international music scene such as BBC Last Night of the Proms, Verbier, Great Mountain, Tran Siberian and Edinburgh Festival, Salzburg Festival among others. After having completed a conducting fellowship at The GSMD he started to combine his viola performance with a career as a conductor. Conducting engagements include the Spanish Radio Orchestra, Basel Symphony Orchestra, Lithuanian Chamber Orchestra, Riga Sinfonietta, London Mozart Players, Baltic Neopolis, Scottish Ensemble, Russian National Orchestra, and Moscow Musica Viva, Kiev Soloists, Orquesta Sinfónica de Castilla y León, Georgian National Symphony Orchestra, Częstochowa Philharmonic Orchestra, Chamber Orchestra Chaarts, Detmold Chamber Orchestra, Dala Sinfonietta, Southbank Sinfonia, Danubia Symphony as well as conducting at festivals in Dubrovnik, Utrecht, Boswil , Surrey Hills, Budapest Festival Orchestra, and the finale of the Beijing Viola Festival, Plovdiv Philharmonic, Sofia Opera Orchestra and Chorus, Sofia Philharmonic, Royal College of Music String Orchestra, Lviv Philharmonic, Detmold Chamber Orchestra, Lepaje Symphony Orchestra and the Pforzheim Stadtsorchester. As a conductor Maxim worked with such soloists as Mischa Maisky, Nicola Benedetti, Vilde Frang, Janine Jansen, Boris Brovtsyn, Alexander Sitkovetsky, Sergei Krylov, Susanna Yoko Henkel, Kristina Blaumane, Ashley Wass, Benjamin Yusupov, Leonard Elschenbroich, Dora Kokas and Kelemen Quartet among others. Maxim featured as both conductor and soloist on the debut disc of composer Dobrinka Tabakova (ECM) in 2013 - a disc that reached number 2 in the UK classical charts and was shortlisted for a Grammy Award. Maxim has long been recognised by the international music scene and his list of prizes affirm that status. These include the Classic FM Gramophone Young Artist of the Year Award and the BBC Radio 3 New Generation Award, as well as the Geneva, Lionel Tertis and Valentino Bucchi competitions. Maxim is a keen promoter of new music. Recently he conducted the Russian premier of the Piano Concerto by Benjamin Yusupov. His enthusiasm for new music has generated collaborations, which have extended the viola repertoire. This includes world premieres by Dobrinka Tabakova, Richard Dubugnon and Sergei Akhunov. Other composers with whom Maxim has developed a close working relationship include Benjamin Yusupov, Leonid Desyatnikov, Giya Kancheli, Artyom Vassiliev and Elena Langer. In 2014 Maxim presented the Penderecki's double concerto in a Russian premiere. In 2016 he premieres a new viola concerto by Peteris Vasks that was co-commissioned by the BBC National Orchestra of Wales, the Vale of Glamorgan Festival and the Orchestre Philharmonique de Strasbourg. Further performances include Turku Philharmonic, Riga Sinfonietta, Hong Kong Sinfonietta, Scottish Chamber Orchestra, Wurttemburgisches Kammerorchester Heilbron and the Lithuanian Chamber Orchestra. Maxim's commercial CD have continually gained awards including Gramophone Editor's Choice and ECHO, ICMA, Gramophone and Grammy nominations as well as reaching the top of the iTunes charts in the USA. His recent recording of the Martinu Rhapsody – Concerto was shortlisted for the Gramophone Award. He is delighted to have a Giuseppe Guadagnini viola (1780) on extended loan from the Elise Mathilde Foundation.
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