Alexandra Kroutikova Vidéos
artiste lyrique
- contralto
- Empire russe
Dernière mise à jour
2024-04-28
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Tchaikovsky Modest Tchaikovsky Rimsky Korsakov Borne Raab Aleksandra Krutikova 1793 1825 1830 1835 1871 1872 1873 1874 1893
Tchaikovsky: Six Romances Op. 16 (1873) IV. O, Sing That Song (О, спой же ту песню) Allegro moderato (G major) Tchaikovsky's Six Romances (Шесть романсов), Op. 16 (TH 95 ; ČW 218-223), were written in Moscow in December 1872 and January 1873. Instrumentation: Scored for high voice (Nos. 1, 2, 4, 5, 6), or low voice (No. 3), with piano accompaniment. Movements: IV. O, Sing That Song (О, спой же ту песню) Allegro moderato (G major) Oh, sing that song, dear, That you sang in the old days In the shadows, as a child I was You suddenly sang a song And I'm on your knees Dozing to the sound of that song. You sang, tormented by longing; From dark, pensive eyes Tears rolled after tears... You sang long and sad... I loved the melody simple Even though I couldn't understand the words... Oh, sing that song, dear, How she sang it in the old days; It took me a long time to understand its meaning! And let the familiar sounds Heartbroken, I fall asleep That heals all pain. Oh, sing that song, dear, How to sing it in the old days! Oh, sing that song! Sing that song! How to sing it in the old days! Aleksey Pleshcheyev (1825–1893), from his poem On a Motif of Felicia Hemans (На мотив из Фелиции Гименс) (1871) — a translation from the English of the poem Mother! Oh Sing me to Rest (1830) by Felicia Hemans (1793–1835) Composition: The romances were composed by Tchaikovsky in Moscow, apparently soon after finishing work on his Second Symphony. On 2/14 November 1872 he wrote that: "... the symphony, which I'm finishing off, has engrossed me so deeply that I'm not able to do anything else". By 15/27 November the symphony was ready and copied out. In letters to his father of 22 November/4 December and 9/21 December. Tchaikovsky reported that he was going to relax after completing his symphony. and not write anything further. But on 10/22 December he told Modest Tchaikovsky: "Now I am forced to rest by the absence of any inspiration or inclination to compose; I did try to write some romances, but somehow they all came out badly, and I couldn't find words that I liked. If you aren't particularly busy, could you send me a list of suitable verses? I've filled a whole ream of paper with verses, but they are all so terrible that not one of them is suitable to set to music". It seems that in December, not having found an appropriate text, Tchaikovsky wrote the words himself for the romance So What? (No. 5). Modest Tchaikovsky understood that the Op. 16 romances were written in December 1872. This information is contained in a letter from Tchaikovsky to Vasily Bessel concerning the publication of the pieces: "During his stay in Saint Petersburg [in December 1872] Tchaikovsky often met with... members of the so-called "mighty-handful"... One evening at Rimsky-Korsakov's, Pyotr Ilyich played his new symphony on the piano, precipitating an enthusiastic response from all those present... Tchaikovsky then presented Bessel with his latest Six Romances, Op. 16, for publication. which had only just been composed". The author's opinion that the romance So What? (No. 5) was the best of the Op. 16 set is borne out in a letter to Vasily Bessel of 21 February/5 March 1873: "I recommended ... one of my new romances to Madame Raab, namely So What?". Performances: The romances O, Sing that Song (No. 4) and So What? (No. 5) were performed, seemingly for the first time, in December 1874 – the first by Aleksandra Krutikova, and the second by Mariya Kamenskaya. Publication: The Six Romances were published for the first time by Vasily Bessel in March 1873, along with the composer's piano arrangements of Nos. 1, 4 and 5. In letters of 4/16 March and 7/19 March 1873. Tchaikovsky wrote to Bessel: "I have only just received my romances and hurried to drop you this note to urge you to sequestrate them, i.e. to withdraw all copies of these romances, since they contain some appalling printing errors. I hurriedly checked through them and saw several musical mistakes, and one literary error, sufficient in itself to spoil the whole work. Indeed in the best romance (in my opinion), No. 5, on page 4 in place of the word korish (кориш) [you find fault] the word kutish (кутиш) [you get drunk] has been printed instead, which made me shudder. I implore you at once to gather together all copies and thoroughly examine the proofs, which if you want, I will do myself... The point is that I really expected No. 5 to be a success, but the word kutish has ruined any chance of that". Autographs: Tchaikovsky's manuscript scores of all six romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 131). The same archive also holds the autograph of Tchaikovsky's arrangement of No. 5 for solo piano (ф. 88, No. 132). Dedication: Each of the Op. 16 romances is dedicated to a different person: IV. O, Sing that Song is dedicated to Nikolay Hubert.
Tchaikovsky Modest Tchaikovsky Rimsky Korsakov Borne Raab Aleksandra Krutikova Karl Albrecht 1858 1872 1873 1874
Tchaikovsky: Six Romances Op. 16 (1873) VI. Modern Greek Song (Новогреческая песня) Moderato lugubre (E-flat minor) Tchaikovsky's Six Romances (Шесть романсов), Op. 16 (TH 95 ; ČW 218-223), were written in Moscow in December 1872 and January 1873. Instrumentation: Scored for high voice (Nos. 1, 2, 4, 5, 6), or low voice (No. 3), with piano accompaniment. Movements: VI. Modern Greek Song (Новогреческая песня) Moderato lugubre (E-flat minor) In a dark hell, underground Sinful shadows languish; The maidens are moaning, the wives are crying, And yearn, and crash ... Everything, everything about what does not reach Lead to hellish limits - Wives cry, moan Is there a blue sky? Is there still white light there? Are there churches of God in the world? And golden icons And as before, behind the machines, Do young maidens weave? Do young maidens weave? In a dark hell, underground Sinful shadows languish; The maidens are moaning, the wives are crying, And yearn, and crash... Apollon Maykov, from an untitled poem in his cycle Modern Greek Songs (Новогречиские песни) (1858–60). Composition: The romances were composed by Tchaikovsky in Moscow, apparently soon after finishing work on his Second Symphony. On 2/14 November 1872 he wrote that: "... the symphony, which I'm finishing off, has engrossed me so deeply that I'm not able to do anything else". By 15/27 November the symphony was ready and copied out. In letters to his father of 22 November/4 December and 9/21 December. Tchaikovsky reported that he was going to relax after completing his symphony. and not write anything further. But on 10/22 December he told Modest Tchaikovsky: "Now I am forced to rest by the absence of any inspiration or inclination to compose; I did try to write some romances, but somehow they all came out badly, and I couldn't find words that I liked. If you aren't particularly busy, could you send me a list of suitable verses? I've filled a whole ream of paper with verses, but they are all so terrible that not one of them is suitable to set to music". It seems that in December, not having found an appropriate text, Tchaikovsky wrote the words himself for the romance So What? (No. 5). Modest Tchaikovsky understood that the Op. 16 romances were written in December 1872. This information is contained in a letter from Tchaikovsky to Vasily Bessel concerning the publication of the pieces: "During his stay in Saint Petersburg [in December 1872] Tchaikovsky often met with... members of the so-called "mighty-handful"... One evening at Rimsky-Korsakov's, Pyotr Ilyich played his new symphony on the piano, precipitating an enthusiastic response from all those present... Tchaikovsky then presented Bessel with his latest Six Romances, Op. 16, for publication. which had only just been composed". The author's opinion that the romance So What? (No. 5) was the best of the Op. 16 set is borne out in a letter to Vasily Bessel of 21 February/5 March 1873: "I recommended ... one of my new romances to Madame Raab, namely So What?". Performances: The romances O, Sing that Song (No. 4) and So What? (No. 5) were performed, seemingly for the first time, in December 1874 – the first by Aleksandra Krutikova, and the second by Mariya Kamenskaya. Publication: The Six Romances were published for the first time by Vasily Bessel in March 1873, along with the composer's piano arrangements of Nos. 1, 4 and 5. In letters of 4/16 March and 7/19 March 1873. Tchaikovsky wrote to Bessel: "I have only just received my romances and hurried to drop you this note to urge you to sequestrate them, i.e. to withdraw all copies of these romances, since they contain some appalling printing errors. I hurriedly checked through them and saw several musical mistakes, and one literary error, sufficient in itself to spoil the whole work. Indeed in the best romance (in my opinion), No. 5, on page 4 in place of the word korish (кориш) [you find fault] the word kutish (кутиш) [you get drunk] has been printed instead, which made me shudder. I implore you at once to gather together all copies and thoroughly examine the proofs, which if you want, I will do myself... The point is that I really expected No. 5 to be a success, but the word kutish has ruined any chance of that". Autographs: Tchaikovsky's manuscript scores of all six romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 131). The same archive also holds the autograph of Tchaikovsky's arrangement of No. 5 for solo piano (ф. 88, No. 132). Dedication: Each of the Op. 16 romances is dedicated to a different person: VI. Modern Greek Song is dedicated to Karl Albrecht.
Tchaikovsky Shore Modest Tchaikovsky Aleksandra Krutikova 1825 1844 1851 1872 1884 1885 1893 1901 1919 1940
Tchaikovsky: Six Romances, Op. 57 (1884) VI. Only You Alone (Лишь ты один) Andante non troppo (F major) Tchaikovsky's Six Romances (Шесть романсов), Op. 57 (TH 105 ; ČW 275-280), were mostly written between September and November 1884, except for No. 1 which is from an earlier date. Instrumentation: Scored for high voice (Nos. 1, 5), medium voice (Nos. 3, 4), baritone (No. 2) or low voice (No. 6), with piano accompaniment. Tchaikovsky made minor changes to the texts of the poems used in On the Golden Cornfields (No. 2), Do Not Ask! (No. 3), Sleep! (No. 4), and more significant changes in Only You Alone (No. 6). Movements: VI. Only You Alone (Лишь ты один) Andante non troppo (F major) Only you believed in my suffering, One rebelled against the false court of man And supported my exhausted spirit In those days, how the light in me fought the darkness. Only you alone extended your hand to me boldly, When to you, full of despair, I came with a bleeding heart Without pitiful crowd offended. Only you alone in my life not a moment I did not poison ... One spared me, One shore from storms with tender participation... And you never loved me! No, you never, never loved me... Aleksey Pleshcheyev (1825–1893), from an untitled poem (1884), after the German poem Nur Du allein (1872) by Ada Christen (1844–1901). Composition: The earliest of the romances to be written was Tell Me, What in the Shade of the Branches? (No. 1). In a letter to Pyotr Jurgenson of 1/13 December 1884 (see below). the composer expressed his surprise at this discovery of this romance, which it seems he had forgotten about. The exact time and place of its composition are uncertain. On the Golden Cornfields (No. 2) and Do Not Ask (No. 3) were composed at Pleshcheyevo in late September 1884. Before the rough draft of No. 2 in the composer's notebook is the date "Pleshcheyevo, 26 Sept 1884". Do Not Ask (No. 3) was composed next, and its text was probably chosen by Tchaikovsky after he read Goethe's novel The Apprenticeship of Wilhelm Meister("God, how marvellous this is..."), which he found in Nadezhda von Meck's library at Pleshcheyevo [4]. The remaining three romances were written in Paris between 19 November/1 December (the date of his arrival) and 1/13 December 1884, when Tchaikovsky wrote to Pyotr Jurgenson: "I was very surprised to learn that Komissarzhevsky has my romance. Incidentally, I already have another five. Congratulations to you on my new opus". Writing to Modest Tchaikovsky from Paris on 3/15 December 1884, the composer reported: "I cannot say that I am bored from idleness. I managed here to devise the main revisions to Vakula, and to write three new romances, and one church number". Publication: The romances were published by Jurgenson in April 1885, and in 1940 they were included in volume 45 of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov and Nikolay Shemanin. Autographs: Tchaikovsky's manuscript scores of Nos. 2 to 6 are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 143). The autograph of No. 1 is lost. Dedication: Each romance is dedicated to a different person: VI. Aleksandra Krutikova (1851–1919), mezzo-soprano who premiered the role of Lyubov in Mazepa.
Tchaikovsky Beethoven Modest Tchaikovsky Rimsky Korsakov Borne Raab Aleksandra Krutikova 1820 1857 1872 1873 1874 1892
Tchaikovsky: Six Romances Op. 16 (1873) III. Accept Just Once (Пойми хоть раз) Allegro non tanto (C minor) Tchaikovsky's Six Romances (Шесть романсов), Op. 16 (TH 95 ; ČW 218-223), were written in Moscow in December 1872 and January 1873. Instrumentation: Scored for high voice (Nos. 1, 2, 4, 5, 6), or low voice (No. 3), with piano accompaniment. Movements: III. Accept Just Once (Пойми хоть раз) Allegro non tanto (C minor) Understand at least once a sad confession, At least once, hear the soul of the praying groan! I am before you, beautiful creature, Inspired by breath of unknown forces. I catch your image before parting, I'm full of them, I'm trembling dumb, - And, without you, languishing in death throes, I cherish my longing as happiness. I sing it, ready to fall into the dust, You stand before me like a god And I am blessed: I am in every new torment I foresee the triumph of your beauty. Afanasy Fet (1820–1892), from his poem Beethoven's Appeal to his Beloved (Anruf an die Geliebte Бетховена), in the cycle Melodies (Мелодии) (1857). Composition: The romances were composed by Tchaikovsky in Moscow, apparently soon after finishing work on his Second Symphony. On 2/14 November 1872 he wrote that: "... the symphony, which I'm finishing off, has engrossed me so deeply that I'm not able to do anything else". By 15/27 November the symphony was ready and copied out. In letters to his father of 22 November/4 December and 9/21 December. Tchaikovsky reported that he was going to relax after completing his symphony. and not write anything further. But on 10/22 December he told Modest Tchaikovsky: "Now I am forced to rest by the absence of any inspiration or inclination to compose; I did try to write some romances, but somehow they all came out badly, and I couldn't find words that I liked. If you aren't particularly busy, could you send me a list of suitable verses? I've filled a whole ream of paper with verses, but they are all so terrible that not one of them is suitable to set to music". It seems that in December, not having found an appropriate text, Tchaikovsky wrote the words himself for the romance So What? (No. 5). Modest Tchaikovsky understood that the Op. 16 romances were written in December 1872. This information is contained in a letter from Tchaikovsky to Vasily Bessel concerning the publication of the pieces: "During his stay in Saint Petersburg [in December 1872] Tchaikovsky often met with... members of the so-called "mighty-handful"... One evening at Rimsky-Korsakov's, Pyotr Ilyich played his new symphony on the piano, precipitating an enthusiastic response from all those present... Tchaikovsky then presented Bessel with his latest Six Romances, Op. 16, for publication. which had only just been composed". The author's opinion that the romance So What? (No. 5) was the best of the Op. 16 set is borne out in a letter to Vasily Bessel of 21 February/5 March 1873: "I recommended ... one of my new romances to Madame Raab, namely So What?". Performances: The romances O, Sing that Song (No. 4) and So What? (No. 5) were performed, seemingly for the first time, in December 1874 – the first by Aleksandra Krutikova, and the second by Mariya Kamenskaya. Publication: The Six Romances were published for the first time by Vasily Bessel in March 1873, along with the composer's piano arrangements of Nos. 1, 4 and 5. In letters of 4/16 March and 7/19 March 1873. Tchaikovsky wrote to Bessel: "I have only just received my romances and hurried to drop you this note to urge you to sequestrate them, i.e. to withdraw all copies of these romances, since they contain some appalling printing errors. I hurriedly checked through them and saw several musical mistakes, and one literary error, sufficient in itself to spoil the whole work. Indeed in the best romance (in my opinion), No. 5, on page 4 in place of the word korish (кориш) [you find fault] the word kutish (кутиш) [you get drunk] has been printed instead, which made me shudder. I implore you at once to gather together all copies and thoroughly examine the proofs, which if you want, I will do myself... The point is that I really expected No. 5 to be a success, but the word kutish has ruined any chance of that". Autographs: Tchaikovsky's manuscript scores of all six romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 131). The same archive also holds the autograph of Tchaikovsky's arrangement of No. 5 for solo piano (ф. 88, No. 132). Dedication: Each of the Op. 16 romances is dedicated to a different person: III. Accept Just Once is dedicated to Herman Laroche.
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