Lazare Saminsky Vidéos
compositeur ou compositrice, musicologue
- opéra
- Empire russe, Union soviétique, États-Unis
Dernière mise à jour
2024-04-28
Actualiser
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch 1882 1910 1935 1940 1959 2000
Lazare Saminsky +••.••(...)) Three Shadows, Op. 41 Composed in 1935 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Saminsky composed his Three Shadows, the first for piano and the second for orchestra. The three Poems (so-called in the subtitle) are dedicated to the memory of the great American poet Edwin Arlington Robinson, and are an immediate response to the news of his death in August 1935. The prevailing mood is correspondingly somber, brightening only in the second movement. The second poem bears the title "A Poet", and a maxim from Robinson: "A singing voice then gathered and ascended, Filled the vast dome above till it glowed, With singing light." This light-filled music is framed by two movements which are darker in atmosphere. The first "Omen", is is set to a poem by Pitts Sanborn: "Seek not to turn al vintages to blood; Leave me one city, War, on a crown stream, The crumbling cornices, the dust, my dreams." The last "Poem" is a setting of Carl Sandburg's "Grass" and subtitled "A Dirge": "Pile up the bodies high at Austerlitz and Waterloo, Shovel them under and let me work - I am the grass; I cover all. And pile them high at Gettysburg. I am grass; let me work.“ Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 3: WAITING ROOM, Jascha Nemtsov, EDA Records EDA 016-2, 2000, compact disc.
Lazare Saminsky Nemtsov 1882 1891 1959 1982 2019
Joachim Stutschewsky +••.••(...)): Shir Yehudi Lazare Saminsky (1882–1959): Meditation Joachim Stutschewsky +••.••(...)): Frejlachs Emily Camras, cello Jascha Nemtsov, piano Performed as part of the 2019 Ann Arbor Residency for Jewish Art Music at the University of Michigan School of Music, Theatre & Dance with guest artist Jascha Nemtsov Web site: (http•••) Facebook: (http•••)
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch Kafka 1882 1910 1919 1940 1959 1999
Lazare Saminsky +••.••(...)) Ritual Dance on the Sabbath, Op. 26, No. 1 Composed in 1919 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Although not expressly mentioned in the title, "Danse rituelle du Sabbath" (or "Ritual Dance on the Sabbath") in unquestionably about a Hassidic Sabbath celebration for it is not customary to celebrate the Holy Sabbath by dancing. However, in Hasidism, prayer is an expression of joy and thus singing and dancing play an important role in worship. The Hasidim are especially well-known for their musicality. "Melodies are created... A miracle-working rabbi suddenly put his head down on his arms resting on the table and stayed like that for three hours while everyone else remained silent. When he woke up, he wept and then sang us a completely new and merry march." (Franz Kafka, Diaries) It is a "merry march" such as this in the "Aavo rabo" modus with the characteristic augmented second which the Hasidim are so fond of that one can hear as the theme in Saminsky's piece. This theme is varied several times whereby it alternates between pounding with heavy chords and shooting up like the tongues of flames.” Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 2: THE NEW JEWISH SCHOOL, Jascha Nemtsov, EDA Records EDA 14-2, 1999, compact disc.
Lazare Saminsky Rimsky Korsakov 1882 1920 1924 1957 1959
TRACK: Symphony No. 3 "Of the Seas," Op. 30 (1924) COMPOSER: Lazare Saminsky PERFORMERS: Neal Stulberg, NW German PO SOURCE: (http•••) Lazare Saminksy +••.••(...)) was a Jewish Russian American composer, conductor, performer, folklorist, and philosopher. He studied with Rimsky-Korsakov, while specializing in Jewish folk and liturgical music as well as mathematics, before moving to the US in 1920. There he would direct and compose original music for NYC's Temple Emanu-El synagogue, the first Reform Jewish congregation in the city. He also co-founded the American League of Composers. Marginally known for his song cycles, I'm now discovering lots of truly magical music traversing folk, avant-garde, and liturgical styles. He was also a passionate student of mathematics and philosophy. And all of his interests seem to fuse in his publication "Physics and Metaphysics of Music" (1957), which is the source of the quotation in the video. Throughout his music writings he advocated a cosmic and sacred view of folk tradition alongside soulful and "prophetic" experimentation. Beyond Jewish liturgical and folklorist circles, where his influence was massive, his music remains largely unknown today. In speaking of his third symphony, he references Eulerian mathematics and cosmic consciousness: "The spirit of this symphony is revealed dually: through its tonal substance and also, in my own poetic motto of the piece: I am a vibrant atoll, In sea noises I am bathing, I live on the greedy cries, Rush after the voices. Far away Glitters and murmurs great Atma; Enchanting the murmur, Enticing the tale of seas. I had taken this form as any composer does, without being conscious of it as an individual: because of a cosmic emotion the prompting of the Major Self, source of creative and of subliminal vision. The Infinite I, the Universal Self--is what speaks in music so forcefully!"
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