Dmitri Chostakovitch Seule, Op. 26 Vidéos
Dernière mise à jour
2024-04-13
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Georges Bizet Jakub Hrůša Anna Goryachova Francesco Meli Shostakovich Covent Garden 1875 2016
Join the cast and creative team for a glimpse behind the scenes on Barrie Kosky's hotly-anticipated new Royal Opera production. Find out more at (http•••) Featuring members of the cast and the creative team, the event will feature performance extracts of Bizet's well-known opera, as well as interviews with director Barrie Kosky, conductor Jakub Hrůša and stars Anna Goryachova (Carmen) and Francesco Meli (Don José). The event will be presented by Flora Willson. Following his success last Season with The Nose, Barrie Kosky returns to Covent Garden with a highly physical production of Carmen which was originally created for Frankfurt Opera. His is a far-from-traditional take on the classic, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character. / Carmen is the best-known work by French composer Georges Bizet, and one of the most famous operas in the entire art form – numbers such as the Habanera and the Toreador Song have permeated the popular consciousness as little else has. The opera’s heady combination of passion, sensuality and violence initially proved too much for the stage, and it was a critical failure on its 1875 premiere. Bizet died shortly after, and never learned of the spectacular success his Carmen would achieve: the opera has been performed more than five hundred times at Covent Garden alone. This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character. / The production is supported by Abu Dhabi Festival and is staged with generous philanthropic support from Mrs Aline Foriel-Destezet, Yvonne and Bjarne Rieber, Alan Howard, Trifon and Despina Natsis, The ROH Young Philanthropists, and the Friends of Covent Garden.
Claudio Merulo Jarrett Shostakovich Janda Klusák 1533 1604 1992
Claudio Merulo +••.••(...)) - La Zambeccara [Flute Music from the Age of Renaissance] 1992 Jiří Stivín - soprano, alto, tenor, bass Jiří Stivín is by nature a man of the renaissance. To him, ancient music is only one of many closely watched areas, he has already been involved in it for years, respected by connoisseurs of the genre. Perhaps he adds to it distinctive features of his play, his personality - but this can be revealed only by those who have observed his heterogenous playing activities for several years. Where, in fact, is the beginning of the historical purity of current recordings of ancient music, and where its end? Can one speculate about such a thing in Jiří Stivín`s case - a man who plays renaissance music half on master copies of ancient instruments, half - without a shade of hesitation - on genuinely contemporary flutes? "After we know all the music that came after remaissance until today, it`s not that easy to play as though we were musicians of those times - a thin layer of romantic or other dust always somehow gets stuck on you. Of course, I can`t - and don`t want to-go against the character of the music, but perfect authenticity never really interested me; in the end, the listeners of this CD don`t, as I suppose, come from the 16th century. Someone once fittingly said: `I will play historical music, but give me historical audience.`" Ancient music, serious music... all these attributes are questioned by the universal musicality of Jiří Stivín - not a single tone sounds old and the often dancingly cheerful pieces are animated with dignity rather than seriousness. Perhaps it is precisely the abovementioned experience that helps the player to achieve a "sharper vision". Why, it is true not just in music that only by means of a varied and contrasting background one can recognize the specifics of the individual; logically then, a player with experience ranging from classical flute repertoire to New Music and, particularly, jazz, recognizes, when returning to any period, its uniquenesses with greater ease; and, moreover, in a healthily natural way. Sometimes it is called thorough education. "I hardly realize I`m playing someone else`s music," says Keith Jarrett about his own present recordings of preludes by Shostakovich. Of course: jazz or, more generally speaking, improvised music of the moment, keeping its creator always on the alert, is the ideal springboard for the player. The one who is used to rush towards a certain destination along uncertain tracks, will appreciate a masterly outline of the course better than anyone else. Mind you - this, as such, is far different from an easy path. The task, the joy belongs to the player. In the context of Jiří Stivín`s recordings, the album you are just holding in your hand has an extraordinary position: for the first time in all these years, Stivín came to the studio quite alone, for the first time he made a record without another musician`s co-operation. It is, in fact, very appropriate: in the many-sidedness of his doings, Stivín never surrounded himself by long-term co-workers. He himself feels every group as temporary, and thus keeps the back-door open: if any of the players cancels his participation at the last moment, it is always possible to find an alternative. "These days, I don`t feel too inclined towards well-prepared projects. I`m always trying to surprise myself and find space for improvisation, which by co-incidence happened even with this recording: I came to the studio with a pack of sheet music and only at the place I found out what I felt like playing and what I would record." Both Jiří Stivín and the producer Vítězslav Janda took care that the final shape was a varied one - in the spectre of moods as well as in the instrument range of the compositions. By the way, a number of jewels /esp. four-voiced ones/ did not fit into the recording. "At least something is left for next time," commented Jiří Stivín. Pavel Klusák
Dmitri Shostakovich Bruno Canino Glazunov Ginsburg Mogilevsky Borodin Bach Beethoven Borodin Quartet Beethoven Quartet 1906 1934 1940 1941 1950 1975
Piano Quintet in G minor, Op. 57 (1940) I. Prelude: Lento II. Fugue: Adagio III. Scherzo: Allegretto IV. Intermezzo: Lento V. Finale: Allegretto Composer: Dmitri Shostakovich +••.••(...)) Performers: Amati Quartet & Bruno Canino (piano) Picture: Shostakovich with the musicians of Glazunov quartet of Lukashevsky - Ginsburg - Rivkin - Mogilevsky in January 1941 As with much of Shostakovich's music the Piano Quintet is an historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing: lines are doubled two octaves below, and there is little complex inter-part composition. All of this provides clarity, and an ample accessibility reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet recalls in his book, Not By Music Alone: "For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale. War that soon started completely changed the life of the country as well as the consciousness of the people. If previously there was the faint hope of a better life, and the hope that the 'sacrifices' of the revolution were not in vain, this hope was never to return. The Quintet remained in the consciousness of the people as the last ray of light before the future sank into a dark gloom." The work is cast in five movements. The Prelude opens in the style of a Bach prelude, and foreshadows the remarkable preludes that Shostakovich was to write in the Preludes and Fugues for Piano, Op.87 +••.••(...)). The stirring entry of the piano is answered by the quartet, after which the mood changes and a related idea is developed until the opening reasserts itself. The Fugue begins gently and slowly and builds to a furor of lyricism. The Scherzo returns to Shostakovich's irrepressible sense of irony and humor, and is utterly brilliant. This side of the composer's personality is never restrained; there are dazzling and profound scherzos scattered throughout his work. This one is reminiscent of the Polka from the Age of Gold, or moments from the Cello Sonata, Op.40 (1934). The Intermezzo, tinged with regret and tranquillity, leads to a finale in which triumph is flung in direct opposition to darkness. This is the theme that Dubinsky recalls, and it appears before and after a thunderous, descending group of onrushing chords on the piano, the emotional core of the work. The Quintet finishes with wit and whimsy, contrary to the opening, in which the music spins off to a quiet conclusion. Shostakovich and the Beethoven Quartet premiered the Quintet on November 23, 1940 at the Moscow Academy of Music. Shostakovich was an accomplished pianist and performed the piece many times with the Beethoven and later, the Borodin Quartet. Incidentally, Dmitri Dmitreyvich was an anxious performer and his resulting fast tempi are recognizable in recordings of his performances. Valentin Berlinsky, cellist of the Borodin Quartet, recalls in Elizabeth Wilson's book, Shostakovich: A Life Remembered that the composer would say "Let's play it fast, otherwise the audience will get bored." He would particularly rush the fast movements. The player's would beg him to slow down, saying "but your metronome mark is such and such!" The composer replied, "Well, you see my metronome at home is out of order, so pay no attention to what I wrote." (http•••)
Dmitri Shostakovich Bruno Canino Glazunov Ginsburg Mogilevsky Borodin Bach Beethoven Borodin Quartet Beethoven Quartet 1906 1934 1940 1941 1950 1975
Piano Quintet in G minor, Op. 57 (1940) I. Prelude: Lento II. Fugue: Adagio III. Scherzo: Allegretto IV. Intermezzo: Lento V. Finale: Allegretto Composer: Dmitri Shostakovich +••.••(...)) Performers: Amati Quartet & Bruno Canino (piano) Picture: Shostakovich with the musicians of Glazunov quartet of Lukashevsky - Ginsburg - Rivkin - Mogilevsky in January 1941 As with much of Shostakovich's music the Piano Quintet is an historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing: lines are doubled two octaves below, and there is little complex inter-part composition. All of this provides clarity, and an ample accessibility reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet recalls in his book, Not By Music Alone: "For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale. War that soon started completely changed the life of the country as well as the consciousness of the people. If previously there was the faint hope of a better life, and the hope that the 'sacrifices' of the revolution were not in vain, this hope was never to return. The Quintet remained in the consciousness of the people as the last ray of light before the future sank into a dark gloom." The work is cast in five movements. The Prelude opens in the style of a Bach prelude, and foreshadows the remarkable preludes that Shostakovich was to write in the Preludes and Fugues for Piano, Op.87 +••.••(...)). The stirring entry of the piano is answered by the quartet, after which the mood changes and a related idea is developed until the opening reasserts itself. The Fugue begins gently and slowly and builds to a furor of lyricism. The Scherzo returns to Shostakovich's irrepressible sense of irony and humor, and is utterly brilliant. This side of the composer's personality is never restrained; there are dazzling and profound scherzos scattered throughout his work. This one is reminiscent of the Polka from the Age of Gold, or moments from the Cello Sonata, Op.40 (1934). The Intermezzo, tinged with regret and tranquillity, leads to a finale in which triumph is flung in direct opposition to darkness. This is the theme that Dubinsky recalls, and it appears before and after a thunderous, descending group of onrushing chords on the piano, the emotional core of the work. The Quintet finishes with wit and whimsy, contrary to the opening, in which the music spins off to a quiet conclusion. Shostakovich and the Beethoven Quartet premiered the Quintet on November 23, 1940 at the Moscow Academy of Music. Shostakovich was an accomplished pianist and performed the piece many times with the Beethoven and later, the Borodin Quartet. Incidentally, Dmitri Dmitreyvich was an anxious performer and his resulting fast tempi are recognizable in recordings of his performances. Valentin Berlinsky, cellist of the Borodin Quartet, recalls in Elizabeth Wilson's book, Shostakovich: A Life Remembered that the composer would say "Let's play it fast, otherwise the audience will get bored." He would particularly rush the fast movements. The player's would beg him to slow down, saying "but your metronome mark is such and such!" The composer replied, "Well, you see my metronome at home is out of order, so pay no attention to what I wrote." (http•••)
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