Dmitri Chostakovitch Symphonie n° 2 en si majeur, Op. 14, « October » Vidéos
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2024-04-14
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Yevgeny Aleksandrovich Mravinsky Shostakovich Yevgeniya Mravina Tchaikovsky Schubert Brahms Lugansky Mariinsky Theatre Bolshoi Royal Festival Hall 1903 1918 1923 1929 1931 1938 1946 1956 1960 1973 1984 1987 1988
Yevgeny Aleksandrovich Mravinsky (Russian: Евге́ний Алекса́ндрович Мрави́нский) (4 June [O.S. 22 May] 1903 / 19 January 1988) was a Soviet-Russian conductor. Mravinsky was born in Saint Petersburg. The soprano Yevgeniya Mravina was his aunt. His father died in 1918, and in that same year, he began to work backstage at the Mariinsky Theatre. He first studied biology at the university in Leningrad, before going to the Leningrad Conservatory to study music. He served as a ballet repetiteur from 1923 to 1931. His first public conducting appearance was in 1929. Through the 1930s he conducted at the Kirov Ballet and Bolshoi Opera. In September 1938, he won the All-Union Conductors Competition in Moscow. In October 1938, Mravinsky took up the post that he was to hold until 1988: principal conductor of the Leningrad Philharmonic Orchestra, with whom he had made his debut as a conductor in 1931. Under Mravinsky, the Leningrad Philharmonic gained a legendary reputation, particularly in Russian music such as Tchaikovsky and Shostakovich. During World War II, Mravinsky and the orchestra were evacuated to Siberia. But members of the Leningrad Philharmonic's reserve orchestra and the Leningrad Radio Orchestra were left behind in the siege of Leningrad, so it fell to Karl Eliasberg to conduct the surviving musicians in the Leningrad premiere of the Symphony No.7 "Leningrad" by Shostakovich. Mravinsky first went on tour abroad in 1946, including performances in Finland and in Czechoslovakia (at the Prague Spring Festival). Later tours with orchestra included a June 1956 itinerary to West Germany, East Germany, Austria and Switzerland. Their only tour to Great Britain was in September 1960 to the Edinburgh Festival and the Royal Festival Hall, London. Their first tour to Japan was in May 1973. Their last foreign tour was in 1984, to West Germany. His last concert was on 6 March 1987 (Schubert, Symphony No. 8, and Brahms, Symphony No. 4). Mravinsky died in Leningrad in 1988, aged 84. Recordings reveal Mravinsky to have an extraordinary technical control over the orchestra, especially over dynamics. He was also a very exciting conductor, frequently changing tempo in order to heighten the musical effect for which he was striving, often making prominent use of brass instrumentation. Surviving videos show that Mravinsky had a sober appearance at the podium, making simple but very clear gestures, often without a baton. The critic David Fanning has memorably described some of Mravinsky's Tchaikovsky performances: 'The Leningrad Philharmonic play like a wild stallion, only just held in check by the willpower of its master. Every smallest movement is placed with fierce pride; at any moment it may break into such a frenzied gallop that you hardly know whether to feel exhilarated or terrified'.... (http•••) A link to this wonderful artists personal Website: (http•••) Please Enjoy! I send my kind and warm regards,
Gavriil Popov Alexander Titov Titov Shostakovich 1808 1814 1858 1939 1944 1946 1947 1948
St. Petersburg State Academic Capella Symphony Orchestra conducted by Alexander Titov I - Intrada. Andante maestoso e molto espressivo - Risoluto con fuoco - Coda. Risoluto maestoso - Molto cantabile - Tempo I: 0:00 II - Allegro con fuoco, quasi presto - Largo appasionato - Quasi recitativo appasionato - Andante doloroso e sempre inquieto - Tempo I: Presto feroce - Allegro con fuoco e molto cantabile appasionato: 7:12 III - Scherzo. Prestissimo - Leggiero giocoso - Tempo I e molto risoluto - Giocoso con brio - Cantabile, flautando, dolce: 18:58 IV - Largo espressivo, molto cantabile e sempre con moto - Risoluto, quasi marcia marciale - Cantabile energico e sempre con moto - Risoluto con ira e molto agitato - Largo ma con moto: 25:25 V - Presto impetuoso - Molto cantabile - Presto energico e maestoso - Risoluto luminoso - Tempo I: 45:48 The third symphony of Gavriil Popov was composed between 1939 and 1946. It premiered in Moscow on January 31, 1947 and then was presented in Leningrad on March 9 of the same year. It is composed for an extended string orchestra. A challenge for the presentation of a heroic work. Called by an orchestra conductor as the "Spanish" for the use of Hispanic themes and for the origin of the work: In the month of May of 1939, Popov had written the soundtrack of a film entitled "Spain". It was a report made during the Spanish Civil War, describing the tragedy of the nation. The music was so successful that Popov made a suite entitled "Spain" Op.28, consisting of seven symphonic fragments. According to the diary written by the composer, on September 17, 1939, he intends to perform a Concerto grosso based on the fragments for strings of his work "Spain". The first movement ends in the month of October, but then leaves the work. In the month of September 1944 he continued, finishing the score on September 21, 1946. Then he changed the name to Symphony No. 3 "Heroic" and dedicating it to his friend Shostakovich. The first movement begins with a solemn theme reflecting the heroism that will be the basis of the symphony. It is combined with a more nervous secondary theme. Dragged by the violins the theme grows to its fullest expression, then return to the calm with which the coda ends. The second movement presents a lively theme in which we can see the popular twists of the Castilian jota, one of the reasons for being known as the Spanish symphony. In the central part we find a requiem for the fallen heroes based on the Basque folk song, Argizagi ederra (the beautiful moon). The theme is presented by the violas in their low register. Then the complete strings are added. It continues with a brief development in a dramatic way to return to the initial theme. The third movement corresponds to the scherzo of the work. It is written in the form of a rondo and is based on the themes of three dances. Among them are a contrapás, a typical Catalan dance and a Castilian tune, which alternate. The fourth movement begins with a dense sad melody in the cellos and double basses. When the violas and violins join, it acquires amplitude, increasing its drama. It is the longest movement, constituting the dramatic core of the work. It develops through increasingly intense sound waves until it reaches its peak. The last movement presents us with the triumphal end of the work. The two themes of the first movement reappear. The second theme appears first, followed by a motif in the form of a march announcing the victory. The main theme of the work, that of heroism, is emphasized. The initial theme is taken by the entire orchestra in the coda as a symbol of courage. The premiere of the work was a success but for reasons unknown, their discussion at the meeting for the Stalin Awards was postponed to 1947. The events that took place in 1948 for the performance of Vano Muradelli's opera, condemned the most important Soviet composers. Popov was criticized as an anti-nationalist formalist in need of a reconversion of his style. Picture: "The Third of May 1808" (1814) by the Spanish painter Francisco de Goya. Sources from this spanish website on Popov symphonism: (http•••)
Varvara Adrianovna Gaigerova Shostakovich 1903 1920 1944 1969 2010
- Composer: Varvara Adrianovna Gaigerova (4 October 1903 / 6 April 1944) - Performers: Eliesha Nelson (viola), Glen Inanga (piano) - Year of recording: 2010 Suite for viola & piano, Op. 8, probably written somewhere between 1920-1944. 00:00 - I. Allegro agitato 02:41 - II. Andantino 05:52 - III. Scherzo: Presto 10:20 - IV. Moderato The Suite for Viola and Piano, Op. 8 by Varvara Adrianovna Gaigerova reflects a very dramatic Russian style in classical music, and on top of that it embodies Soviet and Russian folk idioms. It’s highly chromatic but expressive, and the short movements require an exact character established from the beginning in order to come across musically. Gaigerova was fascinated by the minority nationalities of the Soviet Union, and transcribed songs from groups such as the Uzbek, Tatar, Bashkir, Buryat, Kazakh, and Kirghiz, as well as composing music for orchestras of traditional instruments. Although the movements of the suites do not have names outside the tempo markings, the musical picture painted in each is well suited for a title. - The first movement is marked Allegro agitato, and has the feel of fleeing from desolation. It is highly chromatic with sudden dynamic and subtle tempo changes. - The second movement is an Andantino with a much less tragic character. It feels like a walk in the summer sun with a good friend or loved one. - The third movement is a brisk Scherzo that sounds like hunting music and galloping horses. The Trio interrupts the hunt with a slower, heartfelt interlude. - The fourth movement, Moderato, returns to the desolation of the first movement, this time more resigned to its fate, unable to escape the final tragedy. The Suite was published posthumously in 1969, the composition year is unknown. This passionate, beautiful piece stands very much on its own feet, and is a welcome addition to the relatively few Russian (Shostakovich...) sonata pieces for viola that are played or recorded today.
Dmitri Shostakovich Bernard Haitink London Philharmonic Orchestra 1982 1995
Provided to YouTube by Universal Music Group Shostakovich: Symphony No. 2 in B Major, Op. 14 "To October" - I. Largo - Allegro molto · London Philharmonic Orchestra · Bernard Haitink · Dmitri Shostakovich Shostakovich: The Symphonies ℗ 1982 Decca Music Group Limited Released on: 1995-01-01 Producer, Recording Producer: Andrew Cornall Studio Personnel, Recording Engineer: Colin Moorfoot Composer: Dmitri Shostakovich Author: Alexander Bezimensky Auto-generated by YouTube.
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