Piotr Ilitch Tchaïkovski Snégourotchka, musique de scène, Op. 12 Vidéos
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2024-04-24
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Tchaikovsky Meck Rimsky Korsakov 1873 1879 1891
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): Physical purchase: (http•••) Facebook: (http•••) Subscribe here: (http•••) Composer: Piotr Ilyich Tchaikovsky Artists: USSR State Choir and Orchestra, Andrey Chistiakov (conductor) Tchaikovsky thought highly of his music to Ostrovky’s drama The Snow Maiden, writing to his patroness Nadezhda von Meck in 1879 ‘one of my favourite offspring….I think this music is imbued with the joys of spring that I was experiencing at the time’ It was an important commission for a composer who in 1873 was still establishing his reputation, and who had his first 3 symphonies and first piano concerto performed to great popular acclaim. The production of the drama was lavish, combining all three performing arts – drama, dance and music. The premiere cost the vast sum of 15000 roubles, and though the production was stage with success (more for the music than the drama which was judged as rather static) in 1873 and 74, after 9 runs was never seen again due to the prohibitive cost. The music however was performed every now and again, but it has remained one of the composers least known works. Tchaikovsky used some of the material for his music to Hamlet in 1891, but he had always hoped to incorporate the score into an opera on the Snow Maiden story. When Rimsky-Korsakov’s opera on the same story appeared Tchaikovsky was seething with anger, and wrote to his brother Modest ‘it is as if they have taken from me by force something that is innately mine and dear to me and are presenting it to the public in bright new clothes’. The music is characteristically colourful, especially the chorus depicting shivering birds and the procession of the carnival. It gives plenty of hints of the great ballet scores that would follow. 00:00:00 The Snow Maiden: Introduction 00:04:48 The Snow Maiden: Dance and choruses of the birds 00:10:28 The Snow Maiden: Winter’s monologue 00:13:50 The Snow Maiden: Carnival procession 00:20:55 The Snow Maiden: Melodrama 00:22:56 The Snow Maiden: Interlude 00:24:18 The Snow Maiden: Lehl’s first song 00:28:15 The Snow Maiden: Lehl’s second song 00:29:48 The Snow Maiden: Interlude 00:33:00 The Snow Maiden: Chant of the blind bards 00:37:02 The Snow Maiden: Melodrama 00:41:11 The Snow Maiden: Chorus of the people and the courtiers 00:43:26 The Snow Maiden: Round of the young maidens 00:45:54 The Snow Maiden: Dance of the tumblers 00:50:31 The Snow Maiden: Lehl’s third song 00:57:13 The Snow Maiden: Brussila’s song 00:58:45 The Snow Maiden: Apparition of the Spirit of the Wood 00:59:36 The Snow Maiden: Interlude-The Spring Fairy 01:04:03 The Snow Maiden: Tsar Berendey’s march and chorus 01:10:42 The Snow Maiden: Final Chorus
Pyotr Ilyich Tchaikovsky Sir Neville Marriner Bach Rimsky Korsakov Radio Sinfonieorchester Stuttgart 1840 1876 1877 1878 1883 1884 1888 1893
Pyotr Ilyich Tchaikovsky (Russian: Пётр Ильи́ч Чайко́вский; tr. Pëtr Il'ič Čajkovskij; 25 April/7 May 1840 – 25 October/6 November 1893), often anglicized as Peter Ilyich Tchaikovsky, was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime pension. Please support my channel: (http•••) Suite No. 2 for orchestra in C major ("Charactéristique"), Op. 53 1. Jeu de sons. Andantino un poco rubato–Allegro molto vivace 2. Valse. Moderato. Tempo di Valse 3. Scherzo burlesque. Vivace con spirito 4. Rêves d'enfant. Andante molto sostenuto 5. Danse baroque (Style Dargomigsky). Vivacissimo Radio-sinfonieorchester Stuttgart conducted by Sir Neville Marriner Description by James Reel [-] Tchaikovsky wrote all four of his orchestral suites in the period between the compostion of his Fourth +••.••(...)) and Fifth (1888) Symphonies. Though none of the suites has ever attained a popularity akin to that of the symphonies, the Suite No. 2 (1883), subtitled "Caractéristique," has suffered particular neglect, likely because of its impractical requirement of four accordions in one movement. The work comprises a series of almost balletic character pieces. The main exception is the first movement, "Jeu de sons" (Game of Sounds), whose dimensions (though not its mercurial themes) suggest the opening movement of a symphony. A slow, graceful introduction evokes both the ballet stage and the opening of the composer's Variations on a Rococo Theme (1876). The atmosphere becomes increasingly dark; soon, however, it takes off in a more impulsive direction. Throughout the movement, Tchaikovsky relies on material of a "scurrying" character, calling to mind the Fourth Symphony; at one point he subjects it to fugal treatment. The second movement, Valse, is occasionally omitted from performances and recordings. It is graceful, playful, wistful, and subject to frequent concentrated tempo shifts. A dreamier section dominated by the woodwinds de-emphasizes the 3/4 meter, but the more obviously waltz-like material repeats its way to the end. The Scherzo burlesque is almost entirely derived from a repetitive nattering figure in the first bars. This idea, sometimes reduced to a mere three-note outline, slips quickly through the orchestra. Just before the movement's midpoint the motive is assigned to the four accordions in a mocking "tribute" to the banal, repetitive music often associated with that instrument. The movement's middle section is marked by a broad, distinctively Russian theme, first sung out by the brass, which soon cedes to the accordions and their inane tune. In the fourth movement, Rêves d'enfant (Child's Dreams), the woodwinds introduce a pensive theme, answered by a brighter childlike tune in the strings. These elements, as well as further folk-inspired material, alternate throughout the movement. The playful finale, Danse baroque, sounds more like a danse russe than a souvenir from the time of Bach. Its spirit and percussive splash immediately call to mind the Dance of the Tumblers from Rimsky-Korsakov's opera The Snow Maiden, premiered in the previous year.
Eduard Nápravník Poltoratsky Yusupov Liadov Pyotr Ilyich Tchaikovsky Nikolai Rimsky Korsakov Kross Dubrovsky Modest Ilyich Tchaikovsky 1839 1854 1861 1863 1867 1869 1874 1875 1893 1894 1895 1914 1916
Grigori Feigin / Viktor Poltoratsky Audio from channel here - (http•••) Check out more stuff over there ! 00:00 Andante Sostenuto 09:54 Scherzo 16:53 Andantino Doloroso 23:31 Allegro con fuoco Eduard Nápravník +••.••(...)) was a Bohemian Composer. In 1854 he entered the Prague Organ School, where he studied under Jan Bedřich Kittl and others, eventually becoming an assistant teacher as Kittl's generosity allowed him to continue his studies. In 1861, he worked in Russia for the first time as conductor of the private orchestra of Prince Yusupov in St. Petersburg. Nápravník became organist and assistant conductor at the Imperial theatres in 1863, second conductor in 1867, and chief conductor, succeeding Liadov, in 1869, holding the post until his death. He led the first performances of Boris Godunov in 1874, conducted five operas by Pyotr Ilyich Tchaikovsky, including The Maid of Orleans, Mazepa and The Queen of Spades, and five by Nikolai Rimsky-Korsakov, including May Night, The Snow Maiden and Christmas Eve. He also conducted concerts of the Russian Musical Society. In 1914, after a productive career in the service of Russian opera, he was forced to retire due to ill health. In November 1875, Nápravník conducted the first performance in Russia of Tchaikovsky's First Piano Concerto with Gustav Kross as soloist (whose playing was described by the composer as "an atrocious cacophony"). Nápravník is also well known for leading the second — and overwhelmingly persuasive — performance of Tchaikovsky's Pathétique symphony on 6/18 November 1893, twelve days after the composer's death. Of Nápravník's own four operas the most successful was Dubrovsky (1894, staged 1895) written to a Russian libretto by Modest Ilyich Tchaikovsky after the story by Alexander Pushkin.
Eduard Nápravník Yusupov Liadov Pyotr Ilyich Tchaikovsky Nikolai Rimsky Korsakov Kross Dubrovsky Modest Ilyich Tchaikovsky 1839 1854 1861 1863 1867 1869 1874 1875 1893 1894 1895 1914 1916
Tatiana Pichkaeva - Piano // Check her out for more diverse repertoire, among others (http•••) website (http•••) Eduard Nápravník +••.••(...)) was a Bohemian Composer. In 1854 he entered the Prague Organ School, where he studied under Jan Bedřich Kittl and others, eventually becoming an assistant teacher as Kittl's generosity allowed him to continue his studies. In 1861, he worked in Russia for the first time as conductor of the private orchestra of Prince Yusupov in St. Petersburg. Nápravník became organist and assistant conductor at the Imperial theatres in 1863, second conductor in 1867, and chief conductor, succeeding Liadov, in 1869, holding the post until his death. He led the first performances of Boris Godunov in 1874, conducted five operas by Pyotr Ilyich Tchaikovsky, including The Maid of Orleans, Mazepa and The Queen of Spades, and five by Nikolai Rimsky-Korsakov, including May Night, The Snow Maiden and Christmas Eve. He also conducted concerts of the Russian Musical Society. In 1914, after a productive career in the service of Russian opera, he was forced to retire due to ill health. In November 1875, Nápravník conducted the first performance in Russia of Tchaikovsky's First Piano Concerto with Gustav Kross as soloist (whose playing was described by the composer as "an atrocious cacophony"). Nápravník is also well known for leading the second — and overwhelmingly persuasive — performance of Tchaikovsky's Pathétique symphony on 6/18 November 1893, twelve days after the composer's death. Of Nápravník's own four operas the most successful was Dubrovsky (1894, staged 1895) written to a Russian libretto by Modest Ilyich Tchaikovsky after the story by Alexander Pushkin.
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