José Serebrier Video
direttore d'orchestra, compositore
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Concerto Málaga José Serebrier Granados Gálvez Prieto Szabó Manzano Sanz Janis
Grabación para SOMM Recordings de la Serenata española de Impresiones de España compuesta por Joaquín Malats e incluida en el álbum “Serebrier concucts Granados" Recording for SOMM Recordings of Serenata española from Impresiones de España composed by Joaquín Malats, included in the album “Serebrier concucts Granados” Concerto Málaga, spanish string orchestra José Manuel Gil de Gálvez (leader), Elisa Prieto, Orsolia Szabó-Yélamo, Javier Navascués, Marina Picazo, Mireia Pérez, Alejandro Manzano, Ignacio Sanz de Galdeano, Carlos Picazo, Victor Yélamo, Misael Lacasta (guest), Janis Steinbergs, Juan Pablo Gamarro. Director: JOSÉ SEREBRIER
Alexander Glazunov José Serebrier Rimsky Korsakov Maximilian Steinberg Yudin Beethoven Royal Scottish National Orchestra 1910 1928 1936 1947 1948 1999
Royal Scottish National Orchestra conducted by José Serebrier. I - Adagio - Allegro moderato - Adagio: 0:00 Glazunov's Symphony No.9 was begun in 1910 but remained unfinished when he died in 1936, only being able to finish the first movement in a short score. It was given to Rimsky-Korsakov's son-in-law Maximilian Steinberg in 1928, and in 1947 it was orchestrated by Gavril Yudin. It was premiered in May 7 of 1948, during a radio broadcast of the Symphony Orchestra of the USSR Radio Committee conducted by Yudin. Why Glazunov never completed the work? There may be several reasons; first he was a director and teacher of the St. Petersburg Conservatory, which drained most of his energy by the time. Second he may just had lost the inspiration, as during the last period of his life he composed little. A third reason may be that he was intimidated by the curse of Beethoven's ninth, according to which a composer would die shortly after finishing his ninth symphony, but from what we know Glazunov wasn't supersticious at all. The fourth reason could be that his music was considered out of fashion by the time, and most composers were exploring new styles and paths, so maybe he found little reason to compose music when he knew it wouldn't be as well received as in the past. A fifth, and final reason is that Glazunov himself maybe was unsatisfied with the composition. Up to that point he had written in a romantic style of upbeat spirit, but the ninth was showing a change towards melancholy, despair and darkness. The movement is structured in sonata form. It begins with a slow introduction of a sad, melancholic theme, presented through a dense counterpoint. The allegro begins with a vigorous and rhythmic main theme, derived from the introduction material. A lyrical second theme of Russian nostalgic tone is presented as well , offering the adequate contrast. The development section is more lively and colourful, culminating in a dissonant climax. The recapitulation brings the main themes back, before the introduction reappears. A resignated coda ends the movemet. Picture: "Messenger" (1999) by the Russian painter Ilya Glazunov. Musical analysis mostly written by myself. Sources: (http•••) and (http•••) Unfortunatelly I couldn't find a score freely available online.
Alexander Glazunov José Serebrier Rachmaninoff Rimsky Korsakov Felix Blumenfeld Tchaikovsky Severe Serov Royal Scottish National Orchestra 1896 1897 1910
Royal Scottish National Orchestra conducted by José Serebrier. I - Adagio - Poco più mosso - Tempo I - Allegro passionato - Più tranquillo - Tempo I - Più tranquillo - Tempo I - Poco più mosso: 0:00 II - Tema con variazioni: Tema. Andante - Variation I. Più mosso. Allegro moderato - Variation II. Allegretto - Più tranquillo - Allegro - Variation III. "Scherzino". Allegro - Variation IV. "Fugato". Andante mistico - Variation V. "Notturno" - Variation VI. Allegro moderato - Variation VII "Finale". Moderato maestoso - Poco più mosso - Più tranquillo: 10:09 III - Intermezzo. Allegretto - Più mosso - Tempo I: 21:03 IV - Finale. Andante maestoso - Moderato - Moderato maestoso - Scherzando - Allegro pesante - Allegro moderato - Moderato maestoso - Più mosso: 25:54 Glazunov's Symphony No.6 was composed in 1896, being premiered in March 28 of 1897 conducted by Glazunov himself. This concert passed to history because the first symphony of Rachmaninoff was premiered as well, it being so poorly received that it begun and three-year depression in which the composed next to nothing. It seems a lack of rehearsal time and (according to some) Glazunov's drunkness produced a botched performance of the piece. Rimsky-Korsakov, in his "Chronicle of My Musical Life", asserted: "Glazunov, who had overcome the whirlpools of the "Sea", the thicket of the "Forest", the walls of the "Kremlin" and the faults of the other compositions from his period of transition, now experienced (as the composer of the ballet Raymonda and of the Sixth Symphony) the full unfolding of his overwhelming talent. The over-rich palette of his imagination and his astonishing command of all technical matters showed his development to have attained its zenith." The Sixth Symphony is dedicated to the pianist, conductor, composer and teacher Felix Blumenfeld. Like Glazunov, he had studied composition under Rimsky-Korsakov. The first movement is structured in sonata form. It begins with a slow and solemn introduction, which culminates in an intense and fateful climax. The allegro begins with a passionate rhythmic main theme, presented by the strings and derived from the introduction material. It is contrasted by a lyrical second theme of great voluptuosity. The development is very dramatic and urgent, showcasing Glazunov's masterful use of counterpoint. Several grandiloquent climaxes are reached, showing the influence of Tchaikovsky. The recapitulation brings back the main themes, before a very dramatic coda ends the movement. The second movement consist of a theme and seven variations. It opens with a lyrical, folkish main theme presented by the strings. The first variation is gentle and delicate, featuring the woodwinds. The third variation is a brief and joyous scherzo, with flutes and strings in pizzicato. The fourth variation is a meditative fugato, with several entries from the strings, it quickly leads to the next one. The fifth variation is a deeply calm and lyrical nocturne. The sixth variation is agitated and Russian in flavour, with the prominence of woodwinds again. The seventh and final variation opens with severe phrases of the brass, contrasted by energic and nervous tuttis. The music culminates in a great climax, before a peaceful coda ends the movement. The third movement, instead of a scherzo, is a brief intermezzo in ternary form. It begins with a graceful and elegant dance theme, coming out almost like from one of Glazunov's ballets. The middle section opens with a contrasting lyrical theme introduced by the flute, and taken by the woodwinds. I unfolds in a very folkloric but light manner. The main theme is then recapitulated. A joyful coda ends the movement. The fourth movement is structured in sonata form. It begins with a solemn and imposing introduction, full of an heroic spirit. The allegro begins with a triumphal main theme that, as with the first movement, is derived from the opening material. A playful and light second theme offers the adequate contrast. A development section works like a set of variations, in which both themes are subjected to various metamorphoses, modulations and other procedures. A brief pastoral episode leads us to the brilliant recapitulation of the themes. The coda begins with a brief fugato, ending the whole work with a massive climax. Picture: "The Rape of Europa" (1910) by the Russian painter Valentin Serov. Musical analysis partially written by myself. Sources: (http•••) and (http•••)
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