Joseph Meck Video
compositore e violinista tedesco
- violino
- Germania
- compositore
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2024-04-27
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Tchaikovsky Meek Modest Tchaikovsky Usatov 1847 1883 1884 1885 1913 1940
Tchaikovsky: Six Romances, Op. 57 (1884) V. Death (Смерть) Moderato (F major) Tchaikovsky's Six Romances (Шесть романсов), Op. 57 (TH 105 ; ČW 275-280), were mostly written between September and November 1884, except for No. 1 which is from an earlier date. Instrumentation: Scored for high voice (Nos. 1, 5), medium voice (Nos. 3, 4), baritone (No. 2) or low voice (No. 6), with piano accompaniment. Tchaikovsky made minor changes to the texts of the poems used in On the Golden Cornfields (No. 2), Do Not Ask! (No. 3), Sleep! (No. 4), and more significant changes in Only You Alone (No. 6). Movements: V. Death (Смерть) Moderato (F major) If the roses fall silently If the stars fade in the sky The waves crash on the rocks, The ray of dawn on the clouds goes out, It's death, death. This is death, but without a painful struggle; This is death, captivating beauty, Promises a delightful rest, The best gift of all-good nature. She, the teacher of the divine, Learn, people, to die, So that with a meek and solemn smile, So that with a meek and solemn smile, Meekly meet your end. Dmitry Merezhkovsky, from an untitled poem (by 1883). Composition: The earliest of the romances to be written was Tell Me, What in the Shade of the Branches? (No. 1). In a letter to Pyotr Jurgenson of 1/13 December 1884 (see below). the composer expressed his surprise at this discovery of this romance, which it seems he had forgotten about. The exact time and place of its composition are uncertain. On the Golden Cornfields (No. 2) and Do Not Ask (No. 3) were composed at Pleshcheyevo in late September 1884. Before the rough draft of No. 2 in the composer's notebook is the date "Pleshcheyevo, 26 Sept 1884". Do Not Ask (No. 3) was composed next, and its text was probably chosen by Tchaikovsky after he read Goethe's novel The Apprenticeship of Wilhelm Meister("God, how marvellous this is..."), which he found in Nadezhda von Meck's library at Pleshcheyevo [4]. The remaining three romances were written in Paris between 19 November/1 December (the date of his arrival) and 1/13 December 1884, when Tchaikovsky wrote to Pyotr Jurgenson: "I was very surprised to learn that Komissarzhevsky has my romance. Incidentally, I already have another five. Congratulations to you on my new opus". Writing to Modest Tchaikovsky from Paris on 3/15 December 1884, the composer reported: "I cannot say that I am bored from idleness. I managed here to devise the main revisions to Vakula, and to write three new romances, and one church number". Publication: The romances were published by Jurgenson in April 1885, and in 1940 they were included in volume 45 of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov and Nikolay Shemanin. Autographs: Tchaikovsky's manuscript scores of Nos. 2 to 6 are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 143). The autograph of No. 1 is lost. Dedication: Each romance is dedicated to a different person: V. Dmitry Usatov (1847–1913), tenor who premiered the role of Andrey in Mazepa.
Tchaikovsky Shore Modest Tchaikovsky Aleksandra Krutikova 1825 1844 1851 1872 1884 1885 1893 1901 1919 1940
Tchaikovsky: Six Romances, Op. 57 (1884) VI. Only You Alone (Лишь ты один) Andante non troppo (F major) Tchaikovsky's Six Romances (Шесть романсов), Op. 57 (TH 105 ; ČW 275-280), were mostly written between September and November 1884, except for No. 1 which is from an earlier date. Instrumentation: Scored for high voice (Nos. 1, 5), medium voice (Nos. 3, 4), baritone (No. 2) or low voice (No. 6), with piano accompaniment. Tchaikovsky made minor changes to the texts of the poems used in On the Golden Cornfields (No. 2), Do Not Ask! (No. 3), Sleep! (No. 4), and more significant changes in Only You Alone (No. 6). Movements: VI. Only You Alone (Лишь ты один) Andante non troppo (F major) Only you believed in my suffering, One rebelled against the false court of man And supported my exhausted spirit In those days, how the light in me fought the darkness. Only you alone extended your hand to me boldly, When to you, full of despair, I came with a bleeding heart Without pitiful crowd offended. Only you alone in my life not a moment I did not poison ... One spared me, One shore from storms with tender participation... And you never loved me! No, you never, never loved me... Aleksey Pleshcheyev (1825–1893), from an untitled poem (1884), after the German poem Nur Du allein (1872) by Ada Christen (1844–1901). Composition: The earliest of the romances to be written was Tell Me, What in the Shade of the Branches? (No. 1). In a letter to Pyotr Jurgenson of 1/13 December 1884 (see below). the composer expressed his surprise at this discovery of this romance, which it seems he had forgotten about. The exact time and place of its composition are uncertain. On the Golden Cornfields (No. 2) and Do Not Ask (No. 3) were composed at Pleshcheyevo in late September 1884. Before the rough draft of No. 2 in the composer's notebook is the date "Pleshcheyevo, 26 Sept 1884". Do Not Ask (No. 3) was composed next, and its text was probably chosen by Tchaikovsky after he read Goethe's novel The Apprenticeship of Wilhelm Meister("God, how marvellous this is..."), which he found in Nadezhda von Meck's library at Pleshcheyevo [4]. The remaining three romances were written in Paris between 19 November/1 December (the date of his arrival) and 1/13 December 1884, when Tchaikovsky wrote to Pyotr Jurgenson: "I was very surprised to learn that Komissarzhevsky has my romance. Incidentally, I already have another five. Congratulations to you on my new opus". Writing to Modest Tchaikovsky from Paris on 3/15 December 1884, the composer reported: "I cannot say that I am bored from idleness. I managed here to devise the main revisions to Vakula, and to write three new romances, and one church number". Publication: The romances were published by Jurgenson in April 1885, and in 1940 they were included in volume 45 of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov and Nikolay Shemanin. Autographs: Tchaikovsky's manuscript scores of Nos. 2 to 6 are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 143). The autograph of No. 1 is lost. Dedication: Each romance is dedicated to a different person: VI. Aleksandra Krutikova (1851–1919), mezzo-soprano who premiered the role of Lyubov in Mazepa.
Tchaikovsky Wiley Modest Tchaikovsky Bock Max Erdmannsdörfer 1883 1884 1885
Tchaikovsky: Orchestral Suite No. 3 in G, Op. 55 (1883) I. Élégie. Andantino molto cantabile (G major) Tchaikovsky's Suite No. 3 in G major, Op. 55 (TH 33 ; ČW 30), was written and orchestrated between April and July 1884. It is the longest and best known of his four orchestral suites. Instrumentation: The Suite is scored for an orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F), 3 trombones, tuba + 3 timpani, military drum, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, and double basses. Movements and Duration: There are four movements and a complete performance lasts around 40 to 45 minutes. The fourth a theme and variations longer than the other three movements combined. I. Élégie. Andantino molto cantabile (G major) Roland John Wiley calls this movement "resolutely melodic." A change from B to B♭ "produces tension in the misalignment of theme and key," he comments. The first theme group returns in the key of the second, then to a bridge. He then returns to the home key and reprises the second theme group in the key of the first and follows it with a lengthy epilogue. Composition: Following the production of the opera Mazepa in Moscow in February 1884, Tchaikovsky went abroad. While staying in Paris, he wrote to Praskovya Tchaikovskaya on 23 February/6 March 1884: "I'm still not feeling wholly myself due to exhaustion, and I think that without the peace and tranquillity of the countryside I shall not be able to do any work, but at the moment I feel the urge to start something new". It would be some time before the composer settled on the form that the new work should take, and his thoughts ranged from a projected symphony, to a piano concerto, and then to a suite. Thus, on 23 February/6 March he told Modest Tchaikovsky: "I think that in Kamenka I will be engaged in writing a symphony". Arriving at Kamenka around 12/24 April, the composer began sketching in rough some ideas for the future symphonic work. Surviving diary entries, letters and sketches in one of his note books from this period provide a complete record of the process of composition. Arrangements: Tchaikovsky arranged the Suite for piano duet (4 hands) before he began the orchestration, starting on 25 May/6 June with the variations. By 7/19 June this work was complete. Publication: In letters of 1/13 August to Modest Tchaikovsky and to Nadezhda von Meck, Tchaikovsky reported that the Suite was already being engraved. From the early/mid September up to December 1884, Tchaikovsky was occupied with checking the proofs of the Suite. The orchestral parts and full score of the Suite No. 3 were published by Pyotr Jurgenson in January 1885; the arrangement for piano duet was issued by the same publisher in February that year. For copyright reasons the same editions, but with different covers and imprints, were simultaneously issued by Bote & Bock in Berlin. Autographs: Tchaikovsky's autograph full score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 77), except for the pages containing variations VII to IX in the Finale, which are held at the Klin House-Museum Archive (a1, No. 297). The original manuscript of Tchaikovsky's arrangement of the Suite for piano duet is also preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 78). Dedication: The Suite is dedicated to the German conductor Max Erdmannsdörfer, to make amends for the composer's absence when Erdmannsdörfer conducted the premiere of the Second Suite in February 1884. Related Works: The themes of the abandoned first movement — Contrastes — were re-used in the second movement of the Concert Fantasia (1884). The central section of the fourth variation in the finale quotes from the plainsong tune "Dies Irae".
Tchaikovsky Modest Tchaikovsky Bock Max Erdmannsdörfer 1883 1884 1885
Tchaikovsky: Orchestral Suite No. 3 in G, Op. 55 (1883) IV. Tema con variazioni. Andante con moto (G major) Tchaikovsky's Suite No. 3 in G major, Op. 55 (TH 33 ; ČW 30), was written and orchestrated between April and July 1884. It is the longest and best known of his four orchestral suites. Instrumentation: The Suite is scored for an orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F), 3 trombones, tuba + 3 timpani, military drum, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, and double basses. Movements and Duration: There are four movements and a complete performance lasts around 40 to 45 minutes. The fourth a theme and variations longer than the other three movements combined. IV. Tema con variazioni. Andante con moto (G major) 1. Andante con moto, 2/4 2. Andante con moto, 2/4 3. Andante con moto, 2/4 4. Pochissimo meno animato, B minor 5. Allegro vivo, 3/4, G major 6. Allegro vivace, 6/8, G major 7. L'istesso tempo, 2/4, G major 8. Adagio, 3/4, A minor (closing in E major) 9. Allegro molto vivace, 2/4, A major 10. Allegro vivo e un poco rubato, 3/8, B minor 11. Moderato mosso, 4/4, B major 12. Finale. Polacca-Moderato maestoso e brillante, 3/4, G major Composition: Following the production of the opera Mazepa in Moscow in February 1884, Tchaikovsky went abroad. While staying in Paris, he wrote to Praskovya Tchaikovskaya on 23 February/6 March 1884: "I'm still not feeling wholly myself due to exhaustion, and I think that without the peace and tranquillity of the countryside I shall not be able to do any work, but at the moment I feel the urge to start something new". It would be some time before the composer settled on the form that the new work should take, and his thoughts ranged from a projected symphony, to a piano concerto, and then to a suite. Thus, on 23 February/6 March he told Modest Tchaikovsky: "I think that in Kamenka I will be engaged in writing a symphony". Arriving at Kamenka around 12/24 April, the composer began sketching in rough some ideas for the future symphonic work. Surviving diary entries, letters and sketches in one of his note books from this period provide a complete record of the process of composition. Arrangements: Tchaikovsky arranged the Suite for piano duet (4 hands) before he began the orchestration, starting on 25 May/6 June with the variations. By 7/19 June this work was complete. Publication: In letters of 1/13 August to Modest Tchaikovsky and to Nadezhda von Meck, Tchaikovsky reported that the Suite was already being engraved. From the early/mid September up to December 1884, Tchaikovsky was occupied with checking the proofs of the Suite. The orchestral parts and full score of the Suite No. 3 were published by Pyotr Jurgenson in January 1885; the arrangement for piano duet was issued by the same publisher in February that year. For copyright reasons the same editions, but with different covers and imprints, were simultaneously issued by Bote & Bock in Berlin. Autographs: Tchaikovsky's autograph full score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 77), except for the pages containing variations VII to IX in the Finale, which are held at the Klin House-Museum Archive (a1, No. 297). The original manuscript of Tchaikovsky's arrangement of the Suite for piano duet is also preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 78). Dedication: The Suite is dedicated to the German conductor Max Erdmannsdörfer, to make amends for the composer's absence when Erdmannsdörfer conducted the premiere of the Second Suite in February 1884. Related Works: The themes of the abandoned first movement — Contrastes — were re-used in the second movement of the Concert Fantasia (1884). The central section of the fourth variation in the finale quotes from the plainsong tune "Dies Irae".
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- cronologia: Compositori (Europa).
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