Sergei Wassiljewitsch Rachmaninow The Miserly Knight, Op. 24 Videos
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2024-05-02
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Alexander Dargomyzhsky Mark Ermler Bolshoy Vladimir Atlantov Aleksandr Vedernikov Vedernikov Tamara Sinyavskaya Vlasov Tamara Milashkina Monk Vladimir Filippov Filippov Tchaikovsky César Cui Alexander Serov Modest Mussorgsky Salieri Rimsky Korsakov Sergei Rachmaninov Borodin 1898 1901 1904 1977
1977, Mark Ermler (conductor), Bolshoy Theatre Orchestra and Chorus, Vladimir Atlantov (Don Juan), Aleksandr Vedernikov (Leporello), Tamara Sinyavskaya (Laura), Vladimir Valaitis (Don Carlos), Vitaliy Vlasov, Vitaliy Nartov (Guests), Tamara Milashkina (Doña Anna), Lev Vernigora (Monk), Vladimir Filippov (Commander) Style As an opera, The Stone Guest is notable for having its text taken almost word-for-word from the literary stage work which inspired it, rather than being set to a libretto adapted from the source in order to accommodate opera audiences which would have expected to hear arias, duets, and choruses. Consequently, the resulting musical drama consists almost entirely of solos given in turn by each character, as in a spoken play. This procedure amounted to a radical statement about the demands of spoken and musical drama and was seen by some as a devaluation of the musical genre of opera, and distinct from the literary genre of spoken drama. Tchaikovsky in particular was critical of the idea; in response to Dargomyzhky's statement that "I want sound directly to express the word. I want truth",[4] he wrote in his private correspondence that nothing could be so "hateful and false" as the attempt to present as musical drama something that was not.[citation needed] The value of the opera The opera was written at the time of the formation of realism in art, and The Stone Guest corresponded to this genre. Dargomyzhsky used the ideas of the society of The Five (composers). The great innovations of this opera are seen in its style. It was written without arias and ensembles (not counting two small romances sung by Laura[5]) and it is entirely built on the "melodic recitative" of the human voice put to music. This was immediately noted by Russian musical specialists César Cui[6] and Alexander Serov.[7] Opera has been greatly important in the formation of Russian musical culture which, built entirely on European music, found its place in the world's musical culture. The innovations begun by Dargomyzhsky were continued by other composers. Firstly, they were taken up and developed by Modest Mussorgsky who called Dargomyzhsky "the teacher of musical truth".[8] Later the principles of Dargomyzhsky’s art were embodied by Mussorgsky in his operas Boris Godunov and Khovanshchina; Mussorgsky continued and strengthened this new musical tradition. Other Russians operas have also incorporated the same stylistic elements. These include Mozart and Salieri by Rimsky-Korsakov in 1898; Feast in Time of Plague by Cesar Cui in 1901; and The Miserly Knight by Sergei Rachmaninov in 1904. The modern Russian music critic Viktor Korshikov thus summed up: There is not the development of Russian musical culture without the The Stone Guest. It is three operas - Ivan Soussanine, Ruslan and Ludmila and The Stone Guest have created Mussorgsky, Rimsky-Korsakov, and Borodin. Soussanine is an opera, where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and The Guest, in which the drama dominates over the softness of the beauty of sound.[9] Music Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes. In addition, the opera was novel for its time in its use of dissonance and whole-tone scales. Dargomyzhky's attempts at realism and faithfulness to the text resulted in what has been referred to as a "studied ugliness"[citation needed] in the music, apparently intended to reflect the actual ugliness in the story. Cui termed the stylistic practice of the work as "melodic recitative" for its balance between the lyric and the naturalistic.
Sergei Rachmaninov Andreana Nikolova Boiko Zvetanov Nayden Todorov Sofia National Opera 2006
Provided to YouTube by NAXOS of America Aleko's Cavatina · Mariana Zvetkova Rachmaninov: Aleko / The Miserly Knight / Francesca Da Rimini (Excerpts) ℗ 2006 Naxos Released on: 2006-08-29 Artist: Alexander Tekeliev Artist: Andreana Nikolova Artist: Boiko Zvetanov Artist: Mariana Zvetkova Conductor: Nayden Todorov Artist: Peter Naydenov Composer: Sergei Rachmaninov Orchestra: Sofia National Opera Orchestra Composer: Vladimir Ivanovich Nemirovich-Danchenko Auto-generated by YouTube.
Ildar Abdrazakov Misha Didyk Peter Bronder Bezzubenkov Gianandrea Noseda Sergei Rachmaninoff Bbc Philharmonic Orchestra 2009
Provided to YouTube by NAXOS of America Skupoy ritsa (the Miserly Knight) , Op. 24: Prelude · Ildar Abdrazakov · Ildar Abdrazakov · Misha Didyk · Misha Didyk · Sergey Murzaev · Sergey Murzaev · Peter Bronder · Peter Bronder · Gennady Bezzubenkov · Gennady Bezzubenkov · BBC Philharmonic Orchestra · BBC Philharmonic Orchestra · Gianandrea Noseda · Gianandrea Noseda Rachmaninov, S.: Miserly Knight (The) (Opera) ℗ 2009 Chandos Released on: 2009-09-29 Artist: Ildar Abdrazakov Artist: Misha Didyk Artist: Sergey Murzaev Artist: Peter Bronder Artist: Gennady Bezzubenkov Orchestra: BBC Philharmonic Orchestra Conductor: Gianandrea Noseda Composer: Sergei Rachmaninoff Auto-generated by YouTube.
Sergei Rachmaninoff Vladimir Ashkenazy John Field Alexander Siloti Nikolai Zverev Sergei Taneyev Anton Arensky Tchaikovsky Alexander Glazunov Paganini Bolshoi Philadelphia Orchestra 1873 1885 1888 1891 1892 1897 1899 1900 1902 1903 1904 1906 1908 1917 1918 1939 1940 1943 1973
LIKE and SUBSCRIBE for more score videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Vladimir Ashkenazy plays Rachmaninoff - Prelude in D minor Op. posthumous [Audio + Score]. The Prelude in D minor, a dark piece with thick and fast moving chords that repeatedly descend into low register, is a manifestation of his unhappiness with the October Revolution. The manuscript survived and was first published in 1973. (wikipedia) BIOGRAPHY Sergei Rachmaninoff, one of the greatest pianists of all time and one of the most outstanding melodists amongst composers, was born at Oneg, near Novgorod, on 20 March 1873 (1 April New Style), into a musical family: his grandfather had been a pupil of John Field and his father, too, played the piano. When Sergei was nine, financial difficulties forced the sale of the family estate and they moved to St Petersburg, where he took piano lessons at the Conservatoire. Rachmaninoff’s cousin, the pianist and conductor Alexander Siloti, had studied in Moscow with the strict Nikolai Zverev, and suggested that Rachmaninoff go to Zverev as well, and so in 1885, he made the journey to Moscow, staying with Zverev for three years. In 1888 Rachmaninoff began to study piano with Siloti himself and composition with Sergei Taneyev and Anton Arensky; he also received advice from Tchaikovsky, who was a friend of Siloti and his former teacher. Even before his graduation as a pianist in 1891, Rachmaninoff had composed what was to become his best-known work, the Prelude in C sharp minor. His graduation as a composer came in 1892: he was awarded a gold medal for his Pushkin opera Aleko. The premiere of his First Symphony, in Moscow in 1897, was a disaster (word was that the conductor, Alexander Glazunov, was drunk), and Rachmaninoff destroyed the score (fortunately, a set of parts survived, which allowed the reconstruction of the score after Rachmaninoff’s death). Rachmaninoff’s early career established a pattern he was to follow throughout his life: an uneasy struggle between performing and composing, with economic pressures usually ensuring that precedence needed to be given to the demands of the platform. He was an international figure as early as 1899, when he conducted a concert of his orchestral works in London, also playing some of his piano music. Rachmaninoff began his Second Piano Concerto, one of the most frequently performed of all works in the genre, in 1900, completing it the following year, when his Cello Sonata was also composed. The little-heard cantata Spring followed in 1902, the year in which he married his cousin Natalya Satina; their daughter Irina was born in 1903. In 1904 Rachmaninoff took up a conductor’s post at the Bolshoi Opera in Moscow, stimulating the completion of two further operas, Francesca da Rimini and The Miserly Knight, in 1906. The pressures of conducting life in the Bolshoi persuaded the Rachmaninoffs to spend some time away from the capital, and they moved for a short while to Dresden, where he worked on his Second Symphony; Rachmaninoff himself conducted the premiere, in St Petersburg, in 1908. The years up to the Russian Revolution were spent in an exhausting whirl of playing and conducting, with the family’s country estate at Ivanovka, in the countryside south-east of Moscow, offering a haven of peace where he could concentrate on composition. The works that emerged during this period include the Third Piano Concerto, the symphonic poem The Isle of the Dead, the choral symphony The Bells, and two a cappella choral works, the Liturgy of St John Chrysostom and the Vespers. After the October Revolution in 1917 Rachmaninoff determined that he and his family would have to leave the country, and he accepted an invitation to perform in Stockholm. The composer, his wife and their two daughters left in December; he was never to return. They stayed briefly in Stockholm and Copenhagen, sailing to America in November 1918. There, his concertising increased, reducing his time for composition; he also began a career in the studio, producing recordings that eighty-odd years later are still regarded as some of the most valuable interpretations, of his own and others’ music, ever committed to disc. Rachmaninoff sought to recreate the peace he had found at Ivanovka by building a villa on the shores of Lake Lucerne, far from the insistent pressures of the international concert circuit, and here he wrote the Rhapsody on a Theme of Paganini and the Third Symphony which, in 1939, he recorded with the Philadelphia Orchestra, which maintained a long association with his music. His last large-scale masterpiece was the Symphonic Dances, composed in 1940; at the time of his last recital, on 17 February 1943, in Knoxville, Tennessee, he was already gravely ill, and he died on 28 March, in Beverley Hills. #rachmaninoff #ashkenazy
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