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2024-05-02
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Alexander Scriabin Neeme Järvi Anatol Lyadov Dobson 1459 1901 1902
Symphony no. 2 in C minor - for orchestra Written by Alexander Scriabin in 1901 Thanks to Thomas Van Dun for preparing this score video: (http•••) Performed by the Scottish National Orchestra, conducted by Neeme Järvi. 00:00 - I. Andante 05:42 - II. Allegro 14:59 - III. Andante 26:36 - IV. Tempestoso 32:05 - V. Maestoso 'The Second Symphony was completed in 1901, a year after the first. It is the most traditional of his symphonies in formal structure. The first two movements (Andante, Allegro) are played without a break and structurally form a classical sonata movement. In the third movement (Andante), however, he makes a remarkable advancement toward the heavily chromatic sound associated with the mature Scriabin. The movement opens with a birdsong played by the flute, another Scriabin characteristic. The rest of the movement, with its frequent evocations of birdsong and other sounds of nature, is like a long, dreamy walk through the wilderness. Even the central climax is unforced. A lovely movement, the fourth movement (Tempestuoso), a minor-key scherzo, is full of turbulent string, timpani, and brass writing, interrupted briefly in places by some more lyrical writing. Toward the end of the movement, the key modulates into the major and leads seamlessly into the final Maestoso movement with a majestic restatement of the symphony's opening theme. This work marks important strides in Scriabin's growth as a composer, and still shocked its initial audience somewhat when it premiered in St. Petersburg under the baton of Anatol Lyadov on January 12, 1902.' - John Dobson
Vassily Sinaisky Anatoly Lyadov Bbc Philharmonic Orchestra 2001
Provided to YouTube by PIAS Eight Russian Folksongs, Op. 58: I. Religious Chant · Vassily Sinaisky · BBC Philharmonic Orchestra Lyadov: Orchestral Works ℗ Chandos Records Released on: 2001-05-01 Conductor: Vassily Sinaisky Orchestra: BBC Philharmonic Orchestra Composer: Anatoly Lyadov Auto-generated by YouTube.
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch 1882 1910 1935 1940 1959 2000
Lazare Saminsky +••.••(...)) Three Shadows, Op. 41 Composed in 1935 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Saminsky composed his Three Shadows, the first for piano and the second for orchestra. The three Poems (so-called in the subtitle) are dedicated to the memory of the great American poet Edwin Arlington Robinson, and are an immediate response to the news of his death in August 1935. The prevailing mood is correspondingly somber, brightening only in the second movement. The second poem bears the title "A Poet", and a maxim from Robinson: "A singing voice then gathered and ascended, Filled the vast dome above till it glowed, With singing light." This light-filled music is framed by two movements which are darker in atmosphere. The first "Omen", is is set to a poem by Pitts Sanborn: "Seek not to turn al vintages to blood; Leave me one city, War, on a crown stream, The crumbling cornices, the dust, my dreams." The last "Poem" is a setting of Carl Sandburg's "Grass" and subtitled "A Dirge": "Pile up the bodies high at Austerlitz and Waterloo, Shovel them under and let me work - I am the grass; I cover all. And pile them high at Gettysburg. I am grass; let me work.“ Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 3: WAITING ROOM, Jascha Nemtsov, EDA Records EDA 016-2, 2000, compact disc.
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