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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.
Lazare Saminsky Nemtsov 1882 1891 1959 1982 2019
Joachim Stutschewsky +••.••(...)): Shir Yehudi Lazare Saminsky (1882–1959): Meditation Joachim Stutschewsky +••.••(...)): Frejlachs Emily Camras, cello Jascha Nemtsov, piano Performed as part of the 2019 Ann Arbor Residency for Jewish Art Music at the University of Michigan School of Music, Theatre & Dance with guest artist Jascha Nemtsov Web site: (http•••) Facebook: (http•••)
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch Kafka 1882 1910 1919 1940 1959 1999
Lazare Saminsky +••.••(...)) Ritual Dance on the Sabbath, Op. 26, No. 1 Composed in 1919 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. Although not expressly mentioned in the title, "Danse rituelle du Sabbath" (or "Ritual Dance on the Sabbath") in unquestionably about a Hassidic Sabbath celebration for it is not customary to celebrate the Holy Sabbath by dancing. However, in Hasidism, prayer is an expression of joy and thus singing and dancing play an important role in worship. The Hasidim are especially well-known for their musicality. "Melodies are created... A miracle-working rabbi suddenly put his head down on his arms resting on the table and stayed like that for three hours while everyone else remained silent. When he woke up, he wept and then sang us a completely new and merry march." (Franz Kafka, Diaries) It is a "merry march" such as this in the "Aavo rabo" modus with the characteristic augmented second which the Hasidim are so fond of that one can hear as the theme in Saminsky's piece. This theme is varied several times whereby it alternates between pounding with heavy chords and shooting up like the tongues of flames.” Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 2: THE NEW JEWISH SCHOOL, Jascha Nemtsov, EDA Records EDA 14-2, 1999, compact disc.
Levenson Nemtsov Simeon Bellison 2000
Provided to YouTube by NAXOS of America 4 Hebrew Melodies in the Form of a Suite: III. Levenson: Hebrew Dance, Op. 68 · Wolfgang Meyer Meyer / Nemtsov: Jewish Songs Without Words ℗ 2000 SWR Classic Released on: 2000-01-01 Artist: Jascha Nemtsov Artist: Wolfgang Meyer Composer: Simeon Bellison Auto-generated by YouTube.
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