Boris Sabaneyev Vídeos
compositor
- Rusia
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2024-05-13
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Alexander Scriabin Leonid Sabaneyev Bowers Chopin Wagner 1900 1901
Alexander Scriabin's Fantasie in B minor, Op. 28, was written in 1900. This is a single sonata form movement which bridges the gap between Scriabin's third and his fourth sonata. Scriabin wrote this piece during an otherwise compositionally unproductive period during his tenure at the Moscow Conservatory. The first edition was published by Belaieff. The piece's existence may have been forgotten by the composer. According to Leonid Sabaneyev, when Sabaneev started to play one of its themes on the piano in Scriabin's Moscow flat (now a museum), Scriabin called out from the next room "Who wrote that? It sounds familiar". "Your 'Fantaisie'", was the reply. Scriabin said, "What 'Fantaisie'?".[citation needed] This story, told by Sabaneev and repeated by Faubion Bowers in his biography of Scriabin, may however be apocryphal. At any rate, as Sabaneev saw fit to fake Scriabin's death-date and otherwise make free with facts, his recountings of otherwise uncorroborated stories are best taken with a grain of salt. Be that as it may, Faubion Bowers' extensive documentation of Scriabin's concert programs shows no evidence of Scriabin having played the piece in public. The Fantasy begins with ambiguous, open harmony not unlike that which Scriabin used for the opening of his second sonata, known as the Sonata-Fantasy. The opening is clearly in B minor, but the tonic is consistently avoided: a technique used extensively in Chopin's ballades, in Wagner's Tristan und Isolde, and by Scriabin himself in his third and fourth sonatas. The opening is characterized by an inexorably descending bassline and a melody that alternately struggles upwards and plunges dramatically back down in jagged gestures. This brooding opening gives way to one of Scriabin's most beautiful melodies, a second subject in D major. The melody is treated canonically, with multiple voices echoing above an extremely widespread left-hand accompaniment. The closing groups, also in D major, are grand and confident with rhythmic obsessiveness and directional gestures characteristic of Scriabin's heroic writing. In the recapitulation, the first subject is extensively elaborated with sweeping arpeggios in both hands. It is, however, truncated, giving way quite rapidly to a transition to the second theme. The second subject, meanwhile, is recapitulated in grandeur rather than tenderness: an apotheosis not unlike the thematic transformation of the main subject in Chopin's first Ballade from its initial tender statement in Eb major to its grand exuberance in A major. (Source: Wikipedia) ► Subscribe to our YouTube Channel: (http•••) ► Follow us on Twitter: (http•••) ► Like our Facebook Page: (http•••) ► Support us on Patreon: (http•••) Work Title: Fantasie in B minor Composer: Aleksandr Scriabin Year of Composition: 1900 First Publication: 1901 – Leipzig: M.P. Belaieff Piece Style: Romantic Midi: Piano-e-Competition Artwork: PianoAdventure Visualization: Synthesia
Dag Wirén Honegger Leonid Sabaneyev Stravinsky Prokofiev Sibelius Royal Swedish Opera 1905 1926 1927 1931 1932 1934 1937 1938 1946 1947 1948 1960 1962 1965 1969 1971 1986
Played by Staffan Scheja, 1969. Dag Wirén +••.••(...)) studied at the Stockholm conservatory from 1926 to 1931, which gave him much exposure to music from all periods; hearing Honegger's oratorio King David in 1927 was an important experience. In 1932 won the state stipend and used the award money to continue his studies in Paris, where he lived from 1931 to 1934. While there, he studied composition under the Russian composer Leonid Sabaneyev, though he admitted later that his endless attendance of concerts, and not his tutoring with Sabaneyev, had the greater impact on his own work. In Paris he also met Stravinsky and encountered the music of Prokofiev and Honegger. He was music critic at the "Svenska Morgonbladet" from 1938 to 1946, and in 1947 became Vice-Chairman of the Society of Swedish Composers. Upon his return to Sweden, he composed his first two symphonies and his most famous work, the Serenade for Strings (1937); the spirit of this serenade may also be found in the finale of his 2nd Symphony. Wirén went on to compose five symphonies, string quartets, and orchestral pieces, music for the stage and film scores. His compositions range from neoclassic through to popular (such as the Swedish entry for the 1965 Eurovision Song Contest). He commented that his first desire was to entertain and please, and compose listener-friendly 'modern' music. His musical style on return from Paris was broadly traditional; melodic, energetic and with high spirits. Towards the mid 1940s Wirén became more serious in style, perhaps under the influence of Sibelius. Wirén also developed a personal technique, first used in the third string quartet, of motivic transformation. This was carried further in his third symphony, where the first motif in the first movement, based on a step-wise Dorian mode progression, is transformed during the movement and then echoed in the last three movements. From 1948, he spent summers on the island of Björkö, in Stockholm's archipelago. He served as a member of the board of directors of the Royal Swedish Opera from 1962 to 1971. His TV ballet Den elaka drottningen (The Evil Queen) won the 1960 Prix Italia. During the 1930s, Wirén regularly played his main instrument, the piano on Swedish Radio; he devoted himself to chamber music in the 1930s and 40s; he hated conducting. Wirén's output is notable for its quality rather than quantity, and a number of his works were refused opus numbers or withdrawn. Wirén met the Irish cellist Noel Franks in Paris and they married 1934. A daughter, Annika, was born in 1947.
Reinhold Glier Leonid Sabaneyev Otakar Ševčík Sergei Taneyev Mikhail Ippolitov Ivanov Ivanov Jan Hřímalý Anton Arensky Georgi Conus Gnesin Nikolai Myaskovsky Sergei Prokofiev Oskar Fried Serge Koussevitzky Levko Borys Lyatoshynsky Vladimir Dukelsky Alexandrov Aram Khachaturian Lev Knipper Alexander Mosolov Glinka Scriabin Mak Vega 1834 1849 1876 1891 1894 1896 1900 1902 1905 1908 1911 1912 1913 1920 1923 1927 1931 1935 1941 1955 1962
Don`t forget to subscribe and you won`t miss new interesting videos! Reinhold Gliere-Biography Glière was born in Kiev, Ukraine, then in the Russian Empire. He was the second son of the wind instrument maker Ernst Moritz Glier (1834–1896) from Saxony (Klingenthal), who emigrated to the Russian Empire and married Józefa (Josephine) Korczak (1849–1935), the daughter of his master, from Warsaw, Poland. His original name, as given in his baptism certificate, was Reinhold Ernest Glier.[1] About 1900 he changed the spelling and pronunciation of his surname to Glière, which gave rise to the legend, stated by Leonid Sabaneyev for the first time (1927), of his French or Belgian descent.[2] He entered the Kiev school of music in 1891, where he was taught violin by Otakar Ševčík, among others. In 1894 Glière entered the Moscow Conservatory where he studied with Sergei Taneyev (counterpoint), Mikhail Ippolitov-Ivanov (composition), Jan Hřímalý (violin; he dedicated his Octet for Strings, Op. 5, to Hřímalý), Anton Arensky and Georgi Conus (both harmony). He graduated in 1900, having composed a one-act opera Earth and Heaven (after Lord Byron) and received a gold medal in composition.[1] In the following year Glière accepted a teaching post at the Moscow Gnesin School of Music. Taneyev found two private pupils for him in 1902: Nikolai Myaskovsky and the eleven-year-old Sergei Prokofiev, whom Glière taught on Prokofiev's parental estate Sontsovka.[3] Glière studied conducting with Oskar Fried in Berlin from 1905 to 1908. One of his co-students was Serge Koussevitzky, who conducted the premiere of Glière's Symphony No. 2, Op. 25, on 23 January 1908 in Berlin. Back in Moscow, Glière returned again to the Gnesin School. In the following years Glière composed the symphonic poem Sireny, Op. 33 (1908), the programme symphony Ilya Muromets, Op. 42 (1911) and the ballet-pantomime Chrizis, Op. 65 (1912). In 1913 he gained an appointment to the school of music in Kiev, which was raised to the status of conservatory shortly after, as Kiev Conservatory. A year later he was appointed director. In Kiev he taught among others Levko (Lev) Revoutski, Borys Lyatoshynsky and Vladimir Dukelsky (who became well known in the West as Vernon Duke). In 1920 Glière moved to the Moscow Conservatory where he (intermittently) taught until 1941. Boris Alexandrov, Aram Khachaturian, Alexander Davidenko, Lev Knipper and Alexander Mosolov were some of his pupils from the Moscow era. For some years he held positions in the organization Proletkul't and worked with the People's Commissariat for Education. The theatre was in the centre of his work now. In 1923 Glière was invited by the Azerbaijan People's Commissariat of Education to come to Baku and compose the prototype of an Azerbaijani national opera. The result of his ethnographical research was the opera Shakh-Senem, now considered the cornerstone of the Soviet-Azerbaijan national opera tradition. Here the musical legacy of the Russian classics from Glinka to Scriabin is combined with folk song material and some symphonic orientalisms. In 1927, inspired by the ballerina Yekaterina Vasilyevna Geltzer (1876–1962), he wrote the music for the ballet Krasny mak (The Red Poppy), later revised, to avoid the connotation of opium, as Krasny tsvetok (The Red Flower, 1955). The Red Poppy was praised "as the first Soviet ballet on a revolutionary subject". Perhaps this is his most famous work in Russia as well as abroad. One number from the score, his arrangement of an Russian folk chastushka song Yablochko ("little apple") consists of an introduction, a basso statement of the theme, and a series of increasingly frenetic variations ending with a powerful orchestral climax. It is identified in the ballet score by its almost equally well-known name, the Russian Sailor's Dance. It is probably his best-known single piece, and is still heard at symphony concerts around the world, frequently as an encore. The ballet-pantomime Chrizis was revised just after The Red Poppy, in the late 1920s, followed by the popular ballet Comedians after Lope de Vega (1931, later re-written and renamed The Daughter from Castile). Reinhold Glier Valtz from the ballet The Bronze Horseman. Classical Music Archive Reinhold Glier Valtz from the ballet The Bronze Horseman. Classical Music Archive Reinhold Glier Valtz from the ballet The Bronze Horseman. Classical Music Archive Reinhold Glier Valtz from the ballet The Bronze Horseman. Classical Music Archive Reinhold Glier Valtz from the ballet The Bronze Horseman. Classical Music Archive
Alexander Scriabin Feinberg Leonid Sabaneyev Bowers
An incredible performance of Scriabin's well known posthumous fantasy by Feinberg. His playing here is truly remarkable: there's a good deal of clarity although some is sacrificed in favor of dashes of color and texture... the romantic, heavy rubato appears very often but it's never excessive; his playing often violent and menacing in the minor sections yet so delicate and tranquil in the more optimistic ones. Fantasie in B minor, Op. 28, was written in 1900. This is a single sonata form movement which bridges the gap between Scriabin's third and his fourth sonata. Scriabin wrote this piece during an otherwise compositionally unproductive period during his tenure at the Moscow Conservatory. The first edition was published by Belaieff. The piece's existence may have been forgotten by the composer. According to Leonid Sabaneyev, when Sabaneev started to play one of its themes on the piano in Scriabin's Moscow flat (now a museum), Scriabin called out from the next room "Who wrote that? It sounds familiar." – "Your 'Fantaisie' ", was the reply. Scriabin said, "What 'Fantaisie'?" This story, told by Sabaneev and repeated by Faubion Bowers in his biography of Scriabin, may however be apocryphal. At any rate, as Sabaneev saw fit to fake Scriabin's death-date and otherwise make free with facts, his recountings of otherwise uncorroborated stories are best taken with a grain of salt. Be that as it may, Bowers' extensive documentation of Scriabin's concert programs shows no evidence of Scriabin having played the piece in public.
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- cronología: Compositores (Europa).
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