Danatar Ovezov Vídeos
director de orquesta, compositor, compositor de ópera
- ópera
- Imperio ruso, Unión Soviética
Última actualización
2024-05-09
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Adrian Shaposhnikov Sorrell Vasily Kalafati Glazunov Sokolov Veli Mukhatov Dangatar Ovezov Macdonald 1887 1909 1913 1914 1916 1919 1923 1926 1935 1936 1937 1939 1940 1941 1947 1948 1949 1953 1955 1962 1967
Note: The performance does not follow the sheet music ~8:15 Adrian Shaposhnikov - Sonata for Flute and Harp Flute - Zoe Sorrell Harp - Natalie Severson ————————————————————————— Adrian Grigorievich Shaposhnikov ( May 29 (June 10) 1887, St. Petersburg - June 22, 1967, Moscow) - is a Russian and Soviet Turkmen composer. People's Artist of the Turkmen SSR (1967). He graduated from the St. Petersburg Institute of Technology (1909). At the same time he took lessons in music theory and composition from Vasily Kalafati. Then he decided to devote himself to music and entered the St. Petersburg Conservatory in the composition class, from which he graduated in 1913. He studied under A. K. Glazunov, N. A. Sokolov, N. N. Cherepnin, and I. I. Vitol in 1914 - 1916. He worked as an accompanist and teacher in the Musical-Historical Society of Count A.D. Sheremetev. After the October Socialist Revolution, until 1936, he left his musical career and worked as an engineer. During this period, he composed a small number of chamber works: romances to verses by Fyodor Sologub, Igor Severyanin, Ivan Rukavishnikov, and Konstantin Balmont +••.••(...)), sonatina for piano (1923), sonata for cello and piano (1935), etc. In 1937, at the invitation of film director Leonid Obolensky, he followed him to Ashgabat to work in an opera studio created there. Having studied the Turkmen national musical material, in 1939 he created music for the play "Zohre and Takhir" based on the plot of the Turkmen classic Mollanepes , then reworked it into the opera of the same name, which opened the Turkmen Opera and Ballet Theater on November 6, 1941. Later he created a number of operas on Turkmen national themes - according to the usual Soviet practice, in collaboration with the composers of the titular nation: Veli Mukhatov and Dangatar Ovezov... In addition, Shaposhnikov wrote the Turkmen Rhapsody (1940) and the Turkmen March (1949) for orchestra, a concert for piano and orchestra on Turkmen themes (1947; 2nd edition 1953); two choirs on words by Makhtumkuli and other compositions with a local flavor. In 1941-1948, he served as deputy chairman of the board of the Union of Composers of the Turkmen SSR. Having suffered during the Ashgabat earthquake , he returned to Moscow, but until the end of his life he continued to work on Turkmen themes and cooperate with musical organizations of Turkmenistan. In 1955 he was awarded the Order of the Red Banner of Labor, in 1967 - the honorary title "People's Artist of the Turkmen SSR". He is buried at the Vagankovskoye cemetery (11 ac.). In recent years, Shaposhnikov's main operas - "Zohre and Takhir" and "Shasenem and Garib", have been resumed in Turkmenistan; according to the modern Turkmen music critic, “Shaposhnikov planted the seeds of classical Western musical and theatrical art in the fertile Turkmen soil, from which a unique, distinctive phenomenon - the Turkmen opera - emerged and expanded widely. The main thing in his work is that extraordinary caution, solicitude, sensitivity with which he approached the national material. The melody of traditional Turkmen melodies in his works remained unchanged, the original motives were created according to folk samples, with small creative variations, and the timbre coloring of the folk instruments was reflected in the orchestration. This extraordinary modesty and scrupulousness of the composer Adrian Shaposhnikov, who utterly respected the national foundations of the works he performed, became the guarantee of a nationwide love for his music, which is still alive today” Outside Turkmenistan, the Sonata for Flute and Harp +••.••(...)nd edition 1962), recorded, in particular, by Louise Di Tullio and Susan MacDonald, continues to enjoy popularity. Source: Russian Wikipedia, ‘Шапошников, Адриан Григорьевич’ ————————————————————————— I, in no way, mean to make any money via my videos. I make them to allow others to discover classical music, and help them by (sometimes) providing sheet music.
Nikolai Myaskovsky Uspensky Alexander Mosolov Tchaikovsky Rachmaninov Khachaturian Vassilenko Knipper Gara Hermann Scherchen Ovezov 1879 1888 1900 1903 1911 1918 1928 1929 1930 1932 1934 1935 1936 1940 1942 1943 1949 1961 1966 1968 1988 2000
1st movement (Allegro giocoso ) 0:05 2nd movement (Lento) 2:37 3rd movement (Allegro marciale) 6:01 Boris Semyonovich Shekhter (or Schekhter, 1900-1961) was a Jewish Russian composer. While being the member of the notorious RAPM (Russian Proretaliat Music Society), he studied the composition in Moscow Conservatory under Nikolai Myaskovsky and graduated in 1929. It was after three years that he wrote "Turkmenia Suite" for symphony orchestra. Since the Revolution, Soviet government tried to educate people in the colonial area in the Central Asia to the Western culture and society. On the Westernization of the indigenous culture, traditional folk tunes were collected and studied by Russian Ethnomusicologists. In the 1920s the excursions were held to collect and westernize Turkmen folk tunes by Viktor Alexandrovich Uspensky +••.••(...)) , the most important figure on the promotion of the Western music in Uzbekistan. In 1928 he published the first volume of "Turkmenskaya Muzyka" with another Russian musicologist Viktor Mikhailovich Beliaev +••.••(...)). On this book in 1929, the first Turkmen piano music was composed by the famous Russian avant-garde composer Alexander Mosolov. It was the three-movement suite titled "Night in Turkmenistan". While it was ultra-modern, abstract, and even violent (and denied by even the dedicatee Beliaev), Shekhter's "Turkemnia" was written on the style of the 19th Romanticism that more suitable to regime. It was not only because Stalin demand but also because even in the 1920s his compositional style was rather conservative succeeding the line of Tchaikovsky and Rachmaninov. "Turkmenia" has three movements, each of which duration is around three minutes. Such concert showpieces in the style of suite on the theme of minor ethnicity in USSR for orchestra were composed numerously in the first half of the 1930's, like by "Dance suite" by Khachaturian, "Soviet East" by Vassilenko, "Tadjik Suite" by Knipper etc. All of them were composed on the purpose for propaganda of the Western music to indigenous people and propaganda of the minor ethnicity to people in the Soviet central. 1st movement imitates the traditional lute-like instruments Dutar. While Nury Khalmamedov in the later days expressed the sound of dutar by using the trill of single tone, Shekhter used the of double notes in fourth chords in 16th notes The 1st theme is the melody "Chekdi"in Merv (East areain Turkmenistan) in the march style. But it is soon altered to 3/8 and 3/4 dance-like rhythm with impromptu-variation on the small elements. The melody in the middle part has also the 6/8 rhythm and the style of traditional dance. It is combined with another song-like melody in the same rhythm and lead to the traditional climax (Shirvan) in FF. Soon the recaptulation is played in PP and ceases with the suggestion of motif in the 2nd movement. 2nd movement begins with the slow phrase expressing the night of desert with the passage in the high voice piccolo. In the middle part the middle-low voice imitates singing by Turkmen epic singer Bakhshi with the grace notes makes the fantastic effect. The polyphonic leads the climax (shirvan). After the sudden fermata the first theme returns again. 3rd movement is in the style of march. The melody on the right hand is the phrase from dutar-song "Yar gara gozli" in Sarakhs (South-East Area, on the border of Iran). The tone E♭ makes the comical effect. The middle part has the broader taste, accompanied by the same up-and-down rhythm. The climax leads the first part again with the transformation to 3/4 in E minor. The Ascending dutar-like cadenza leads to the epic finale in 3/2 in C major, that glorifies "Our Soviet land". This work is now totally forgotten, however received some acclaims at that time. The renowned conductor Hermann Scherchen performed it in the International Contemporary Music Festival in circa 1935 (I saw it in the book of Levon Hakobian). And Soviet musicologist Viktor Tsukkerman +••.••(...)) wrote the analysis on the journal "Sovetskaya Muzyka" in April 1936. Shekhter soon transcribed it for piano solo possibly because there was no symphonic orchestra in Turkmen SSR (State Symphony Orchestra was established in the 1940's). In my opinion playing this, his transcription is very effective. In the WWII Shekhter evacuated to Ashgabad and composed the Turkmen national opera "Yusup and Akhmet" (1942) with the Turkmen composer Ashir Kliev +••.••(...)) and "Seiidi" (1943) with the Turkmen composer Dangadar Ovezov +••.••(...)). Борис Семеонович Шехтер: "Туркмгния" (1932/1934)
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- cronología: Compositores (Europa). Directores de orquesta (Europa).
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