Alexandre Kastalski Vidéos
compositeur ou compositrice, musicologue, ethnomusicologue
- musique d'église
- Empire russe, Union soviétique
Dernière mise à jour
2024-05-06
Actualiser
Montenegro Vila Bortniansky Mokranjac Moja Ivanov Archangelski Rachmaninow Kastalsky 1830 1839 1897 1927 1929 1939 1940 1971 1994 1997 2003 2004 2007 2011
Kup płytę: (http•••) 2. Aksion estin (Byzantine chant XV.c.) - Anonymus To Thee We Sing (Bulgarian chant XVII c.) - Anonymus Troparion of the Pentecost (XV c.) - Nikola the Serb Hristos anesti (Byzantine traditional chant) – Anonymus Hristos anesti - Aleksy M. Astafev Christ is Risen - Kornelije Stanković Najlepsza muzyka cerkiewna prosto z Czarnogóry w wykonaniu chóru "Jedność” (UNITY) 1839, Kotor (Montenegro) pod dyrekcją diakona Mihajlo Lazarevć MA Serbskie Towarzystwo Chóralne "Jedinstvo", Kotor, Czarnogóra, zostało oficjalnie ustanowione w 1839 r. Źródła wskazują jednak, że zespół z Kotoru powstał znacznie wcześniej, ok. 1830 r. "Każdy uczciwy obywatel i patriota może stać się członkiem Serbskiego Towarzystwa Chóralnego "Jedinstvo" (fragment z pierwszej zasady Towarzystwa). Głównym celem Towarzystwa jest praca na rzecz kultury, tradycji oraz edukacji. „Jedinstvo” posiada bogatą bibliotekę nutową, specjalizuje się w śpiewie kościelnym i artystycznym. Patronat nad Towarzystwem objęli: król Aleksander (1929), król Piotr II (1940), patriarcha Serbskiego Kościoła Prawosławnego Paweł (1994). „Jedinstvo” jest laureatem licznych nagród i wyróżnień, m.in: Gwiazdy Południowosłowiańskiego Towarzystwa Chóralnego (1939) oraz pierwszego miejsca Belgradzkiego Towarzystwa Chóralnego +••.••(...)). Chór odbył wiele udanych tournee: Serbia, Chorwacja, Niemcy, Austria, Węgry, Grecja i wiele innych. „Jedinstvo” gościło w takich miejscach jak: Kurfürstliches Schloss (Zamek Księcia Elekta) na Uniwersytecie w Bonn, Katedra św. Pantaleona w Kolonii, czy Kościół św. Piotra w Wiedniu. Występy były nagrywane dla ważnych stacji telewizyjnych: Deutsche Welle, PTC, PTPC, TV CORFU GR. Towarzystwo niejednokrotnie uczestniczyło też w Jugosławiańskim Festiwalu Chóralnym w Niš, Międzynarodowym Festiwalu “Zlatna vila” w Prijedor, na Festiwalu Chamber Choir w Kragujevac oraz innych festiwalach w Serbii i Czarnogórze, gdzie otrzymało m.in. prestiżową nagrodę “Special Vuk Stafanivić Karadžić’s award" w 2004 r. Mihajlo Lazarević (1971) jest absolwentem Wydziału Muzyki na Akademii Sztuk Pięknych (Uniwersytet Novi Sad, Serbia) oraz Akademii Muzycznej w Cetinje (Czarnogóra). Jest także doktorem honoris causa Uniwersytetu w Belgradzie. Lazarević początkowo asystował dyrygentom chórów “Sonja Marinkovic” i “St. Stefan Decanski”, a w 1994 r. objął opiekę nad Towarzystwem „Jedinstvo”. Od 1997 r. pracował w Średniej Szkole Muzycznej w Kotorze (chór, dyrygentura, solfeż), uczył również śpiewu kościelnego w seminarium "Świętego Piotra" w Cetinje. Lazarević regularnie bierze udział we wszystkich wydarzeniach i koncertach organizowanych przez Chór „Jedinstvo”. W latach 2003-2007 brał udział w Festiwalu KotorArt Music, a od 2011 r. uczestniczył w projektach Music Centre w Czarnogórze, aktywnie nagrywa i publikuje płyty. Tracklista: 1. Ojcze Nasz - Nicolas N. Kedrov – syn 2. Godny jesteś (śpiew bizantyjski XV wiek) - Anonim Tobie śpiewamy (śpiew bułgarski XVII wiek) - Anonim Troparion Pięćdziesiątnicy (XV wiek) - Mikołaj Serbski Chrystus Zmartwychwstał (tradycyjny śpiew bizantyjski w języku greckim) - Anonim Chrystus Zmartwychwstał - Aleksy M. Astafiev Chrystus Zmartwychwstał - Kornelije Stanković 3. Światłości cicha - Anonim 4. Pieśń Cherubinów - Ivan Marović 5. Koncert nr 34 - Dmitrij S. Bortniansky 6. Ciebie Boga wychwalamy - Stevan St. Mokranjac 7. Dogmatyk (pieśń Maryjna wieczorna) 2 ton - Anonim 8. Troparion ku czci Matki Boskiej (śpiew rosyjski) - Anonim 9. Błogosław duszo moja Pana - Michał I. Ivanov 10. Credo (Wierzę) - Piotr I. Czajkowski 11. Orędowniczko gorliwa - Paweł G. Czesnokow 12. Myślę o dniu sądnym - Aleksandr A. Archangelski 13. Ave Maria - Siergiej V. Rachmaninow 14. Psalm nr 103 - Aleksandr D. Kastalsky 15. Chwała na wysokości Bogu - Iakov Chmielow Pliki video: Videezy.com, pexels.com, pixabay.com
ПЕСНОПЕНИЯ ВСЕНОЩНОГО БДЕНИЯ Вокальный ансамбль семьи Аветисян «Благая Весть» под управлением Екатерины АВЕТИСЯН CANTICLES OF THE ALL-NIGHT VIGIL Vocal Ensemble Avetisyan family «Blagaya Vest» choirmaster Ekaterina AVETISYAN Записано в храме Рождества Богородицы в Крылатском г.Москвы в ноябре 2012 г. Режиссер и оператор-постановщик Сергей Мачуляк, звукорежиссёр Мария Соболева, ассистент звукорежиссёра - Андрей Семенов, второй оператор Ольга Свиридова.
Peter Tchaikovsky Valery Polyansky Meck Stravinsky Bortnyansky Rachmaninov Kastalsky 1600 1796 1825 1878 1879 1880 1881 1884 1885 1887 1894 1906
Sacred Treasures ~ No. 4 Peter Tchaikovsky, Liturgy of St. John Chrysostom: Our Father (by Valery Polyansky ~ conductor / USSR Ministry of Culture Chamber Choir). ~ ART: Old priceless Russian Icons, including Andrey Rublyov! / Orthodox Easter~ Music & Art (my playlist) : (http•••) * Sound 1600 kbps. / "Tchaikovsky was not a regular churchgoer but he was profoundly attached to the rituals and music of the Orthodox Church. He wrote to his patroness Nadezhda von Meck: ‘As you can see, I am still bound to the Church by strong ties, but on the other hand I have long ceased to believe in the dogma.’ He added further that he attended the Liturgy and Vigil frequently: ‘Anyone trying to comprehend the meaning of each ceremony will be stirred to the very depths of his being (...). * The setting of the Liturgy of St John Chrysostom which Tchaikovsky began in 1878 was, then, a product of this deep emotional link which he had with Orthodox worship, and though the work even today is still often considered as being too ‘Western’, in spirit it is truly Russian. Tchaikovsky set all the principal sections of the Liturgy, a total of fifteen numbers of which ten are recorded here (the various litanies which punctuate the Orthodox Liturgy with their dialogue between priest and choir are omitted). In spite of the highly dramatic treatment to be found in some sections (the beautiful Cherubic Hymn and Tebe poem, both among the most solemn moments of the celebration, are good examples) and the typically Russian doubling of octaves and fifths, the choral writing is in general characterized by simplicity and transparency, as is demanded by the primacy of the text in Orthodox worship. In such numbers as the Creed and the Lord’s Prayer, Tchaikovsky makes use of a rapid choral recitative which is typical of the Russian tradition (its twentieth-century descendant may be heard in the Slavonic setting of the Creed by Stravinsky and, at one further remove, in the Latin setting of the same text in his Mass). Indeed, the composer was acutely aware of the necessity to imbue any attempt at composing for the Church with the correct liturgical ambience (and would become even more aware of this in his setting of the Vigil of 1881/2), and therefore places great reliance on the richness of the choral sound itself, without resorting to any extended contrapuntal elaboration or harmonic abstruseness. There are moments of imitative writing (in Tebe poem, for example) and antiphonal effects (Dostoyno est), but they are exceptional, and not the basic compositional elements of the work. * The publication of Tchaikosvky’s Liturgy in 1879 caused a famous incident which would have wide-ranging consequences for the future of Russian sacred music. It was issued by Pyotr Jurgenson, the Moscow publisher who often collaborated with the Imperial Chapel, but on this occasion he had not requested the Chapel’s authorization, indispensable since the time of Bortnyansky (who had been director of the choir from 1796 until his death in 1825). No score could be published or sung without its imprimatur. The current director, Bakhmetev, responded immediately to the publication by confiscating copies and instigating a lawsuit against the publisher. The case took more than two years but was concluded in the composer’s favour and, meanwhile, the Liturgy was first performed at the university church in Kiev in June 1879. A second performance took place in a concert version in Moscow in December 1880 and was enthusiastically received. * A rather more positive view of Tchaikosvky’s sacred music than that of the Church was taken by Tsar Aleksandr III (1881–1894). He told the composer that he was puzzled at his not having written anything further in this field. Between November 1884 and April 1885, therefore, Tchaikovsky composed three further settings of the Cherubic Hymn, all similar in mood to that found in the complete Liturgy but much more influenced by chant and transparently modal. He also set a series of other sacred texts, three of them from the Liturgy (Tebe poem, Dostoyno est and The Lord’s Prayer); the magnificent, light-filled Blazhenni yazhe izbral comes from the Panikhidaÿ (funeral service), Da ispravitsya is from Vespers, and Nyne sily nebesnyya, in which the richness of Tchaikovsky’s scoring takes him close to Rachmaninov or Kastalsky, is from the Liturgy of the Presanctified. * The setting of the Easter zadostoynik, Angel vopiyashe is an impressive work, a miniature drama constructed from minimal resources. It has a curious history in that it was written in 1887 for the inaugural concert of the Moscow Choral Society but subsequently lost. It reappeared in the library of a Moscow choirmaster and was published only in 1906, thirteen years after the composer’s death." /
Kastalsky Anna Dennis Leonard Slatkin Tchaikovsky Rachmaninoff Cathedral Choral Society Kansas City Chorale 1856 1896 1917 1926 2018
Alexander Kastalsky's REQUIEM FOR FALLEN BROTHERS, recorded live at Washington National Cathedral in October 2018. From the world premiere recording, issued by Naxos. Click the link to purchase: (http•••) Follow us on youtube! www.youtube.com/cathedralchoral Anna Dennis, soprano Joseph Beutel, bass-baritone Cathedral Choral Society The Clarion Choir The Saint Tikhon Choir Kansas City Chorale Orchestra of St. Luke's Leonard Slatkin, conductor Alexander Kastalsky (1856 – 1926) was a Russian composer and folklorist. He studied music theory, composition, and piano at the Moscow Conservatory. He studied composition with famed composer Pyotr Ilyick Tchaikovsky. He wrote his first choral works in 1896 and by 1917 had written over 130 works. His output was largely limited to sacred choruses and choral folk song arrangements. He established himself as an important composer of the neo-Russian style and an acknowledged leader in Russian Orthodox church music. His compositional techniques were emulated by Rachmaninoff. Rachmaninoff considered Kastalsky his mentor and would send him his choral manuscripts for comment and approval. After the 1917 Revolution, he devoted himself to the study of folksongs. Kastalsky’s Requiem first premiered on January 7, 1917. The piece honors all 17 countries that fought on the side of the Allies in World War I. Following the premiere, Kastalsky added three more movements (one each for the United States, Japan, and India). He imagined this work as having an all-encompassing, dramatic character with elements of sacred mystery and civic ceremony. His Requiem is a 75-minute patchwork of folk tunes and languages, bound strongly with lyrical choral writing. Kastalsky’s use of church melodies links his work to centuries-old traditions of the Eastern Orthodox church.
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