Konstantin Karl Albrecht Vidéos
compositeur russe
- violoncelle
- Empire russe
- chef ou cheffe d'orchestre, compositeur ou compositrice, professeur ou professeure de musique, violoncelliste, chef ou cheffe de chœur
Dernière mise à jour
2024-05-19
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Tchaikovsky Modest Tchaikovsky Rimsky Korsakov Borne Raab Aleksandra Krutikova Karl Albrecht 1858 1872 1873 1874
Tchaikovsky: Six Romances Op. 16 (1873) VI. Modern Greek Song (Новогреческая песня) Moderato lugubre (E-flat minor) Tchaikovsky's Six Romances (Шесть романсов), Op. 16 (TH 95 ; ČW 218-223), were written in Moscow in December 1872 and January 1873. Instrumentation: Scored for high voice (Nos. 1, 2, 4, 5, 6), or low voice (No. 3), with piano accompaniment. Movements: VI. Modern Greek Song (Новогреческая песня) Moderato lugubre (E-flat minor) In a dark hell, underground Sinful shadows languish; The maidens are moaning, the wives are crying, And yearn, and crash ... Everything, everything about what does not reach Lead to hellish limits - Wives cry, moan Is there a blue sky? Is there still white light there? Are there churches of God in the world? And golden icons And as before, behind the machines, Do young maidens weave? Do young maidens weave? In a dark hell, underground Sinful shadows languish; The maidens are moaning, the wives are crying, And yearn, and crash... Apollon Maykov, from an untitled poem in his cycle Modern Greek Songs (Новогречиские песни) (1858–60). Composition: The romances were composed by Tchaikovsky in Moscow, apparently soon after finishing work on his Second Symphony. On 2/14 November 1872 he wrote that: "... the symphony, which I'm finishing off, has engrossed me so deeply that I'm not able to do anything else". By 15/27 November the symphony was ready and copied out. In letters to his father of 22 November/4 December and 9/21 December. Tchaikovsky reported that he was going to relax after completing his symphony. and not write anything further. But on 10/22 December he told Modest Tchaikovsky: "Now I am forced to rest by the absence of any inspiration or inclination to compose; I did try to write some romances, but somehow they all came out badly, and I couldn't find words that I liked. If you aren't particularly busy, could you send me a list of suitable verses? I've filled a whole ream of paper with verses, but they are all so terrible that not one of them is suitable to set to music". It seems that in December, not having found an appropriate text, Tchaikovsky wrote the words himself for the romance So What? (No. 5). Modest Tchaikovsky understood that the Op. 16 romances were written in December 1872. This information is contained in a letter from Tchaikovsky to Vasily Bessel concerning the publication of the pieces: "During his stay in Saint Petersburg [in December 1872] Tchaikovsky often met with... members of the so-called "mighty-handful"... One evening at Rimsky-Korsakov's, Pyotr Ilyich played his new symphony on the piano, precipitating an enthusiastic response from all those present... Tchaikovsky then presented Bessel with his latest Six Romances, Op. 16, for publication. which had only just been composed". The author's opinion that the romance So What? (No. 5) was the best of the Op. 16 set is borne out in a letter to Vasily Bessel of 21 February/5 March 1873: "I recommended ... one of my new romances to Madame Raab, namely So What?". Performances: The romances O, Sing that Song (No. 4) and So What? (No. 5) were performed, seemingly for the first time, in December 1874 – the first by Aleksandra Krutikova, and the second by Mariya Kamenskaya. Publication: The Six Romances were published for the first time by Vasily Bessel in March 1873, along with the composer's piano arrangements of Nos. 1, 4 and 5. In letters of 4/16 March and 7/19 March 1873. Tchaikovsky wrote to Bessel: "I have only just received my romances and hurried to drop you this note to urge you to sequestrate them, i.e. to withdraw all copies of these romances, since they contain some appalling printing errors. I hurriedly checked through them and saw several musical mistakes, and one literary error, sufficient in itself to spoil the whole work. Indeed in the best romance (in my opinion), No. 5, on page 4 in place of the word korish (кориш) [you find fault] the word kutish (кутиш) [you get drunk] has been printed instead, which made me shudder. I implore you at once to gather together all copies and thoroughly examine the proofs, which if you want, I will do myself... The point is that I really expected No. 5 to be a success, but the word kutish has ruined any chance of that". Autographs: Tchaikovsky's manuscript scores of all six romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 131). The same archive also holds the autograph of Tchaikovsky's arrangement of No. 5 for solo piano (ф. 88, No. 132). Dedication: Each of the Op. 16 romances is dedicated to a different person: VI. Modern Greek Song is dedicated to Karl Albrecht.
Károlyi Karl Albrecht Shilling Walter Goehr Goehr Antonio Vivaldi 1962 2015
Provided to YouTube by Believe SAS Concerto for 4 Violins in E Minor, Op. 3 No. 4, RV 550: I. Andante · Saschko Gawriloff, Sándor Károlyi, Karl Albrecht Hermann, Elfriede Shilling, Frankfurter Kammerorchester, Walter Goehr Vivaldi: L'estro armonico, Op. 3 (Mono Version) ℗ 1962 - BNF Collection 2015 Released on: 1962-01-01 Composer: Antonio Vivaldi Music Publisher: D.R Auto-generated by YouTube.
Ljuba Kazarnovskaya Tchaikovsky Glinka Mussorgsky Rachmaninov Konradi Modest Tchaikovsky Meck 1840 1880 1881 1883
Songs for children (Op. 54): I. Babushka i vnuchek 00:00 II. Pitchka 02:25 III. Vesna: Travka zeleneyet 04:58 IV. Moy sadik 07:11 V. Legenda 09:41 VI. Na beregu 13:03 VII. Zimniy vecher 16:27 VIII. Kukushka 21:06 IX. Vesba: Uzh tayet sneg 23:52 X. Kolybel'naya pesn' v buruy 26:15 XI. Tsvetok 29:28 XII. Zima 32:56 XIII. Vesennaya pesnya 35:18 XIV. Osen' 38:20 XV. Lastochka 43:03 XVI. Detskaya pesenka 45:51 Tchaikovsky, Pyotr Ilyich +••.••(...)) composer Ljuba Kazarnovskaya -soprano Ljuba Orfenova -piano Playlist: The art of Russian song: Glinka, Mussorgsky, Rachmaninov, Tchaikovsky...: (http•••) Score: (http•••)o/files/imglnks/usimg/2/2f/IMSLP90943-PMLP45014-Tchaikovsky--Songs-Op54--Ed-Muzyka.pdf Tchaikovsky first had the idea of composing a collection of children's songs in 1881. On 7/19 March that year he asked Pyotr Jurgenson to send him Karl Albrecht's Child's Songs and "any other sort of children's songs". Then on 4/16 June he reported his intention to write a collection of children's songs. Even before this, apparently in December 1880 or January 1881, Tchaikovsky had composed Child's Song ("My Lizochek"), which was then published by Pyotr Jurgenson. The remaining songs used in the collection (Nos. 1 to 15) were written in the autumn of 1883 at Kamenka, shortly after the Suite No. 2 had been completed. After completing the Suite No. 2 on 13/25 October, Tchaikovsky spent five days in Kiev before returning to Kamenka on 19/31 October. From here he wrote to Nikolay Konradi: "Now I shall rest for a while, i.e. writing nothing, or next to nothing". On the fair copy of the song Spring (No. 3). Tchaikovsky wrote the date " Kamenka, 23 Oct[ober] 1883". On 24 October/5 November, the composer told Modest Tchaikovsky: "It is obvious that I cannot live without work here even for a few days, and scarcely had I finished my suite than I set about composing children's songs. carefully writing one each day. But this work is agreeable and easy because I've taken the texts from Pleshcheyev's Snowdrop, which is full of delightful things". The composer worked on the songs with great enthusiasm: "I am now writing a collection of children's songs, which I have been planning for some time"—he wrote to Nadezhda von Meck on 25 October/6 November 1883. "I am quite carried away with this work, and I think the songs will turn out well". On 30 October/11 November. Tchaikovsky told Praskovya Tchaikovskayathat composition of the songs had come to a halt: "I would have written more of them because I find this work very agreeable, but I have run out of suitable poems". He also wrote to Modest Tchaikovsky on 31 October/12 November: "I have been writing some children's songs, but have had to stop due to a shortage of texts". It seems that at this point the rough draft was more or less complete, and work had begun on copying out the songs, as Tchaikovsky wrote to Nadezhda von Meck on 1/13 November: "I am occupied with writing children's songs. This should have been completed during my holiday, had I not been carried away and made so many sketches, which I now yearn to be over and done with". Source: (http•••) Buy the CD's here: (http•••)
Tchaikovsky Eduard Nápravník Pré 1881
(( (Envie de s'évader, de penser le monde autrement ; s'autoriser à imaginer un autre système, une autre démocratie des idées, inventer le monde de demain : curieux et curieuses, découvrez la République Éclairée : (http•••) Tchaïkovski nous montre sa maîtrise dans ce domaine à travers le célèbre deuxième mouvement de cette œuvre, sans aucun doute une des sérénades les plus populaires qui soit. La première représentation de la Sérénade pour cordes eut lieu à Saint-Pétersbourg le 18/30 octobre 1881 sous la direction d'Eduard Nápravník. L'exécution de la sérénade dure approximativement 30 minutes. Elle est dédiée à Karl Albrecht. Le premier mouvement commence par une introduction lente, à la mélodie martelée et vigoureuse. Elle est énoncée quatre fois tantôt aux violons, tantôt aux basses, avant de s'éteindre peu à peu. L'allegro moderato est une forme-sonate particulière, commençant par la double exposition d'un thème unique en trochées (noire-croche, noire-croche...). Une transition modulante mène au développement, en trois petites parties. Les parties 1 et 3 sont construites principalement sur une nouvelle figure en doubles croches et en notes répétées, tandis que des fragments du thème parsèment la deuxième partie. Après la réexposition, Tchaïkovski a l'idée de répéter tout le développement en le transposant à la tonique. Le mouvement se termine par un rappel de l'introduction lente. Le deuxième mouvement est la fameuse valse. De découpe très classique (forme tripartite ABA'), elle met en valeur une mélodie gracieuse aux violons I, puis aux violons II et violoncelles. Des sections en mineur jettent une ombre sur la partie B, qui joue beaucoup de questions/réponses entre instruments. La réexposition ne comporte que peu de changements, et la coda fait se résonner d'un pupitre à l'autre des échos de la valse avant de s'achever sur des pizzicati ppp. Le troisième mouvement est le cœur de l’œuvre. De forme ABCBDAC-Coda, on retient surtout la quadruple exposition de la mélodie ascendante et rêveuse de A. Une section plus mélancolique suit, puis s'enchaîne au climax du mouvement ou les violons et violoncelles chantent un thème passionné et lyrique sur un rythme de triolets. La section mélancolique est reprise, modifiée, un peu développée, et s'achève sur un solo des premiers violons. La partie A est de nouveau rejouée, avec toutes les cordes en sourdines. Un rappel du climax mène à une dernière itération de A et une coda apaisée sur des accords en harmoniques. Le finale comporte deux thèmes populaires. L'andante expose aux violons puis aux basses le thème "dans le pré", puis expose au ralenti un petit thème de cinq notes qui constitueront la tête du thème principal de l'allegro. L'Allegro, de forme-sonate, est construit sur le thème "sous le pommier", un thème joyeux et bondissant fondé sur un rythme unique (quatre croches, quatre doubles croches, deux croches). Après une transition sur ce thème, apparaît le second thème, une mélodie cantabile dans l'aigu des violoncelles sous les pizzicati perpétuels des violons, repris ensuite par ces derniers. Le premier thème réapparaît pour terminer l'exposition. Le développement est fondé sur les deux premières mesures du thème principal, répétés et développés à tous les pupitres, parfois en superposition du second thème (notamment lors des marches d'harmonies). Une strette très serrée sur le premier thème aboutit à la réexposition écourtée de ce même thème car il a été omniprésent lors du développement. Par contraste, le deuxième thème est exposé en totalité à la tonique. Le retour du premier thème est interrompu par trois septièmes diminuées de sol mineur. L'introduction lente du premier mouvement fait son retour puis s'accélère pour retrouver le tempo de l'allegro et le premier thème. La coda s'accélère avec les basses puis les violons jouant frénétiquement la tête du thème du finale avant huit mesures d'accords de do majeur finissant avec joie et emphase la sérénade.
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