Maximilian Steinberg Vidéos
compositeur russe
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Dernière mise à jour
2024-05-04
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Alexander Glazunov José Serebrier Rimsky Korsakov Maximilian Steinberg Yudin Beethoven Royal Scottish National Orchestra 1910 1928 1936 1947 1948 1999
Royal Scottish National Orchestra conducted by José Serebrier. I - Adagio - Allegro moderato - Adagio: 0:00 Glazunov's Symphony No.9 was begun in 1910 but remained unfinished when he died in 1936, only being able to finish the first movement in a short score. It was given to Rimsky-Korsakov's son-in-law Maximilian Steinberg in 1928, and in 1947 it was orchestrated by Gavril Yudin. It was premiered in May 7 of 1948, during a radio broadcast of the Symphony Orchestra of the USSR Radio Committee conducted by Yudin. Why Glazunov never completed the work? There may be several reasons; first he was a director and teacher of the St. Petersburg Conservatory, which drained most of his energy by the time. Second he may just had lost the inspiration, as during the last period of his life he composed little. A third reason may be that he was intimidated by the curse of Beethoven's ninth, according to which a composer would die shortly after finishing his ninth symphony, but from what we know Glazunov wasn't supersticious at all. The fourth reason could be that his music was considered out of fashion by the time, and most composers were exploring new styles and paths, so maybe he found little reason to compose music when he knew it wouldn't be as well received as in the past. A fifth, and final reason is that Glazunov himself maybe was unsatisfied with the composition. Up to that point he had written in a romantic style of upbeat spirit, but the ninth was showing a change towards melancholy, despair and darkness. The movement is structured in sonata form. It begins with a slow introduction of a sad, melancholic theme, presented through a dense counterpoint. The allegro begins with a vigorous and rhythmic main theme, derived from the introduction material. A lyrical second theme of Russian nostalgic tone is presented as well , offering the adequate contrast. The development section is more lively and colourful, culminating in a dissonant climax. The recapitulation brings the main themes back, before the introduction reappears. A resignated coda ends the movemet. Picture: "Messenger" (1999) by the Russian painter Ilya Glazunov. Musical analysis mostly written by myself. Sources: (http•••) and (http•••) Unfortunatelly I couldn't find a score freely available online.
Gavriil Popov Leonid Vladimirovich Nikolayev Vladimir Shcherbachov Maximilian Steinberg Dmitri Shostakovich 1904 1922 1930 1935 1936 1972
Yuri Favorin - Piano Invention 00:00 Choir 03:40 Lied 08:58 Fuga 12:49 Gavriil Popov +••.••(...)) - was a Soviet Russian Composer. Popov studied at the Leningrad Conservatory from 1922 until 1930 with Leonid Vladimirovich Nikolayev, Vladimir Shcherbachov, and Maximilian Steinberg. He was considered to have the raw talent of his contemporary Dmitri Shostakovich; his early works, in particular the Septet (or Chamber Symphony) for flute, trumpet, clarinet, bassoon, violin, cello and bass, and his Symphony No. 1 (Op. 7, banned immediately after its premiere in 1935 and not publicly heard again in his lifetime), are impressively powerful and forward-looking. Not surprisingly, he ran afoul of the authorities in 1936 and began writing in a more conservative idiom in order to avoid charges of formalism. Despite his alcoholism, Popov produced many works for orchestra, including six completed symphonies and several film scores. Symphony No.1 - (http•••) Please support me with a little recognition/alms for this channel that you love (i love it too). Feel free to toss a message at my email : •••@••• ; if you need any score. I am here to share, not hiding anything (unless private, and it is most likely not in my channel). Please support - (http•••) There is no copyright infringement intended. If you wish your recording to be removed, it can be done, please just leave me an email, which can be found at the channel's about section.
Alf Hurum Claude Debussy Holter Kahn Bruch Motta Maximilian Steinberg Harada Andersen Honolulu Symphony 1882 1905 1908 1910 1911 1915 1916 1918 1920 1924 1928 1929 1930 1934 1955 1972
The composition are combined with 4 pieces: I. Fra en gammel klosterhave II. Poem III. En saga IV. Morgen ved Memmonstøtten Alf Hurum does not belong to the most well-known Norwegian composers. He was born in 1882 and was active as a composer from around 1910 to 1930. Even if his number of works are not extensive, his work has historic significance and importance: he was the first Norwegian composer to display an influence from Claude Debussy. Not only that, recent research has shown that he was in fact the first Nordic composer to succumb to the spell of the great Frenchman. This took place in a period when new French music, and especially the music by Debussy, were recognised as extremely radical by the conservative Norwegian music critics. Hurum’s view was that the future of Norwegian music was to be sought for a great part in modern music of France. Hurum’s first musical studies were in Kristiania (Holter, Knutzen). From 1905 to 1910 he studied at the Royal Academy of Music in Berlin (Kahn, Bruch and da Motta). He married Leslie Wight of Honolulu, Hawaii, in Berlin in 1908. After a short stay in Norway in 1910 they decided to go to Paris. Here Hurum encountered the music of Debussy for the first time changing his musical outlook. During the summer of 1911 he composed his first Debussy-inspired piano pieces which were published shortly before Christmas under the title Impressions. After the stay in Paris during 1911 Hurum stayed in Berlin until the summer of 1915; then he left Berlin for good and moved back to Norway. During the winter of 1916-17 he studied orchestration with Maximilian Steinberg in St. Petersburg. After the stay in Russia he lived in Kristiania until February 1924, interrupted only by short travels abroad. In 1924 Hurum and his wife went to visit her family in Honolulu. Here he was asked to become the conductor of the city’s small orchestra, the Honolulu Symphony, consisting of some 25 members. He agreed to becoming the conductor but not on a permanent basis. However, he reorganised and enlarged the orchestra so that it became a full-fledged symphony orchestra of 70 members. The 1924-25 season consisted of 7 concerts, and Hurum conducted all of them. Hurum arrived back in Oslo in April 1928, and attended the premier of his d-minor symphony. In the fall of 1929 he once again left Norway, this time never to return. Initially he stayed for some time in Berlin, but in 1930 went on to Paris. There he decided to take a few weeks vacation from music to study painting. First he studied with Andre Lhôte, but the cubist trend was not to his liking and instead he turned to the Japanese artist Hiraku Harada and the very old technique of oriental colormaking and silkpainting. After further studies in Peking and Tokyo Hurum settled in Honolulu in 1934 and continued as a painter. Music he left for good. In a fairly short time he became a famous painter in the Pacific area. He died in 1972 just before his 90th birthday. Hurum’s encounter with the music of Debussy in 1911 really made an impact on his development. Even if the Debussy-characteristics were applied in a pastiche-like manner in the pieces which he composed in the summer of 1911, two of them (Op. 4 No. 1 and 2) became very popular. They contain some of the most well-known impressionistic means such as non-functional chord progressions, parallel chords, a distinct modal sound, brief, fragmented melodic motives without any forward drive and a relatively frequent change of metrum just to mention a few. After this first touch of French influence the further development in Hurumís compositions can most simply be described like this: a simple, but distinct Debussy-imitation style in 1911 gave way to a more consistent and in-depth use of impressionist elements around 1918ñ20. In between these two points in time, some of his works were classic-romantic, some were impressionistic and in some we find elements from both styles. (Presenting Hurum at the conferrence the piano piece ´Det sner og det snerª (Itís Snowing and Snowing), no. 4 in Op. 16, served as an example of Hurumís impressionism as found around 1920). Around 1920 another change of interest is found with Hurum. We can see a deep interest in the Middle Ages for some years and his music turns more and more modal in its sound. Even if it is not clear what the source of this interest was, it corresponds to the French view of being modern by using topics from the Middle Ages combined with the use of modality. In 1930 then Hurum left music to paint and up to around 1955 he was very active and participated regularly at exhibitions in Honolulu. Most of his paintings are preserved in the Honolulu Academy of Arts. (Written by RUNE J. ANDERSEN)
Alf Hurum Claude Debussy Holter Kahn Bruch Motta Maximilian Steinberg Harada Andersen Notre Dame Honolulu Symphony 1882 1905 1908 1910 1911 1915 1916 1918 1920 1924 1928 1929 1930 1934 1955 1972
The composition are combined with 3 pieces: I. Notre-Dame II. La Fontaine III. Chanson Alf Hurum does not belong to the most well-known Norwegian composers. He was born in 1882 and was active as a composer from around 1910 to 1930. Even if his number of works are not extensive, his work has historic significance and importance: he was the first Norwegian composer to display an influence from Claude Debussy. Not only that, recent research has shown that he was in fact the first Nordic composer to succumb to the spell of the great Frenchman. This took place in a period when new French music, and especially the music by Debussy, were recognised as extremely radical by the conservative Norwegian music critics. Hurum’s view was that the future of Norwegian music was to be sought for a great part in modern music of France. Hurum’s first musical studies were in Kristiania (Holter, Knutzen). From 1905 to 1910 he studied at the Royal Academy of Music in Berlin (Kahn, Bruch and da Motta). He married Leslie Wight of Honolulu, Hawaii, in Berlin in 1908. After a short stay in Norway in 1910 they decided to go to Paris. Here Hurum encountered the music of Debussy for the first time changing his musical outlook. During the summer of 1911 he composed his first Debussy-inspired piano pieces which were published shortly before Christmas under the title Impressions. After the stay in Paris during 1911 Hurum stayed in Berlin until the summer of 1915; then he left Berlin for good and moved back to Norway. During the winter of 1916-17 he studied orchestration with Maximilian Steinberg in St. Petersburg. After the stay in Russia he lived in Kristiania until February 1924, interrupted only by short travels abroad. In 1924 Hurum and his wife went to visit her family in Honolulu. Here he was asked to become the conductor of the city’s small orchestra, the Honolulu Symphony, consisting of some 25 members. He agreed to becoming the conductor but not on a permanent basis. However, he reorganised and enlarged the orchestra so that it became a full-fledged symphony orchestra of 70 members. The 1924-25 season consisted of 7 concerts, and Hurum conducted all of them. Hurum arrived back in Oslo in April 1928, and attended the premier of his d-minor symphony. In the fall of 1929 he once again left Norway, this time never to return. Initially he stayed for some time in Berlin, but in 1930 went on to Paris. There he decided to take a few weeks vacation from music to study painting. First he studied with Andre Lhôte, but the cubist trend was not to his liking and instead he turned to the Japanese artist Hiraku Harada and the very old technique of oriental colormaking and silkpainting. After further studies in Peking and Tokyo Hurum settled in Honolulu in 1934 and continued as a painter. Music he left for good. In a fairly short time he became a famous painter in the Pacific area. He died in 1972 just before his 90th birthday. Hurum’s encounter with the music of Debussy in 1911 really made an impact on his development. Even if the Debussy-characteristics were applied in a pastiche-like manner in the pieces which he composed in the summer of 1911, two of them (Op. 4 No. 1 and 2) became very popular. They contain some of the most well-known impressionistic means such as non-functional chord progressions, parallel chords, a distinct modal sound, brief, fragmented melodic motives without any forward drive and a relatively frequent change of metrum just to mention a few. After this first touch of French influence the further development in Hurumís compositions can most simply be described like this: a simple, but distinct Debussy-imitation style in 1911 gave way to a more consistent and in-depth use of impressionist elements around 1918ñ20. In between these two points in time, some of his works were classic-romantic, some were impressionistic and in some we find elements from both styles. (Presenting Hurum at the conferrence the piano piece ´Det sner og det snerª (Itís Snowing and Snowing), no. 4 in Op. 16, served as an example of Hurumís impressionism as found around 1920). Around 1920 another change of interest is found with Hurum. We can see a deep interest in the Middle Ages for some years and his music turns more and more modal in its sound. Even if it is not clear what the source of this interest was, it corresponds to the French view of being modern by using topics from the Middle Ages combined with the use of modality. In 1930 then Hurum left music to paint and up to around 1955 he was very active and participated regularly at exhibitions in Honolulu. Most of his paintings are preserved in the Honolulu Academy of Arts. (Written by RUNE J. ANDERSEN)
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