Yury Malinin Vidéos
chanteur ou chanteuse, artiste lyrique
- Union soviétique, Ukraine
Dernière mise à jour
2024-05-14
Actualiser
Johann Sebastian Bach Sergei Rachmaninoff Robert Schumann Fischer Fischer Dieskau Grigorian Enrico Bronzi Tschaikowsky Malinin Viotti Schmidt Vassilieva László László Fenyö Mstislav Rostropovich Yuri Bashmet Boris Pergamenschtschikow David Geringas Goldmund Quartett Iscm World Music Days 1685 1750 1969 1995 1996 1998 2018
"Von Liebe und Hoffnung“ Lucija Rupert Violoncello und Kirill Krotov Klavier Aus dem Konzertsaal des historischen Barockhauses in Laufenselden lädt die Kulturvereinigung Heidenrod zusammen mit dem Kurator des Hauses Gerd Rixmann zu einem zehnten virtuellen Musikevent am Samstag, den 6. November ab 19.30h zum Live – Stream – Konzert mit Lucija Rupert und Kirill Krotov ein. Auf dem Programm stehen kammermusikalische Stücke von Johann Sebastian Bach und Sergei Rachmaninoff. Zu hören und zu genießen sind außergewöhnlich schöne und eindringliche Kompositionen, die Lucija Rupert am Cello und Kirill Krotov am Flügel in dem schönen Konzertraum des Barockhauses zum Klingen bringen. Das Duo ist fein aufeinander abgestimmt und spielt seit Jahren zusammen. Es entsteht eine kammermusikalische Stunde am Samstagabend, die viele nachhaltig begeistern wird. Spenden für die Veranstaltung sind auf das Konto der Kulturvereinigung IBAN: DE03510500150393196505 BIC: NASSDE55XXX möglich und erwünscht, da die Kosten für das Format erheblich sind. Bitte geben Sie Ihre Adresse an, wenn Sie eine Spendenquittung wünschen. Außerdem würden wir uns gerne auch persönlich bedanken. Die Aufnahme- und Übertragungstechnik wird bereitgestellt und betreut von YEEHAWphotos, Heidenrod – Laufenselden Das Konzert wird u.a. gefördert vom HMWK (Hessischen Ministerium für Wissenschaft und Kunst). Zum Programm: Johann Sebastian Bach Suite für Violoncello solo Nr. 2, d-Moll BWV 1008 +••.••(...)) Präludium Allemande Courante Sarabande Menuett I + II Gigue Sergei Rachmaninoff: Vocalise Op. 34 No. 14 Robert Schumann: Fantasiestücke für Violoncello und Klavier – op. 73 Fantasiestück I (Zart und mit Ausdruck) Fantasiestück II (Lebhaft, leicht) Fantasiestück III (Rasch und mit Feuer) Sergei Rachmaninoff: Sonate für Violoncello und Klavier g-Moll, Op.19 Andante Die junge Cellistin Lucija Rupert studierte am Konservatorium Ljubljana bei Prof. Milan Hudnik und seitdem bei Prof. Manuel Fischer-Dieskau an der Hochschule für Musik Mainz. Sie belegte Meisterkurse bei David Grigorian, Susanne Basler, Igor Mitrović, Enrico Bronzi, Felix Koch und dem Goldmund Quartett. Lucija Rupert war Preisträgerin internationaler Wettbewerbe und ist Stipendiatin der Freunde Junger Musiker Mainz/Wiesbaden sowie der Hans und Gertrud Kneifel-Stiftung Kronberg. Im Jahr 2018 spielte sie als Praktikantin im Orchestre Dijon Bourgogne unter Gergely Madaras und wird regelmäßig zu Festivals wie Festival Ljubljana, Koblenz Guitar Festival & Academy oder Musikfestival ISCM World Music Days eingeladen. Ihr besonderes Interesse gilt der Kammermusik, dem sie u.a. mit dem Glücksklee-Quartett und dem Gitarristen Igor Klokov nachgeht. Kirill Krotov, 1969 in Moskau geboren, erhielt seine Ausbildung als Konzertpianist und Klavierlehrer am Tschaikowsky Konservatorium in Moskau (Diplom mit Auszeichnung) und war dann Meisterschüler bei Michail Woskresenskij. 1995 begann Kirill Krotov in Deutschland ein Aufbaustudium bei Ewgeni Malinin (Klavier), das er 1998 mit dem Konzertexamen mit Auszeichnung abschloss. 1996 wurde Kirill Krotov zusammen mit seinem Bruder Denis Stipendiat der Villa Musica Stiftung. Im gleichen Jahr gewann er einen 3. Preis beim 45. Internationalen Kammermusik ARD Wettbewerb in München und den 2. Preis beim internationalen Kammermusikwettbewerb Viotti in Vercelli. Es folgten dann der Preis der Johannes – Gutenberg – Universität Mainz für hervorragende künstlerische Leistungen und der Förderpreis Rheinland-Pfalz für junge Künstler. Kirill Krotov spielte zahlreiche Konzerte als Solist und als Kammermusikpartner u.a. von Monika Pick-Hironimi, Young-Chang Cho, Rainer Schmidt, Tatjana Vassilieva, und László Fenyö. Für seine zehnjährige Tätigkeit an der Internationalen Kronberg Musikakademie hat er die Meisterkurse unter anderen von Mstislav Rostropovich, Bernard Greenhouse, Yuri Bashmet, Boris Pergamenschtschikow, David Geringas begleitet. Seit 1998 hat Kirill Krotov einen Lehrauftrag an der Hochschule für Musik in Mainz.
Tchaikovsky Braid Falcon Dam Malinin Aleksandra Panayeva Yelizaveta Lavrovskaya 1817 1858 1875 1880 1881 1883 1940 1960
Tchaikovsky: Seven Romances, Op. 47 (1880) I. If Only I Had Known (Кабы знала я) Allegro moderato (C minor) Tchaikovsky's Seven Romances (Семь романсов), Op. 47 (TH 103 ; ČW 252-258), were completed in August 1880 at Simaki. Instrumentation: High voice (Nos. 1, 2, 3, 6, 7), medium voice (No. 4) or baritone (No. 5), with piano accompaniment. Movements: A complete performance of all seven romances lasts around 30 minutes. I. If Only I Had Known (Кабы знала я) Allegro moderato (C minor) If only I had known, if I only knew I wouldn't look out the window I am a daring young man As he drove down our street. Having twisted the hat on one side, Like a dashing buckskin horse, Voice, long hair Opposite the windows rose! If only I had known, if I only knew For him I wouldn't dress up Scarlet ribbon with gold border I would not weave a long braid, I wouldn't get up early before light I wouldn't rush through the suburbs, I wouldn't wet my legs in the dew, I wouldn't look down the country lane, Will you pass through that lane, Holding a variegated falcon in your hand? If I only knew, if I only knew! If only I had known, if I only knew I wouldn't sit up late at night Burning on the rubble, At the dam, near the well, waiting, guessing Will you come, my love, Will you come, my love? oh oh! Will you come, my love, Give the horse cold water to drink! If only I had known, if I only knew If only I had known! if you knew. Oh! Aleksey Tolstoy (1817–1875), from an untitled poem (1858). Composition: It is possible that the romance Does the Day Reign? was the first of the Seven Romances to have been composed, in March 1880. According to Fyodor Malinin, Tchaikovsky created it for Aleksandra Panayeva-Kartsova. Following the dress rehearsal of a concert of Tchaikovsky's works, which took place in Saint Petersburg on 25 March/6 April 1880, and in which Panayeva-Kartsova took a principal role, Tchaikovsky was in conversation with Aleksey Apukhtin. Being a fervent admirer of the performer's singing talent, the composer asked the poet if he would dedicate one of his poems to her. In reply. “Apukhtin silently gestured that some notepaper was to be brought to him, upon which he jotted down some short verses in pencil. Tchaikovsky took these pages, and scanned through them before quickly leaving Apukhtin's home without a word; a day or two later he called on his friend again, bringing with him the romance, already composed". Arrangements: Two of the romances were later arranged for voice and orchestra by the composer. In March 1883 Yelizaveta Lavrovskaya asked Tchaikovsky to orchestrate the romance Was I Not a Little Blade of Grass in the Meadow? (No. 7), through Sofya Malozemova. However, Tchaikovsky was occupied at that time with the composition of the cantata Moscow and the Coronation March, and was unable to fulfil her request. In a letter of 21 March/2 April 1883 to Sofya Malozemova, Tchaikovsky wrote: "How could I refuse? I am honoured and proud to oblige her and satisfy you, and as you rightly say that work will not take me very long—but combined with my fatigue through the strain of simultaneously composing the march and the cantata—I swear that I have no energy to take up a third task, even though it is straightforward work. I certainly will do it—but I beg you and Lizaveta Andreyevna not to be angry with me if I cannot orchestrate the romance just yet". Publication: The romances were published for the first time by Pyotr Jurgenson in March 1881, and were included in volume 44 of Tchaikovsky's Complete Collected Works (1940), edited by Ivan Shishov and Nikolay Shemanin. The orchestral version of Was I Not a Little Blade of Grass in the Meadow? (No. 7) was published for the first time in 1960 in volume 27 of the Complete Collected Works, edited by Irina Iordan. Autographs: Tchaikovsky's autograph scores of all seven romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 139). The whereabouts of the manuscripts of his later orchestral arrangements of Nos. 6 and 7 are unknown. Dedication: All the romances are dedicated to Aleksandra Panayeva-Kartsova.
Tchaikovsky Malinin Aleksandra Panayeva Yelizaveta Lavrovskaya 1856 1880 1881 1883 1940 1960
Tchaikovsky: Seven Romances, Op. 47 (1880) V. I Bless You, Forests (Благословляю вас, леса) Andante sostenuto (F major) Tchaikovsky's Seven Romances (Семь романсов), Op. 47 (TH 103 ; ČW 252-258), were completed in August 1880 at Simaki. Instrumentation: High voice (Nos. 1, 2, 3, 6, 7), medium voice (No. 4) or baritone (No. 5), with piano accompaniment. Movements: A complete performance of all seven romances lasts around 30 minutes. V. I Bless You, Forests (Благословляю вас, леса) Andante sostenuto (F major) I bless you forests Valleys, fields, mountains, waters, I bless freedom And blue skies! And I bless my folks And this poor bag And the steppe from edge to edge, And the sun is light, and the night is darkness, And a lonely path Which way, beggar, I go, And in the field every blade of grass, And every star in the sky! Oh, if I could mix my whole life, To merge my whole soul with you, Oh, if you could in my arms I am you, enemies, friends, and brothers, And all nature in all nature Enclose in my arms! Aleksey Tolstoy from his poem John of Damascus (Иоанн Дамаскин) (1856). Composition: It is possible that the romance Does the Day Reign? was the first of the Seven Romances to have been composed, in March 1880. According to Fyodor Malinin, Tchaikovsky created it for Aleksandra Panayeva-Kartsova. Following the dress rehearsal of a concert of Tchaikovsky's works, which took place in Saint Petersburg on 25 March/6 April 1880, and in which Panayeva-Kartsova took a principal role, Tchaikovsky was in conversation with Aleksey Apukhtin. Being a fervent admirer of the performer's singing talent, the composer asked the poet if he would dedicate one of his poems to her. In reply. “Apukhtin silently gestured that some notepaper was to be brought to him, upon which he jotted down some short verses in pencil. Tchaikovsky took these pages, and scanned through them before quickly leaving Apukhtin's home without a word; a day or two later he called on his friend again, bringing with him the romance, already composed". Arrangements: Two of the romances were later arranged for voice and orchestra by the composer. In March 1883 Yelizaveta Lavrovskaya asked Tchaikovsky to orchestrate the romance Was I Not a Little Blade of Grass in the Meadow? (No. 7), through Sofya Malozemova. However, Tchaikovsky was occupied at that time with the composition of the cantata Moscow and the Coronation March, and was unable to fulfil her request. In a letter of 21 March/2 April 1883 to Sofya Malozemova, Tchaikovsky wrote: "How could I refuse? I am honoured and proud to oblige her and satisfy you, and as you rightly say that work will not take me very long—but combined with my fatigue through the strain of simultaneously composing the march and the cantata—I swear that I have no energy to take up a third task, even though it is straightforward work. I certainly will do it—but I beg you and Lizaveta Andreyevna not to be angry with me if I cannot orchestrate the romance just yet". Publication: The romances were published for the first time by Pyotr Jurgenson in March 1881, and were included in volume 44 of Tchaikovsky's Complete Collected Works (1940), edited by Ivan Shishov and Nikolay Shemanin. The orchestral version of Was I Not a Little Blade of Grass in the Meadow? (No. 7) was published for the first time in 1960 in volume 27 of the Complete Collected Works, edited by Irina Iordan. Autographs: Tchaikovsky's autograph scores of all seven romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 139). The whereabouts of the manuscripts of his later orchestral arrangements of Nos. 6 and 7 are unknown. Dedication: All the romances are dedicated to Aleksandra Panayeva-Kartsova.
Tchaikovsky Malinin Aleksandra Panayeva Yelizaveta Lavrovskaya 1858 1880 1881 1883 1940 1960
Tchaikovsky: Seven Romances, Op. 47 (1880) II. Softly the Spirt Flew up to Heaven (Горними тихо летела луша небесами) Andante con moto (E major) Tchaikovsky's Seven Romances (Семь романсов), Op. 47 (TH 103 ; ČW 252-258), were completed in August 1880 at Simaki. Instrumentation: High voice (Nos. 1, 2, 3, 6, 7), medium voice (No. 4) or baritone (No. 5), with piano accompaniment. Movements: A complete performance of all seven romances lasts around 30 minutes. II. Softly the Spirt Flew up to Heaven (Горними тихо летела луша небесами) Andante con moto (E major) The soul quietly flew heavenly heavens, Sad down, she lowered her eyelashes, Tears into space from them falling like stars, Light and long, a string hovered behind her. Oncoming luminaries quietly asked her: “What is so sad and what are these tears in your eyes?” She answered them: “I have not forgotten the earth. Much, much suffering Oh, I left a lot of suffering and grief there. Here I will only listen to the faces of bliss and joy, The righteous souls know neither sorrow nor malice, Oh, let me go again, Creator, to the ground, It would be about someone to regret and console someone. Oh, let me go again, Creator, to the ground, There would be someone to regret and console someone! Aleksey Tolstoy, from an untitled poem (1858). Composition: It is possible that the romance Does the Day Reign? was the first of the Seven Romances to have been composed, in March 1880. According to Fyodor Malinin, Tchaikovsky created it for Aleksandra Panayeva-Kartsova. Following the dress rehearsal of a concert of Tchaikovsky's works, which took place in Saint Petersburg on 25 March/6 April 1880, and in which Panayeva-Kartsova took a principal role, Tchaikovsky was in conversation with Aleksey Apukhtin. Being a fervent admirer of the performer's singing talent, the composer asked the poet if he would dedicate one of his poems to her. In reply. “Apukhtin silently gestured that some notepaper was to be brought to him, upon which he jotted down some short verses in pencil. Tchaikovsky took these pages, and scanned through them before quickly leaving Apukhtin's home without a word; a day or two later he called on his friend again, bringing with him the romance, already composed". Arrangements: Two of the romances were later arranged for voice and orchestra by the composer. In March 1883 Yelizaveta Lavrovskaya asked Tchaikovsky to orchestrate the romance Was I Not a Little Blade of Grass in the Meadow? (No. 7), through Sofya Malozemova. However, Tchaikovsky was occupied at that time with the composition of the cantata Moscow and the Coronation March, and was unable to fulfil her request. In a letter of 21 March/2 April 1883 to Sofya Malozemova, Tchaikovsky wrote: "How could I refuse? I am honoured and proud to oblige her and satisfy you, and as you rightly say that work will not take me very long—but combined with my fatigue through the strain of simultaneously composing the march and the cantata—I swear that I have no energy to take up a third task, even though it is straightforward work. I certainly will do it—but I beg you and Lizaveta Andreyevna not to be angry with me if I cannot orchestrate the romance just yet". Publication: The romances were published for the first time by Pyotr Jurgenson in March 1881, and were included in volume 44 of Tchaikovsky's Complete Collected Works (1940), edited by Ivan Shishov and Nikolay Shemanin. The orchestral version of Was I Not a Little Blade of Grass in the Meadow? (No. 7) was published for the first time in 1960 in volume 27 of the Complete Collected Works, edited by Irina Iordan. Autographs: Tchaikovsky's autograph scores of all seven romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 139). The whereabouts of the manuscripts of his later orchestral arrangements of Nos. 6 and 7 are unknown. Dedication: All the romances are dedicated to Aleksandra Panayeva-Kartsova.
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- chronologie: Artistes lyriques (Europe).
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