Oleg Kagan Video
violinista, musicista
- violino
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- Unione Sovietica
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2024-05-09
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Sofia Gubaidulina Molinari Messiaen Shostakovich Natalia Gutman Oleg Kagan Heed 1705 1722 1931 1981 1988
Rejoice! sonata for violin and cello (1981) [Радуйся! (Raduysya!)] [Freue dich!] Composer: Sofia Gubaidulina (b. 1931) Performers: Frédéric Bednarz, violin; Pierre-Alain Bouvrette, cello (from Quatuor Molinari) I - Your joy no man taketh from you: 0:00 II - Rejoice with them that do rejoice: 2:49 III - Rejoice, Rabbi: 7:28 IV - And he returned into his house: 17:05 V - Listen to the still small voice within: 22:46 / "The background to Sofia Gubaidulina's Rejoice!, as Laurel Fay's sleeve-note informs us, is in the spiritual lessons of Grigory Skovoroda, an eighteenth-century Ukrainian philosopher and religious thinker. These supply the sub-titles (rather Messiaen-like in resonance) of each of the five movements. The composer herself cautions, ''It should not be assumed that I wanted to illustrate the theme of joy in my music… the religious theme is experienced metaphorically''. It is meant to be experienced musically as well, through the juxtaposition of 'normal' sounds and harmonics: 'The possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy.' " Source: (http•••) "The title of the substantial sonata for violin and cello, Rejoice! (also known as Raduysya! and Freue dich!), ought not be taken literally, the music less expression of outward joy than metaphoric contemplation upon its stated theme. Composed in 1981 and premiered in 1988 by its dedicatees, Natalia Gutman and Oleg Kagan, at Kuhmo in Finland, each of the work’s five movements takes its title from an aphorism by the Ukrainian religious philosopher Hryhorii Skovoroda +••.••(...)) who embraced the simple life and sympathized with the underprivileged. 'Your joy no one will take away from you' (I) opens with the solo violin meditating upon a handful of high notes that alternate with harmonics. The cello then rises up from its depths, eventually matching its partner with a harmonic of its own. The two don mutes in 'Rejoice with joy' (II), whose chromatic, humming figures suggest a pair of insects buzzing around one another. In 'Rejoice, Rabbi' (III), the solo cello’s grinding low clusters, flailing tremolos, harmonic double stops and pizzicato chords establish wild contrast in technique and mood as the movement’s organizing principle. A frenzied violin cadenza collapses into a magical moment — perhaps the work’s heart — in which ethereal double-stop harmonics sing like a distant choir of heavenly voices. The ponderous 'And he returned to his own abode' (IV) traces a gradual descent from the stratosphere of pitch where glacial tones in the violin combine with wind-like whistling in cello harmonics. 'Heed thyself' (V) offers by far the most overtly joyful music in the sonata, a rhythmically-precise, energetic figure in the violin playing out over a drawn-out chant in the cello. Earthly joy in the form of giddiness thus makes an appearance — but has not the last word: a coda steers us back into a world of introspection, the 'still small voice within' surely finding expression in the concluding soft chord in harmonics." ~Robert Rival Source: CD booklet / For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
Shostakovich Natalia Gutman Kagan Aybulus
Natalia Gutman-Cello Alexander Kagan-Violin Gokhan Aybulus-Piano Albert Long Hall
Varga Schikaneder Portnov Sachs Weiss Kanai Brandt Denis Sedov Mima Millo Millo Kissin Kagan 1791 2017 2018
The Magic Flute- Die Zauberflöte An opera in two acts by W. Amadeus Mozart. Libretto: E. Schikaneder (Vienna, 1791). Musical Director and Conductor: Omer Arieli Stage Director: Monica Waitzfelder Assistant Stage Director: Ari Teperberg The Ashdod Symphony Orchestra Concertmeister: Bella Portnov The Jerusalem Opera Choir and The Jerusalem Oratorio Chamber Choir Chorus Master: Oded Shomrony Assistant to the Chorus Master: Louis Sachs Rehearsal Pianists: Michael Zartsekel and Irina Rozhneva Stage Designer: Anna Ziv Costume Designer: Shira Weiss Lighting Designer: Adi Shimroni Producer: Adi Juliusberger Artistic Advisor: Gabriele Ribis Musical Advisor: Diana Tsaliovich Stage Manager: Lee Teperberg Kanai Stagehands: Yitzhak Kanai, Elad Ziv, Elad Stuler Lighting and Sound: Eli Paz, Artistic Lighting and Sound Set Construction: The Theatre Workshop Ltd. Makeup: Lilach Ofek Achai Projections: Lustig Projections and Video Public Relations: Anat Meromi Public Relations Advertising and Marketing: Bimot Video Production: Udi Alfasi, Tranquilo Productions Stills Photography: Elad Zagman, Larry Brandt Graphic Designer: Revital Toren Public Relations Photos: Gaia Sa’adon Surtitles: Daniel Lasry Surtitle Projectionist: Hannah Harnest Soloists: Semjon Bulinsky, tenor – Tamino Samuel Berlad, baritone – Papageno Na’ama Shulman, soprano – Pamina Viktoria Varga, soprano – Queen of the Night Denis Sedov, bass – Sarastro Mima Millo, soprano – First Lady Noa Hope, mezzo-soprano – Second Lady Anna Peshes, mezzo-soprano – Third Lady Jean-Christophe Born, tenor – Monostatos Yuri Kissin, bass – First Priest (December 28 and 30, 2017) Ayelet Kagan, soprano – Papagena Steven Timoner, bass – First Priest (January 3, 2018) and understudy for Sarastro Ofri Gross, tenor – Second Priest Mika Erlich, Anna Peshes, Ayelet Kagan, Romi Zelig – Spirits
Ratimir Martinović Boza Šnitke Sada Gutman Tansman Salama Oleg Kagan Virsaladze Mokranjac Hol Lisinski Rudolfinum 1770 1827 1833 1897 1905 1934 1991 1998 1999 2000 2002 2003 2004 2005 2008 2016
PETAR GARIĆ, klarinet (Crna Gora) DMITRIJ PROKOFJEV, violončelo (Rusija / Crna Gora) RATIMIR MARTINOVIĆ, klavir (Crna Gora / Srbija) KA Trio za sajt.jpg PROGRAM Ludvig van Betoven (1770–1827) Klavirski trio u B-duru, op. 11 Allegro con brio Adagio Tema sa varijacijama Ežen Boza (1905–1991) Arija za klarinet i klavir Alfed Šnitke (1934–1998) Svita u starom stilu 3. Menuet 4. Fuga Johanes Brams (1833–1897) Klarinetski trio u a-molu, op. 114 Allegro Adagio Andantino grazioso Allegro Petar Garić, klarinetista, nakon Srednje muzičke škole Vasa Pavić u Podgorici, u klasi prof. Veselina Bogićevića, diplomirao je na osnovnim i poslijediplomskim studijama klarineta na Muzičkoj akademiji na Cetinju, u klasi prof. Anta Grgina, sa najboljom ocjenom. Od 2003. godine radio je kao prvi klarinetista u Simfonijskom orkestru RTCG, a od osnivanja Muzičkog centra Crne Gore radi u Crnogorskom simfonijskom orkestru na mjestu prvog klarineta. Na Muzičkoj akademiji na Cetinju bio je stručni saradnik, a sada je samostalni predavač na predmetu klarinet. Kao solista, kamerni i orkestarski muzičar, nastupao je u Crnoj Gori, Bosni i Hercegovini, Sjevernoj Makedoniji, Hrvatskoj, Srbiji, Italiji, Austriji, Francuskoj, Njemačkoj i Turskoj. Dmitrij Prokofjev, violončelo, diplomirao je 2003. i magistrirao 2005. godine na Konzervatorijumu Petar I. Čajkovski u Moskvi, u klasi prof. Natalije Gutman. Pobjednik je međunarodnih takmičenja kao što su A. Tansman (Poljska), P. I. Čajkovski (Rusija), A. Junigro (Hrvatska). Od 2000. godine solista je državnog kamernog orchestra Moskovski virtuozi, pod rukovodstvom Vladimira Spivakova. Kao pedagog, radi na Moskovskom konzervatorijumu od 2008, a na Muzičkoj akademiji Univerziteta Crne Gore od 2016. godine. Vođa je sekcije violončela u Crnogorskom simfonijskom orkestru, kao i umjetnički direktor NVO Ars Industria. Kao solista, nastupao je u prestižnim salama, kao i na festivalima poput Festivala Vladimira Aškenazija (Finska), Memorijalnog festivala Oleg Kagan u Krojtu (Njemačka), Festivala Moskovska jesen, Primavera classica u Moskvi, KotorArta i dr. Nastupao je u kamernim ansamblima sa Vladimirom Spivakovim, Natalijom Gutman, Nikolajem Luganskim, Džesi Norman, Žanom Gijuom, Ilijom Gringolcem, Elizo Virsaladze i dr. Prvi kompakt-disk snimio je kao šesnaestogodišnjak, s prof. Moskovskog konzervatorijuma Aleksejem Nasednikom, a 2004. snimio je CD s Aleksandrom Kobrinom, s djelima Debisija, Bramsa, Šumana i Paganinija. Ratimir Martinović, pijanista, nakon klase Emilije Spasojević, preko novosadskih profesora Frederika Stankovića i Arba Valdme, našao je višegodišnjeg pedagoga u Kemalu Gekiću, jednom od najvećih virtuoza današnjice. Diplomirao je 1999, a magistrirao 2002. godine, dirigujući i svirajući djela Mocarta i Hajdna, uz cjelovečernji resital Bahovih djela. U klasi Kemala Gekića učio je na Akademiji umetnosti u Novom Sadu i Internacionalnom univerzitetu Floride u Majamiju (SAD). Osnivač je i director Festivala KotorArt i Fondacije Vasilije Mokranjac. Jedan je od najmlađih redovnih profesora u istoriji Univerziteta u Novom Sadu. Nastupao je na više od sedam stotina koncerata, sa preko šezdeset orkestara u Evropi, Aziji, Južnoj i Sjevernoj Americi, u dvoranama kao što su Karnegi hol u Njujorku, Park muzike u Rimu, Rudolfinum i Dvoržak u Pragu, Oriental art centar u Šangaju, Glen Guld u Torontu, Lisinski u Zagrebu itd. Čest je gost žirija klavirskih takmičenja u Italiji, Velikoj Britaniji, Južnoj Africi, Turskoj, Njemačkoj, Hrvatskoj, kao i voditelj majstorskih radionica. Snimio je tri kompakt-diska, s Goldberg varijacijama, J. S. Baha, s djelima Baha, Mocarta, Šopena, Bramsa i Prokofjeva, kao i s kompletnim klavirskim opusom Vasilija Mokranjca.
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- cronologia: Interpreti (Europa).
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