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GLAZUNOV, Alexander Konstantinovich - Komponisten, page 3

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Oriental Rhapsody - Balakirev - Glazunov - Rimsky-Korsakov - USSR State Symphony Orchestra - E. Svetlanov

Oriental Rhapsody - Balakirev - Glazunov - Rimsky-Korsakov - USSR State Symphony Orchestra - E. Svetlanov
ID: MELCD1001828
CDs: 1
Type: CD
Kolektion: Orchestral WorksSubkolektion: Orchester

In the first half of the 19th century, Russian composers began to show an interest for the music of the Orient. Then, at the very beginning of the century, the Caucasus became open for visits. Not only composers, but also poets and painters were impressed with its exoticism, and the notion "Orient" included not just the Arab East, but the Caucasus as well. In terms of style, its nature, traditions, music and dances were literally overwhelming. The Caucasus inspired many of the works of the Russian culture of the 19th century. The territorial proximity of the Caucasus to Russia, close associations with the culture and arts of the Caucasus, including the works by Alexander Pushkin and Mikhail Lermontov, and, mainly, visits of Russian composers such as Mikhail Glinka and Mily Balakirev to the Caucasus - all that were reasons why orientality found its fullest development and expression in the Russian music as compared to the other European music cultures.
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A. Glazunov - Raymonda, Op. 57, Ballet in 3 acts - Orchestra of USSR State Academic Bolshoi Theatre - E. Svetlanov

A. Glazunov - Raymonda, Op. 57, Ballet in 3 acts - Orchestra of USSR State Academic Bolshoi Theatre - E. Svetlanov
ID: MELCD1001959
CDs: 2
Type: CD
Kolektion: Ballet MusicSubkolektion: Orchester

In spring of 1896, Alexander Glazunov received a commission from the director of the St. Petersburg Imperial Theatres Ivan Vsevolozhsky to compose the score to the ballet Raymonda. Despite being busy (Glazunov was already a well-known composer at the time whose works were loved by the public, an author of five symphonies, chamber and instrumental pieces), Glazunov found the offer interesting and agreed. "Acceptable orders to write compositions did not tie me. On the contrary, they heartened me. For example, I composed the ballet Raymonda quickly enough with special fervour and enthusiasm," he wrote later. It was the composer's first experience with a score for a ballet performance. However, he had had some creative experience of realizing the principles of dancing. It would suffice to recall his previous opuses such as Characteristic Suite and Ballet Suite, and concert waltzes. The libretto was written by Princess Lidya Pashkova, a traveler and columnist of the Parisian newspaper Le Figaro, who also wrote novels and librettos. The script plot belonged to Marius Petipa, an illustrious ballet master who staged ballets in Russia in the second half of the 19th century. The story involved characters who actually existed (Jean de Brienne and King Andrew) and fictional ones, and was historically inaccurate. But that was not a serious obstacle for the composer who started to think over the first ten numbers of Raymonda and wrote them down in summer of 1897 before he even received the script. The first two acts were finished in August, and the third one in autumn of 1897. The score autograph has the composer's inscription: "The ballet finished 21 October, 1897. Orchestrated within 1 year." While working on the music, Glazunov closely cooperated with the author of the script. Marius Petipa gave the composer a thoroughly developed plan of each scene with tempos, measures, and even the number of times. In that way Glazunov perceived the nature of choreography. Spending a great deal of time at the theatre working with the ballet dancers, musicians and the ballet master, he left all his other business behind to a great chagrin of Mitrofan Belyayev, who was Glazunov's partner in not only the same music circle, but in publishing activities as well (Glazunov helped Belyayev publish works by the contemporary Russian composers in Leipzig). Pyotr Lambin, Orest Allegri and Konstantin Ivanov worked on the sketches of the ballet set. Many of the costumes for the first staging were created by Ivan Vsevolozhsky himself. The premiere took place on 7 (19) January, 1898, on the stage of the Mariinsky Theatre and was conducted by Riccardo Drigo. The main parts were performed by Pierina Legnani as Raymonda, Sergei Legat as Jean de Brienne and Pavel Gerdt as Abderakhman. The performance was a real triumph. The encores began as early as after the first act. Glazunov was presented a laurel wreath, and the artists read a letter of greetings to him. One of the reviews explained the success of the ballet as a combination of three factors - "beautiful, melodic and captivating music, the ballet master's unfading talent and the artists' wonderful performance." Glazunov's progress in symphonic music obviously influenced the music of the ballet with its principles of through development and diverse techniques of orchestral writing. The music plays a huge role in Raymonda (in that way, Glazunov continued the reforms in the art of ballet initiated by Pyotr Tchaikovsky). The musical content facilitates the expansion of the plot line, at times prevailing over the plot thanks to its depth and vivid development of the musical characteristics so important to the dramaturgic function of dance and pantomime. The dances in Raymonda are not illustrative yet efficient as they embody the situation, the state and disposition of the characters. The continuing symphonic development, wealth of melodic patterns and organic integrity of the work are what help us perceive the performance as completely as possible. The destiny of Raymonda has been happy. The ballet has been staged many times both in the Soviet Russia and overseas. Synopsis France in the time of crusades Act I Tableaux 1 Pages and court ladies have gathered in a big castle of Countess Sybille de Doris to congratulate the countess's niece Raymonda on her name day. Awaiting Raymonda, the pages play the lutes and viols, some compete in fencing. A few girls leave their fancywork to dance with the pages. Soon, Countess Sybille appears. Her coming ruins the common merriment. The countess tells the young ones about the foremother of the Doris family, who was known as the White Lady. It is her statue that stands on the terrace. The White Lady does not stand idlers and can strictly punish those who do not fulfill their duties, but she always protects the members of her household, and every time one of them is in danger she shows up and warns. The young people do not take the countess's words seriously and continues to amuse themselves. Before long, a messenger appears sent by Jean de Brienne, Raymonda's fiancé, who is crusading with Andrew II of Hungary. The messenger hands Raymonda a letter from de Brienne, in which he informs Raymonda that he is returning home in triumph and he will be at the Doris castle the next day. Raymonda rejoices. She orders a sumptuous reception in honour of her fiancé. Vassals and peasants congratulate Raymonda on her name day, and dances begin. The day is over and the evening comes. Exhausted, Raymonda falls asleep on the terrace. Tableaux 2 Illuminated by the light of the moon, the White Lady comes down from her pedestal. With a gesture, she orders Raymonda to follow her. The garden around the castle gets covered in fog. Tableux 3 The garden has transformed. Jean de Brienne appears before the amazed Raymonda. The beloved are happy. Suddenly, she sees Abderakhman who has taken the place of her fiancé. The White Lady tells Raymonda to be cautious. Abderakhman declares his passionate love for her, but she is frightened. Corpse lights and imps surround her. Raymonda is perturbed. It is dawning. The pages and maids of honour come and find Raymonda unconscious on the terrace. Act II Sybille and Raymonda surrounded by the pages, maids of honour and guests come out to the courtyard. Fanfares sound announcing the arrival of new guests. However, it is not Jean de Brienne, but Saracen Abderakhman accompanied by his suite. Raymonda recognises the stranger seen in her dream. She is agitated, and Sybille reassures her. Captivated by Raymonda's beauty, Abderakhman speaks of his love for her. She is frightened and rejects him with contempt but feels attracted to him at the same time. Dancing goes on. Wishing to impress Raymonda, Abderakhman calls his servants. Jugglers, Arab boys and Saracens appear. The dances follow one after another becoming bacchanal. Using the bustle, Abderakhman's servants abduct Raymonda. But at that moment, Jean de Brienne and the knights stands on the Saracens' way. Raymonda is freed. King Andrew II of Hungary allows de Brienne to challenge Abderakhman to a duel, during which de Brienne kills Abderakhman. De Brienne requests the king to be present at his wedding. The king agrees. The procession enters the castle. Act III The garden in Jean de Brienne's castle. A celebration for the wedding of de Brienne and Raymonda. King Andrew II comes out surrounded by the retinue and guests. Everyone greets the bride and groom. One dance is followed by another. A knightly tournament on the occasion of the wedding. The anxiety of the past is forgotten.
29.00 eur Temporarily out of stock

A. Glazunov - The Seasons, Ballet, Op. 67 & Chopiniana

A. Glazunov - The Seasons, Ballet, Op. 67 & Chopiniana
ID: MELCD1002085
CDs: 1
Type: CD
Kolektion: Orchestral WorksSubkolektion: Orchester

Glazunov’s ballet music continued the tradition of Tchaikovsky’s “symphonic ballets”. The Seasons was ordered by Ivan Vsevolozhsky, the director of the Imperial Theatres, and completed in 1900 to be choreographed by Marius Petipa at the St. Petersburg’s Hermitage Theatre. Conceived as an allegory of Nature with its eternal cycle of youth, growing and ageing, the ballet did not see a proper stage production when the composer was around, but its music enjoyed popularity very quickly.

The suite Chopiniana, an orchestration of diverse pieces by Chopin, was composed in 1892. Sharing the love of many Russian composers for Chopin’s music, Glazunov displayed a magnificent sense of style and orchestral skills. The piano pieces did not become any heavier but got a new sound in a new facet. The Ballet master Michel Fokine made use of the suite fifteen years later when he created his famous ballet performance. Glazunov’s works were recorded by the celebrated Soviet symphony orchestras led by the prominent conductors of the 20th century Boris Khaikin and Evgeny Svetlanov.

Glazunov:
The Seasons, Op. 67
State Academic Symphony Orchestra of the USSR - B. Khaikin
Chopiniana, Op. 46
USSR State Radio and TV Symphony Orchestra - Evgeny Svetlanov
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A.Glazunov - Concertos for Violin, Cello, Saxophone - V. Tretyakov (violin) - M. Rostropovich (cello) - L. Mikhailov (saxophone)

A.Glazunov - Concertos for Violin, Cello, Saxophone - V. Tretyakov (violin) - M. Rostropovich (cello) - L. Mikhailov (saxophone)
ID: MELCD1002131
CDs: 1
Type: CD
Subkolektion: Saxophone

Firma Melodiya presents an album of concert works by the outstanding Russian composer Alexander Glazunov.

“…An incredibly wide scope, power, inspiration, lightness of mighty moods, wonderful beauty, magnificent fantasy, sometimes humour, melancholy, passion and always amazing clarity and freedom of form”, this is how Vladimir Stasov, a critic and Glazunov’s contemporary, defined the main properties of the composer’s music.

A pupil of Rimsky-Korsakov and Balakirev, and a true successor of the traditions of The Five, Glazunov was also a great admirer of Tchaikovsky’s works and synthesized the two major traditions of the Russian music art of the 19th century in his music.

Glazunov’s Violin Concerto is among the most popular works of the world’s violin literature. The other featured pieces created during the composer’s late period when he lived abroad are less known.

The Concerto Ballata for cello and orchestra was ordered by and dedicated to the great cellist Pablo Casals. The Concerto for saxophone and orchestra was inspired by a performance of the National Guard orchestra in Paris. Amazed with the timbre of the instrument, then very rare in academic music, and a virtuosic performance, he created a piece where the saxophone in combination with string instruments sounds surprisingly softly and songfully in a Russian way.

Glazunov’s compositions are performed by the outstanding Russian musicians such as Viktor Tretiakov (violin), Mstislav Rostropovich (cello) and Lev Mikhailov (saxophone).

Glazunov:
Violin Concerto in A minor, Op. 82
Viktor Tretiakov (violin)
The Moscow Symphony Radio Orchestra, Vladimir Fedoseyev

Concerto ballata in C major for cello and orchestra, Op. 108
Mstislav Rostropovich (cello)
The USSR State Academic Symphony Orchestra, Evgeny Svetlanov

Saxophone Concerto in E flat major, Op. 109
Lev Mikhailov (saxophone)
The Moscow Symphony Radio Orchestra Soloists Ensemble, Alexander Korneev
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The Best Bolshoi Singers and Conductors - Perform Extracts from Operas and Ballete by Glinka -Borodin - Mozart and etc...

The Best Bolshoi Singers and Conductors - Perform Extracts from Operas and Ballete by Glinka -Borodin - Mozart and etc...
ID: MELCD1002164
CDs: 5
Type: CD
Kolektion: Opera and BalletSubkolektion: Voices and Orchestra

Soloists: Galina Vishnevskaya, Irina Arkhipova, Elena Obraztsova, Tamara Sinyavskaya, Sergey Lemeshev, Ivan Kozlovsky, Vladimir Atlantov, Alexander Pirogov, Mark Reizen, Evgeny Nesterenko

Nikolai Golovanov, Samuil Samosud, Alexander Melik-Pashayev, Evgeny Svetlanov, Gennady Rozhdestvensky, Yuri Fayer, Mark Ermler, Alexander Lazarev


Firma Melodiya presents a unique set of recordings by soloists of the USSR Bolshoi Theatre - outstanding singers who performed on the main stage of this country during 1945 to 1990.

They call it the golden age of the Bolshoi not for nothing.

The first music theatre of the country attracted undiverted attention of not just millions of spectators and listeners (getting a ticket to the Bolshoi was almost an impracticable task for a “common Soviet citizen”). The supreme leadership of the Soviet Union watched the life of the theatre as closely as real music lovers did. Nearly all the premieres took place under the sign of “special responsibility”. The theatre recruited the best artistic forces from all over the country, and in the post-war period there still were those who got their education and started their careers even before the revolution keeping the continuity of the old tradition of the Imperial Bolshoi Theatre.

Galina Vishnevskaya, Irina Arkhipova, Elena Obraztsova, Tamara Sinyavskaya, Sergey Lemeshev, Ivan Kozlovsky, Vladimir Atlantov, Alexander Pirogov, Mark Reizen, Evgeny Nesterenko are just some of 30 soloists featured in this set. They are accompanied by the Bolshoi Orchestra lead by various conductors such as Nikolai Golovanov, Samuil Samosud, Alexander Melik-Pashayev, Evgeny Svetlanov, Gennady Rozhdestvensky, Yuri Fayer, Mark Ermler, Alexander Lazarev and others. Each of them made a valuable contribution to the treasury of Russian music culture of the 20th century.

The set includes fragments from Russian classical opera and ballet repertoire of the 19th and 20th centuries, and some of the most popular foreign operas and ballets staged at the Bolshoi
51.00 eur Temporarily out of stock

Russian Chamber Music for Wind Instruments Vol.II. - Glazunov - Glinka - Balakirev and Ippolitov-Ivanov

Russian Chamber Music for Wind Instruments Vol.II. - Glazunov - Glinka - Balakirev and Ippolitov-Ivanov
ID: MELCD1002186
CDs: 1
Type: CD
Kolektion: Wind MusicSubkolektion: Piano und Fagott

Firma Melodiya continues to present Russian chamber music for wind instruments.

This disc features compositions written within a hundred years between 1832 and 1932.

Trio pathétique by Mikhail Glinka, one of the first Russian chamber ensembles originally composed for clarinet, bassoon and piano (winds are often replaced with strings) received its continuation in Mily Balakirev’s octet. The future leader of The Five met Glinka at a young age and earned a praise of his talent. An elegant music picture An Evening in Georgia by Mikhail Ippolitov-Ivanov presents an oriental area of Russian music. It was created under the impression of life in Tiflis (now Tbilisi), Georgia, where the composer lived for more than ten years and virtually led the music life of the city. Saxophone Quartet, a concluding piece of the programme is one of the last works by the classical Russian composer Alexander Glazunov composed in 1932. The composer was carried away with a new timbre of the saxophone and so excited with the sound of the musicians of the French National Guards orchestra that he wrote a composition especially for them in timbre colours which were so unusual for Russian music.

The recordings feature soloists and musicians of some of the leading Moscow orchestras, including such outstanding musicians as harpist Emilia Moskovityanova, flutist Valentin Zverev, clarinetist Vladimir Sokolov, violinist Andrei Korsakov, cellist Fyodor Luzanov, saxophonist Lev Mikhailov and others. Remarkable pianists and winners of international competitions, People’s Artists of Russia Lyubov Timofeyeva and Alexei Nasedkin play the piano on the ensembles by Glinka and Balakirev.


Balakirev:
Octet, Op. 3
Valentin Zverev (flute), Anatoli Lyubimov (oboe), Boris Afanasiev (horn), Adrei Korsakov (violin), Mikhail Tolpygo (viola), Fyodor Luzanov (cello), Rifat Komachkov (double bass), Alexei Nasedkin (piano)

Glazunov:
Saxophone Quartet, Op. 109
Lev Mikhailov (soprano saxophone), Alexander Oseichuk (alto saxophone), Yuri Vorontsov (tenor saxophone) & Vladimir Yeryomin (baritone saxophone)

Glinka:
Trio Pathetique in D minor
Vladimir Sokolov (clarinet), Sergei Krasavin (bassoon), Lyubov Timofeyva (piano)

Ippolitov-Ivanov:
Quintet for Piano and Winds, Op. 71 "An Evening in Georgia"
Valentin Zverev (flute), Anatoli Lyubimov (oboe), Vladimir Sokolov (clarinet), Sergei Krasavin (bassoon), Emilia Moskvitina (harp)
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Mikhail Kugel (viola) - Boris Berezovsky (piano) - Glinka - Rubinstein - Glazunov and etc…

Mikhail Kugel (viola) -  Boris Berezovsky (piano) - Glinka - Rubinstein - Glazunov and etc…
ID: MELCD1002222
CDs: 1
Type: CD
Kolektion: Chamber MusicSubkolektion: Piano and Viola

Melodiya presents recordings of the outstanding violist Mikhail Kugel. Mikhail Kugel combined a career as a solo performer with the membership in the celebrated Beethoven Quartet (in its last line-up), was a professor of the Moscow Conservatory, and later on of the Jerusalem Rubin Academy of Music and Dance. At present, he teaches at the Royal Conservatory of Ghent in Belgium.Mikhail Kugel has expanded the viol repertoire by making numerous arrangement of music from different eras for the viola. Some of them are featured on this disc.The works for viola and piano were recorded by Mikhail Kugel together with Boris Berezovsky, one of the most in-demand pianists of modern time, a first prize winner of the Tchaikovsky International Competition and an owner of Grammophone, Diapason d’Or, BBC and Echo klassik awards for the best classical recordings.The recordings were made at Kugel’s concerts in 2002 to 2013.

A Leaf from the Album
Boris Berezovsky (piano)
Grand Caprice Forest King, Op. 26
F. Schubert - H.W. Ernst. Arranged for viola by M. Kugel
H.W. Ernst -Variations on "The Last Rose of Summer"arranged for viola by M. Kugel
Glazunov - Elegy, Op. 44
Boris Berezovsky (piano)
Glinka - Viola Sonata in D minor
Boris Berezovsky (piano)
Rubinstein - Viola Sonata in F minor, Op. 49 edited by M. Kugel
Boris Berezovsky (piano)
Stravinsky -Elegy, for solo viola

Mikhail Kugel (viola), Boris Berezovsky (piano)
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David Oistrakh, Violin

David Oistrakh, Violin
ID: MELCD1002261
CDs: 1
Type: CD
Kolektion: Violin ConcertoSubkolektion: Violin and Orchestra

16.00 eur Temporarily out of stock

Glazunov - The Seasons, Concert Waltzes Nos. 1 & 2 - Svetlanov

Glazunov - The Seasons, Concert Waltzes Nos. 1 & 2 - Svetlanov
ID: MKM155
CDs: 1
Type: CD
Kolektion: Great PerformersSubkolektion: Orchester

15.00 eur Temporarily out of stock

Russian Masterpieces - Popular Classical Music Melodies

Russian Masterpieces - Popular Classical Music Melodies
ID: MKM158
CDs: 1
Type: CD
Kolektion: Russian MasterpiecesSubkolektion: Popular Classical Music Melodies

15.00 eur Temporarily out of stock

 
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