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Wydawnictwo: Quintone
Nr katalogowy: Q 17003
Nośnik: 1 CD
Data wydania: listopad 2017
EAN: 9789078740513
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: romantyzm, 20 wiek do 1960
Obszar (język): rosyjski
Instrumenty: fortepian
Rodzaj: pieśń

Rachmaninow / Czajkowski / Mussorgsky: The Silver Age

Quintone - Q 17003
Ekaterina Levental, mezzo-soprano
Maurice Lammerts van Bueren, piano
Sergei Rachmaninoff:
Lilacs opus 21, No. 5
How fair this place Op. 21, No. 7
On the death of a linnet Op. 21, No. 8
In the mysterious silence of the night Op. 4, No. 3
Do not sing, my beauty, to me Op. 4, No. 4
Yesterday we met, Op. 26, No. 13
Dream Op. 8, No. 1

Peter Tchaiovsky:
Ah! If you only knew Op. 60, No. 3
Cradle song Op.16, No. 1
Don’t believe my friend Op.6, No. 1
Amid the din of the ball Op. 38, No. 3
Only one who knows longing (Mignon’s song) Op. 6, No. 6
Lullaby in a storm Op. 54, No. 10
The flower Op. 54, No. 11

Modest Mussorgsky:
Songs and Dances of Death
Ekaterina Levental, born in Tashkent, the capital city of Uzbekistan, one of the republics of the former Soviet Union and now living and working in Amsterdam, presents an impressive anthology of the finest and most delicate songs of the late Romantic period of the so-called Russian Silver Age. The co-operation with pianist Maurice Lammerts van Bueren results in an enchanting program of breathtaking beauty.

The CD comes with a 32 p. booklet containing the original Russian songtexts and a translation into English. The booklet opens with a thorough analysis of the style period by Professor Dr. Francis Maes (University of Ghent), which starts as follows:

“Tchaikovsky was temperamentally different from such Romantics as Byron and Beethoven. He lacked their grandness of ego and their heroic, passionate exuberance. His nature, owing in large part to his family upbringing, was more “sentimental” in Friedrich Schiller’s sense, which was still widespread in music, literature, and the other arts all over Europe in the latter nineteenth century. It is no accident that Tchaikovsky’s music found acceptance and popularity toward the end of the century.” In these words Alexander Poznansky, an eminent biographer of Tchaikovsky, not only defines the emotional content of the composer’s music, but also offers an explanation of why Tchaikovsky’s music achieved such popularity in the time of the fin de siecle. In Russia this period is known as The Silver Age, to denote the final flourish of Tsarist Russia. During this period, artists and opinion leaders started to distance themselves from the realistic ideals and social involvement that had defined the years 1860-70. The musical representative of this trend had been Modest Mussorgsky. From the start Tchaikovsky had stood apart from Mussorgsky and the circle he belonged to the Moguchaya Kuchka, the ‘mighty handful’ of composers around the central figure of Mily Balakirev on account of his vision of music being the language of emotion and the idealistic instrument of beauty. Had he not died prematurely in 1893, Tchaikovsky would have become the figurehead of the Silver Age in music. After his passing, it was the young Sergei Rachmaninoff who took over his role. He guided Tchaikovsky’s elegant culture of sentimentality to its final heights, before the Russian Revolution put a definite end to the entire period".

Zobacz także:

  • ACDBJ 107-2
  • SWR 19522
  • CDA 68309
  • ONYX 4191
  • COBRA 0071
  • HC 19048
  • HC 19001
  • PTC 5186762
  • LWC 1191
  • AVI 8553101