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Old March 21st, 2019 #61
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Nikolai Andreyvich Rimsky-Korsakov, "Capriccio Espagnol."

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Old March 22nd, 2019 #62
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Pyotr Tchaikovsky - Festival Overture on the Danish National Anthem, Op. 15 - (1866)





"During his time at the Moscow Conservatoire, around September 1866 the school's principal, Nikolay Rubinstein commissioned Pyotr Ilyich Tchaikovsky to compose a Festival Overture on the Danish National Anthem to be played for the visit of the Tsarevich (heir to the throne) to Moscow, accompanied by his new Danish bride, Princess Dagmar of Denmark. The Tsarrevich would eventually be crowned Tsar Alexander III of Russia and remain a devoted follower of Tchaikovsky's music, awarding the composer both the Order of St. Vladimir (Fourth Class) in 1884 and a state pension in 1885.

Tchaikovsky often set about functional commissions with a strong air of professionalism, knowing that the piece may only even be played once, and this work was no exception. Indeed Tchaikovsky himself wrote at the end of his life that this piece was 'very effective... and far better as music than 1812'.

Tchaikovsky thought it would be a good idea to incorporate the Russian national anthem's melody into the work as well, by way of symbolising the union of two realms, but this innocent venture ultimately led to the piece's downfall and to the cancellation of the official performance.

A piece of surviving journalism states, 'Our talented young composer for some reason took it into his head to set forth our Russian national anthem in the minor key, which completely transforms the character of this well-known melody.'

However, Tchaikovsky received a gift of gold cuff links from the Tsarevich as an expression of royal gratitude for his efforts anyway."


The text was taken from Wikipedia.











"Kong Christian stod ved højen mast ("King Christian stood by the lofty mast"), commonly shortened to Kong Christian, is the royal anthem of the Kingdom of Denmark. It also has equal status of national anthem together with Der er et yndigt land, though it is almost exclusively used in relation to the Danish royal house and the military. The theme of the song is about the heroics of Danish sailors during the wars against Sweden in the 17th and 18th centuries.

On New Year's Eve it is tradition to sing along as the Danmarks Radio Girl's Choir sing the song on television, immediately after midnight following the other national anthem. Usually only the first verse is sung on official occasions. Adopted in 1780, it is one of the oldest national anthems in the world.

King Christian stood by the lofty mast
In mist and smoke;
His sword was hammering so fast,
Through Gothic helm and brain it passed;
Then sank each hostile hulk and mast,
In mist and smoke.
"Fly!" shouted they, "fly, he who can!
Who braves of Denmark's Christian,
Who braves of Denmark's Christian,
In battle?"

Niels Juel gave heed to the tempest's roar,
Now is the hour!
He hoisted his blood-red flag once more,
And smote upon the foe full sore,
And shouted loud, through the tempest's roar,
"Now is the hour!"
"Fly!" shouted they, "for shelter fly!
"Who can defy Denmark's Juel,
Who can defy Denmark's Juel,
in conflict?"

North Sea! a glimpse of Wessel rent
Thy murky sky!
Then champions to thine arms were sent;
Terror and Death glared where he went;
From the waves was heard a wail, that rent
Thy murky sky!
From Denmark thunders Tordenskiol',
Let each to Heaven commend his soul,
Let each to Heaven commend his soul,
And fly!

Path of the Dane to fame and might!
Dark-rolling wave!
Receive thy friend, who, scorning flight,
Goes to meet danger with despite,
Proudly as thou the tempest's might,
Dark-rolling wave!
And amid pleasures and alarms,
And war and victory, lead me to,
And war and victory, lead me to,
My grave!

English translation by Henry Wadsworth Longfellow"


The text was taken from Wikipedia.





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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old March 25th, 2019 #63
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Suite from the opera, "Le coq d'or," (The Golden Cockerel), Rimsky-Korsakov:

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Old March 28th, 2019 #64
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Rimsky-Korsakov, "Suite Tsar Sultan:"

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Old April 2nd, 2019 #65
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Anton Arensky - Suite #1 in G Minor, Op. 7 - (1885)







"Anton Stepanovich Arensky (1861-1906) - (Russian: Анто́н Степа́нович Аре́нский) was a Russian composer of Romantic classical music, a pianist and a professor of music.

Arensky was born in a music-loving, affluent family in Novgorod, Russia. He was musically precocious and had composed a number of songs and piano pieces by the age of nine. With his mother and father, he moved to Saint Petersburg in 1879, after which he studied composition at the Saint Petersburg Conservatory with Nikolai Rimsky-Korsakov.

After graduating from the Saint Petersburg Conservatory in 1882, Arensky became a professor at the Moscow Conservatory. Among his students there were Alexander Scriabin, Sergei Rachmaninoff and Alexander Gretchaninov.

In 1895 Arensky returned to Saint Petersburg as the director of the Imperial Choir, a post for which he had been recommended by Mily Balakirev. He retired from this position in 1901, living off a comfortable pension and spending his remaining time as a pianist, conductor, and composer.

Arensky died of tuberculosis in a sanatorium in Perkjärvi, in what was then the Russian-administered Grand Duchy of Finland, at the age of 44."


The text was taken from Wikipedia.





Suite #1 in G Minor / Сюита №1 соль минор

1) Вариации на русскую тему (Variations sur un thème russe);
2) Танцевальная мелодия (Air de danse)...

To be continued









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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old April 2nd, 2019 #66
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Suite #1 in G Minor / Сюита №1 соль минор

3) Скерцо;
4) Бассо остинато;
5) Марш.













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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old April 18th, 2019 #67
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"The Nutcracker," music only, for those who can't watch the ballet:

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Old May 9th, 2019 #68
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Mikhail Glinka - Waltz-Fantasia in B-Minor - (1839), it was orchestrated in (1856)





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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old May 14th, 2019 #69
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Andrey Petrov - Suite "Street melodies in tuxedos", symphonic transcriptions of movie melodies (2002)



"Andrey Petrov (1930-2006) was a Soviet and Russian composer. People's Artist of USSR (1980). Andrey Petrov is known for his music for numerous classic Soviet films such as I Step Through Moscow, Beware of the Car, and Office Romance.

A native of St. Petersburg (then Leningrad), Petrov was the son of a military doctor; his mother was an artist. He had little interest in music until, at fourteen, he saw The Great Waltz; after this he decided to become a composer. He studied composition at the Leningrad Conservatory under Orest Yevlakhov.

Petrov is known for his work in various genres; he wrote a number of operas and ballets, as well as symphonic works, incidental and film music, and various songs. He is especially famous for his ballet Creation of the World, based on drawings by Jean Effel. Petrov also scored over eighty films, including the Soviet-American co-production The Blue Bird.

From 1964 until his death Petrov was the head of the St. Petersburg Composers' Union, to which he was introduced by Dmitri Shostakovich. He also founded and served as the general director of a music festival in St. Petersburg. He won numerous prizes and awards; on May 22, 1998 he was made an honorary citizen of St. Petersburg, and a small planet was also named after him."


The text was taken from Wikipedia.





1) TV series "Petersburg secrets" / Телесериал "Петербургские тайны" (1994)








2) Autumn marathon / Осенний марафон (1979)








3) The blue bird / Синяя птица (1976)








4) The garage / Гараж (1979)







To be continued
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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old May 14th, 2019 #70
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Suite "Street melodies in tuxedos"





5) Beware of the car / Берегись автомобиля (1966)








6) An old, old tale / Старая, старая сказка (1968)








7) The Amphibian Man / Человек-амфибия (1961)








8) The Amphibian Man / Человек-амфибия







To be continued
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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old May 14th, 2019 #71
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Suite "Street melodies in tuxedos"





9) Michelle and Mishutka / Мишель и Мишутка (1961)








10) My kind dad / Мой добрый папа (1970)








11) White Bim with Black Ear / Белый Бим Черное ухо (1977)








12) Say a Word for the Poor Hussar / О бедном гусаре замолвите слово (1980)



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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old May 18th, 2019 #72
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Nikolai Ivanov-Radkevich (1904-1962)

"He was a Soviet composer and music teacher.

He was born in Krasnoyarsk in the family of an outstanding Russian spiritual music composer, choirmaster and music teacher Pavel Ivanovich-Radkevich.

In 1928, he finished the Tchaikovsky Moscow State Conservatory in composition class under the guidance of Reinhold Gliere. He became a professor (1939) and a candidate of art history (1939). He was a teacher in the instrumentation class of the Tchaikovsky Moscow State Conservatory (1929–1943). Since 1952, he was head of the department of instrumentation of the Institute of Military Conductors of the Soviet Army."


The text has been translated from the Russian Wikipedia.






Марш "Народные мстители" (1941)








Победный марш (1941)








Марш "Родная Москва" (1941)



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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
(c) Alan Alexander Miln
 
Old May 23rd, 2019 #73
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Alexander Alyabyev (1787–1851) - also rendered as Alabiev or Alabieff

"He was a Russian composer known as one of the fathers of the Russian art song. He wrote seven operas, twenty musical comedies, a symphony, three string quartets, more than 200 songs, and many other pieces.

Born to a wealthy family in Tobolsk in Siberia, Alyabyev learned music in his early years. He joined the Russian Army in 1812, during the Napoleonic War, and fought as an officer until 1823. He participated in the entry of the Russian forces into Dresden and Paris, and he won two awards.

After the mysterious death of a man he spent all night gambling with in February 1825, he was arrested on a charge of murder. While the evidence was not conclusive, Tsar Nicholas I expressly ordered him into exile to his native town of Tobolsk. Freed in 1831, he spent some years in the Caucasus before returning to Moscow, where he died in 1851.

Alyabyev's most famous work is The Nightingale (Соловей), a song based on a poem by Anton Delvig. It was composed while Alyabyev was in prison, in 1825. It has entered Russian consciousness as akin to a folk song.

The song became more widely known after having been introduced into Rosina's singing lesson scene in Gioachino Rossini's The Barber of Seville by Pauline Viardot, followed by Adelina Patti and Marcella Sembrich.

Mikhail Glinka wrote piano variations based on the song, as did Mily Balakirev. Franz Liszt also wrote a transcription of it (S. 250/1).

It was one of Pyotr Ilyich Tchaikovsky's favourite songs from his earliest childhood, as his mother often sang it to him."


The text was taken from Wikipedia.





Романс "Соловей" (1826)








Симфоническая картина "Буря"








Вариации на украинскую тему "Ехал казак за Дунай"



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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
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Old May 24th, 2019 #74
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Rodion Shchedrin - In the Style of Albeniz for violin and piano, Op. 52 (1973)



These are two different performances of the same work.










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Where should they dig the Very Deep Pit?
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Old May 27th, 2019 #75
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Alexandr Borodin





Symphonic picture "In the Steppes of Central Asia" / Симфоническая картина "В Средней Азии" (1880)








Polka "Hélène" in D Minor / Полька "Helene" (1843)








Tarantella in D Major / Тарантелла (1862)



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Where should they dig the Very Deep Pit?
Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.
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Old May 28th, 2019 #76
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Alex Him

This is my favorite Russian classical music.

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Old May 28th, 2019 #77
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Quote:
Originally Posted by Gladiatrix View Post
Alex Him

This is my favorite Russian classical music.
I know about it

I posted something similar in another topic - https://vnnforum.com/showpost.php?p=...postcount=5386
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Old May 28th, 2019 #78
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Quote:
Originally Posted by Alex Him View Post
I know about it

I posted something similar in another topic - https://vnnforum.com/showpost.php?p=...postcount=5386
Well, I expected you would. You're a Russkie. Just kidding.

Russia, Russia, Russia!


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Last edited by Gladiatrix; May 28th, 2019 at 01:55 AM.
 
Old May 29th, 2019 #79
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Quote:
Originally Posted by Gladiatrix View Post
Well, I expected you would. You're a Russkie. Just kidding.

Russia, Russia, Russia!
In the first fragment, everyone behaves like idiots. What is the point to stand a crowd of people against a cannon? On the contrary, they should have dispersed to havens.

The second fragment I could not understand.
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Old June 1st, 2019 #80
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Vasily Kalinnikov





Интермеццо № 1 fis-moll (1896)








Интермеццо № 2 G-dur (1897)








Симфоническая картина "Нимфы" по Ивану Тургеневу

(It is based on a poem in the prose of Ivan Turgenev)






The Nymphs

I stood before a chain of beautiful mountains forming a semicircle. A
young, green forest covered them from summit to base.

Limpidly blue above them was the southern sky; on the heights the sunbeams
rioted; below, half-hidden in the grass, swift brooks were babbling.

And the old fable came to my mind, how in the first century after Christ's
birth, a Greek ship was sailing on the Aegean Sea.

The hour was mid-day…. It was still weather. And suddenly up aloft, above
the pilot's head, some one called distinctly, 'When thou sailest by the
island, shout in a loud voice, "Great Pan is dead!"'

The pilot was amazed… afraid. But when the ship passed the island, he
obeyed, he called, 'Great Pan is dead!'

And, at once, in response to his shout, all along the coast (though
the island was uninhabited), sounded loud sobs, moans, long-drawn-out,
plaintive wailings. 'Dead! dead is great Pan!' I recalled this story…
and a strange thought came to. 'What if I call an invocation?'

But in the sight of the exultant beauty around me, I could not think of
death, and with all my might I shouted, 'Great Pan is arisen! arisen!'
And at once, wonder of wonders, in answer to my call, from all the wide
half-circle of green mountains came peals of joyous laughter, rose the
murmur of glad voices and the clapping of hands. 'He is arisen! Pan is
arisen!' clamoured fresh young voices. Everything before me burst into
sudden laughter, brighter than the sun on high, merrier than the brooks
that babbled among the grass. I heard the hurried thud of light steps,
among the green undergrowth there were gleams of the marble white of
flowing tunics, the living flush of bare limbs…. It was the nymphs,
nymphs, dryads, Bacchantes, hastening from the heights down to the
plain….

All at once they appear at every opening in the woods. Their curls float
about their god-like heads, their slender hands hold aloft wreaths and
cymbals, and laughter, sparkling, Olympian laughter, comes leaping, dancing
with them….

Before them moves a goddess. She is taller and fairer than the rest; a
quiver on her shoulder, a bow in her hands, a silvery crescent moon on her
floating tresses….

'Diana, is it thou?'

But suddenly the goddess stopped… and at once all the nymphs following
her stopped. The ringing laughter died away.

I see the face of the hushed goddess overspread with a deadly pallor; I saw
her feet grew rooted to the ground, her lips parted in unutterable horror;
her eyes grew wide, fixed on the distance… What had she seen? What was
she gazing upon?

I turned where she was gazing…

And on the distant sky-line, above the low strip of fields, gleamed, like
a point of fire the golden cross on the white bell-tower of a Christian
church…. That cross the goddess had caught sight of.

I heard behind me a long, broken sigh, like the quiver of a broken string,
and when I turned again, no trace was left of the nymphs…. The broad
forest was green as before, and only here and there among the thick network
of branches, were fading gleams of something white; whether the nymphs'
white robes, or a mist rising from the valley, I know not.

But how I mourned for those vanished goddesses!


Ivan Turgenev, December 1878
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