thegoodfellas/blogset-br huggingface dataset:
* * *Faca download de mais de doze duzias de livros sobre Musica e temas afins!!!!!!!!!!clique aqui* * * NORTON RECORDED ANTHOLOGY OF WESTERN MUSIC. Classic to Modern. 4ed. by Claude V PaliscaVolume 2 - CD 12 * * * 01. Olivier Messiaen / Meditations sur le mystere de la Sainte Trinite, Fourth Movement 02. Olivier Messiaen / Meditations sur le mystere de la Sainte Trinite, Fourth Movement 03. Olivier Messiaen / Meditations sur le mystere de la Sainte Trinite, Fourth Movement04. Olivier Messiaen / Meditations sur le mystere de la Sainte Trinite, Fourth Movement05. Olivier Messiaen / Meditations sur le mystere de la Sainte Trinite, Fourth Movement 06. Amy Cheney Beach / Piano Quintet in F-sharp, Op. 67, Third Movement07. Amy Cheney Beach / Piano Quintet in F-sharp, Op. 67, Third Movement08. Amy Cheney Beach / Piano Quintet in F-sharp, Op. 67, Third Movement09. Amy Cheney Beach / Piano Quintet in F-sharp, Op. 67, Third Movement10. Amy Cheney Beach / Piano Quintet in F-sharp, Op. 67, Third Movement 11. Charles Ives / They Are There!12. Charles Ives / They Are There!13. Charles Ives / They Are There! 14. Ruth Crawford Seeger / Violin Sonata, Second Movement15. Ruth Crawford Seeger / Violin Sonata, Second Movement 16. Ruth Crawford Seeger / Violin Sonata, Second Movement 17. Aaron Copland / Appalachian Spring18. Aaron Copland / Appalachian Spring19. Aaron Copland / Appalachian Spring20. Aaron Copland / Appalachian Spring21. Aaron Copland / Appalachian Spring22. Aaron Copland / Appalachian Spring23. Aaron Copland / Appalachian Spring24. Aaron Copland / Appalachian Spring 25. William Grant Still / Afro-American Symphony, Third Movement26. William Grant Still / Afro-American Symphony, Third Movement27. William Grant Still / Afro-American Symphony, Third Movement 28. Elliott Carter / String Quartet No. 2, Introduction and Allegro fantastico29. Elliott Carter / String Quartet No. 2, Introduction and Allegro fantastico30. Elliott Carter / String Quartet No. 2, Introduction and Allegro fantastico 31. George Crumb / Black Angels, Thirteen Images from the Dark Land, for Electric String Quartet, Images 4 to 9 32. George Crumb / Black Angels, Thirteen Images from the Dark Land, for Electric String Quartet, Images 4 to 9 33. George Crumb / Black Angels, Thirteen Images from the Dark Land, for Electric String Quartet, Images 4 to 9 34. George Crumb / Black Angels, Thirteen Images from the Dark Land, for Electric String Quartet, Images 4 to 9 35. George Crumb / Black Angels, Thirteen Images from the Dark Land, for Electric String Quartet, Images 4 to 9 36. George Crumb / Black Angels, Thirteen Images from the Dark Land, for Electric String Quartet, Images 4 to 9 37. Milton Babbitt / Philomel, Section I38. Milton Babbitt / Philomel, Section I39. Milton Babbitt / Philomel, Section I40. Milton Babbitt / Philomel, Section I41. Milton Babbitt / Philomel, Section I 42. Gunther Schuller / Seven Studies on Themes of Paul Klee, No. 3, Kleiner blauer Teufel, No. 5, Arabische Stadt 43. Gunther Schuller / Seven Studies on Themes of Paul Klee, No. 3, Kleiner blauer Teufel, No. 5, Arabische Stadt 44. Gunther Schuller / Seven Studies on
Themes of Paul Klee, No. 3, Kleiner blauer Teufel, No. 5, Arabische Stadt 45. Gunther Schuller / Seven Studies on Themes of Paul Klee, No. 3, Kleiner blauer Teufel, No. 5, Arabische Stadt 46. Gunther Schuller / Seven Studies on Themes of Paul Klee, No. 3, Kleiner blauer Teufel, No. 5, Arabische Stadt 47. John Adams / Phrygian Gates48. John Adams / Phrygian Gates49. John Adams / Phrygian Gates50. John Adams / Phrygian Gates51. John Adams / Phrygian Gates52. John Adams / Phrygian Gates 53. Ellen Taaffe Zwilich / Concerto Grosso 1985, Fourth and Fifth Movements54. Ellen Taaffe Zwilich / Concerto Grosso 1985, Fourth and Fifth Movements * * * Download - part 1 Download - part 2 * * *
Cornell Capa, [Igor Stravinsky, Venice], 1951* * *Igor (Fyodorovich) StravinskySTEPHEN WALSH-[b] Oranienbaum [now Lomonosov], nr St Petersburg, 5/17 June 1882-[d] New York, 6 April 197Russian composer, later of French (1934) and American (1945) nationality. One of the most widely performed and influential composers of the 20th century, he remains also one of its most multi-faceted. A study of his work automatically touches on almost every important tendency in the century's music, from the neo-nationalism of the early ballets, through the more abrasive, experimental nationalism of the World War I years, the neo-classicism of the period 192051 and the studies of old music which underlay the proto-serial works of the 1950s, to the highly personal interpretation of serial method in his final decade. To some extent the mobile geography of his life is reflected in his work, with its complex patterns of influence and allusion. In another sense, however, he never lost contact with his Russian origins and, even after he ceased to compose with recognizably Russian materials or in a perceptibly Slavonic idiom, his music maintained an unbroken continuity of technique and thought.1. Background and early years, 18821905.Stravinsky was in Russian terms a nobleman; his parents were dvoryanine or, as we might say, gentry. His mother, Anna Kholodovskaya, was one of four daughters of a high-ranking official in the Ministry of Estates in Kiev. Anna grew up a good domestic singer and fluent pianist, a well-organized if strait-laced wife and mother. Her husband, Fyodor Ignat'yevich Stravinsky, whom she married in Kiev in 1874 when she was still only 19 and he 30, descended from a long line of Polish grandees, senators and landowners. Fyodor's father, Ignaty, was a working agronomist of vaguely disreputable habits, a womanizer (according to his composer grandson) who eventually left and divorced his Russian wife, and a bad businessman who bequeathed to his youngest son little beyond a determination not to let his own family life disintegrate in the same way. If there was music in Ignaty Stravinsky's house it was provided by his wife, Aleksandra Skorokhodova, who had an attractive singing voice. But it was probably never a strikingly musical household, and it was only gradually that, while studying law in the mid-1860s in Odessa, Kiev and (when money started running out) Nezhin, Fyodor discovered a talent for singing. Eventually he won a scholarship to the Conservatory in St Petersburg, and in 1876 he made his debut at the Mariinsky Theatre (as Mephistopheles in Gounod's Faust). By the time his and Anna's third son, Igor, was born (at the nearby Baltic summer resort of Oranienbaum) in 1882, Fyodor had taken the Russian operatic world by storm and was being widely discussed as the finest bass-baritone of his generation. Music was thus a part of the working environment in the large second-floor flat on the Kryukov Canal, a stone's throw from the Mariinsky, which was to be Igor's home for the next 27 years. Fyodor sang not only repertory parts but also new roles, some written for him, like the Mayor in Rimsky-Korsakov's May Night. Leading lights of
the St Petersburg operatic world came and went in the Kryukov flat. Fyodor knew not only Rimsky-Korsakov but also Borodin and Musorgsky, as well as prominent music journalists like Nikolay Findeyzen, and conductors like Napravnik. Fyodor also accumulated a large library, partly a bibliophile's collection, partly a working archive of scores and other materials relating to the parts he was studying. Igor inherited his mother's fluency as a piano sight-reader and had access to his father's scores: the Russian repertory, of course (including figures such as Dargomizhsky and Serov), Mozart, Rossini, Meyerbeer, Gounod, Bizet, Verdi, Boito and the Wagner of Rienzi and Lohengrin, among many others. A photograph of Igor in his mid-teens shows him at his desk surrounded by the icons of a musical passion, including montages of portraits of the great composers and a low relief of Beethoven. His early enthusiasm for Wagner is attested by a surviving notebook from 1896 with an entry on Parsifal: 1877 wrote text, 1879 composed opera in rough, 1882 orchestrated whole of Parsifal, with a drawing of Bayreuth in the form of a castle, and information about the dates of composition of Tristan. Whether or not Igor attended any Wagner in his youth, he must often in his teens have witnessed his father's performances in a wide range of other operas from the comfort of a family box. He certainly went to the 50th anniversary performance of Glinka's Ruslan and Lyudmila in November 1892 (with his father as Farlaf), possibly even to the premiere production of Tchaikovsky's Sleeping Beauty almost three years before that; and ballet matinees must have been a fairly common treat. Nothing survives, however, of any compositions of his own before 1898, and there was in all probability no talk of a musical career until at least that stage. Early piano lessons with a certain Aleksandra Snetkova were probably no more than a normal part of an upper middle-class domestic education, since Igor (like his brothers) was educated by governesses at home until he was 11. Teenage summer-holiday letters to his parents are more about the books he has read, the plays he has acted in and the sketches he has drawn than about music-making. But then music may already have become a touchy subject by the time he was 17; and it is transparent that Igor constructed his letters home, loving as they are, specifically to gratify his parents' expectations. In the 1890s the family began to spend long summer holidays with Kholodovsky aunts and uncles on their estates in trans-Volgan Samara (Pavlovka) and Ukraine, and after the death of Igor's eldest brother, Roman, in 1897 Fyodor and Anna summered routinely at one Ukrainian estate (Pechisky), where the adored Roman was buried, while Igor and (sometimes) his younger brother, Gury, preferred the other, Ustilug (in Volhynia), where there were lively female cousins and a less funereal atmosphere. This entailed long rail journeys for the boys, for which they were required to account in meticulous detail, and it also meant regular and painstaking health bulletins from Ustilug. Stravinsky's lifelong obsession with
illness, medicine and doctors doubtless sprang from this source. And it was not wholly unjustified, since tuberculosis was endemic in the Kholodovskys, and Igor and his surviving older brother Yury were both sufferers (to the extent that Igor spent the summers of 19034 with his Samaran aunt and uncle at Pavlovka, talking about music of which they were passionate amateurs and drinking huge quantities of koumiss, the Tartar fermented mare's milk, which was supposed to be good for the lungs). Like most well-to-do Russians, the Stravinskys also visited German spas and Swiss mountain resorts. Such holidays were traditional and, in some ritualistic sense, precautionary. But in 1902, Fyodor fell terminally ill with cancer, and the German trip that summer was no holiday and certainly no precaution, but a desperate, ultimately unavailing quest for treatment (which included the new Rontgen method). Igor, however, was able to put it to another use.2. Towards The Firebird, 190209.Stravinsky had left school (Gurevich's Gymnasium) the year before and entered St Petersburg University as a law student that autumn. His real wish, however, was to study music. Two years before that (in December 1899) he had acquired a new and more high-powered piano teacher, a pupil of Anton Rubinstein called Leokadiya Kashperova. Now, in November 1901, he started private lessons in harmony and counterpoint with Fedir Akimenko, a newly graduated student of Rimsky-Korsakov; and three months later Akimenko was replaced by the more sympathetic Vasily Kalafaty, also a former Rimsky pupil. There is some evidence that these theory lessons were a quid pro quo for Igor's agreeing to study law, which in Tsarist Russia was the normal (and reasonably foolproof) route to an eventual sinecure in the civil service. At the law faculty Stravinsky met and befriended Vladimir Rimsky-Korsakov, the composer's youngest son, and a keen violinist. And it was probably at his suggestion that, in Germany in August 1902, Igor made an excursion from Bad Wildungen to Heidelberg, where the Rimsky-Korsakovs were ensconced for the summer, bearing with him a portfolio of short pieces which may or may not have included the only two works (apart from the fragmentary Tarantella of 1898) which survive from this period: the little piano Scherzo in G minor, and the Pushkin song, Tucha (The Storm). Rimsky-Korsakov, who was not given to extravagant praise at the best of times, is unlikely to have been wildly impressed by these gauche miniatures or others like them. But equally he must have been struck by something about them, since he did not (as he is supposed to have done in other cases) simply advise Igor to stick to the law. Instead he insisted that he continue his theory lessons, and agreed to oversee his composition work in due course himself. Significantly, he advised him against entering the Conservatory, sensing that in such an environment the 20-year-old composer would merely be discouraged by his own lack of training. By the following summer, Stravinsky was at work on his first major task for Rimsky-Korsakov, a sumptuous four-movement Piano Sonata in F minor in the manner of Glazunov
not restricted by the academicisms and petty politics of a dying musical tradition. He in turn was accepted (including by the Parisian critics) as an equal in this sophisticated and vigorous milieu. In the Nouvelle Revue Francaise, Henri Gheon called The Firebird the most exquisite marvel of equilibrium we have ever imagined between sounds, movements and forms. The fact that this was a general aesthetic, rather than a specifically musical, judgement was, for the moment, of secondary importance. Whether or not because of his sudden leap to fame, Stravinsky decided to stay for the time being in the West with his family. He spent the remaining summer months in Brittany, composing the two curious Verlaine songs op.9 for his brother Gury (his first ever settings of a foreign language), and tinkering with a new idea for a ballet on a prehistoric subject which he and the painter Nikolay Roerich had already discussed in the spring. But by the time they had all moved in early September to Lausanne (where Katya was to have their third child), he was at work on some completely new pieces for piano and orchestra which soon, perhaps at Diaghilev's behest, became the basis for a whole ballet about the Russian fairground puppet Petrushka. The exact chronology of this change remains controversial. Diaghilev probably manoeuvred Stravinsky into a collaboration with Alexandre Benois (with whom he was making up a recent quarrel) in order to upstage the difficult and arrogant Fokine, who was still, at this point, involved in the new prehistoric ballet a project, moreover, from which Diaghilev was being excluded. The Petrushka subject had certainly been devised, and a good deal of the music written, by the time Benois was directly involved in mid-December 1910. Soon afterwards, Stravinsky paid a flying visit to St Petersburg, and the scenario was worked out in detail. He then returned to Beaulieu, in the south of France, where the family was wintering, and there composed much of the rest of the score. But the extraordinary ending, in which the ghost of the murdered puppet appears above the showman's booth and makes a rude gesture at him, only replaced the original idea of a carnival ending at the last minute. Stravinsky thought up and composed this conclusion in May in Rome, where the company was performing and rehearsing for the Paris season. Petrushka finally received its first performance conducted by Pierre Monteux, with choreography by (ironically) Fokine, designs by Benois, and the incomparable Nizhinsky in the title role, at the Theatre du Chatelet on 13 June 1911. With the Parisian public Petrushka was as great a success as The Firebird, and with musician colleagues like Debussy and Schmitt still greater, though the press, wary as ever of challenges to its idees recues, was more guarded. Once again, it was the integration of elements music, dance and design that dazzled balletomanes. But the real source of the work's power was the music. Debussy was fascinated by the sonorous magic of the conjuring-trick scene, where the puppets come to life by a spell of
which ... you seem to be the sole inventor (letter of 10 April 1912). But there was also a certain boldness, an aggressive self-confidence, which he could also not but envy: neither caution, nor pretension, as he wrote to Robert Godet (18 December 1911). It's childlike and untamed. Yet the execution is extremely delicate. This time Stravinsky went straight to Ustilug after the performances, and there began once more to think about the Roerich ballet. But there was still no detailed scenario. This was eventually thrashed out on a visit to Princess Tenisheva's estate at Talashkino (near Smolensk), where Roerich was at work on the interior painting of the chapel. Meanwhile, Stravinsky marked time by setting a series of poems by Konstantin Bal'mont: first a pair of miniatures for voice and piano, Nezabudochka tsvetochek' (The Forget-Me-Not) and Golub' (The Dove), which can be seen as studies for certain melodic treatments in the ballet, then secondly a choral-orchestral setting of the symbolist poem Zvezdolikiy (Star-Face, but usually known as The King of the Stars). This strange work, distinguished by astonishing chordal sonorities, was finished in short score by the end of September (the full score had to wait until the following summer). Only then, still in Ustilug, did Stravinsky start work on Vesna svyashchennaya (The Rite of Spring), as the prehistoric ballet would eventually be called. Intensive work continued at Clarens, on Lake Geneva, where the family was once again spending the winter. By the end of February 1912 the first part was complete in orchestral score, and Stravinsky seems still to have been unworried by the need to finish in time for the Paris season. The subsequent postponement until 1913 probably had more to do with Diaghilev's intention to have the ballet choreographed not by the detested (and in any case overworked) Fokine, but by Nizhinsky, who was fully occupied with Debussy's L'apres-midi d'un faune for the 1912 season, and as yet too inexperienced to be trusted with the hugely complex new work. At all events, Stravinsky eased up. In the summer, at Ustilug, he completed the full score of The King of the Stars; he made an excursion with Diaghilev to Bayreuth, where he saw Die Meistersinger and probably Parsifal (an experience he certainly found less disagreeable than he later pretended in his autobiography); and late in October he made a brief visit to St Petersburg his last, as it would transpire, for almost exactly half a century. The Rite of Spring was eventually composed to the end at Clarens in November, after which he went to Berlin for the Ballets Russes season, met Schoenberg and attended a performance of Pierrot Lunaire (12 December). In January 1913 he completed the exquisite Three Japanese Lyrics, whose instrumentation for small mixed ensemble perhaps shows the passing influence of Schoenberg's masterpiece. In February he was in London with the company, his first visit to Britain (though The Firebird had preceded him the previous June). In March, at Clarens, he added the part two introduction to The Rite of Spring and worked with Ravel on
premiere of Petrushka, discuss Diaghilev's new idea of a danced Mass and play him the draft of the first scene of the wedding ballet, Svadebka (The Wedding). In Rome he also met some of the Futurists, including Marinetti and the sculptor Boccioni; he saw more of them in Milan in April and heard a demonstration of Luigi Russolo's noise machines. Back in Switzerland, the family at last took a lease on a house at Morges, just outside Lausanne the first settled tenancy of their married life. They were to stay in Morges (at two different addresses) until 1920. Here Stravinsky became friendly with a group of Swiss-French writers and artists dedicated to a specifically Vaudois, locale-conscious art that would be, in Louis Lavanchy's words, audaciously original and candidly unrefined (Essais critiques 19251935, Lausanne, 1939): a vision which, to some extent, reflected his own current ethnic preoccupations, though he may have been less interested in their politics, which were pro-French interventionist. Among these writers, the novelist C.F. Ramuz became a frequent guest at the Stravinsky house, the Villa Rogivue, and as Stravinsky's compositions on Russian texts began to emerge, he took on the task of translating them into French. This led naturally and logically to their collaboration on an original theatre piece, Histoire du soldat, a work which clearly reflects the politicized local aspirations of the Vaudois movement. For the first year or so of the war, Stravinsky worked away at his little songs and choruses, with their tight distillation of the cellular and harmonic field techniques of The Rite of Spring, and at The Wedding, which was to be an austere ritual in the same mould, but without the spectacular trappings, the fake prehistory, the noise for its own sake and the dense piling-up of counterpoints. The sacrifice here would be vibrant and sociable, not violent or bloodthirsty. The Russian texts, taken from the 19th-century collections of Kireyevsky (and, for the choruses and songs, Sakharov and Afanas'yev) were a crucial part of the new idiom. Stravinsky was experimenting with an idea he later claimed to have extracted from Russian folk verse of a moveable accent, which could be played off against the natural accents of speech, as well as against the musical metre, to make yet an extra rhythmic tier, somewhat like the stresses superimposed on the regular patterns of The Rite, but less arbitrary. As for sonority, some concept of the village band seems to lie behind the choices of ensemble. The original version of The Wedding, essentially completed in 1917, was scored for a large mixed band of about 40, with only a small string group, much wind, and a battery of percussion and twangy plucked and struck strings, including cimbalom (an instrument Stravinsky became obsessed with after hearing and buying one in Geneva in 1915), harps, piano and harpsichord. There is some echo of this sound-world in the dance piece Bayka pro lisu, petukha, kota da barana (The Fable of the Fox, the Cock, the Tomcat and the Ram), better known by its French title, Renard, which Stravinsky wrote