Исполнитель:
Luciano Pavarotti 
…Под
музыку Вивальди, под старый клавесин,
Posted
By : Kdorimastvarvposesti | Date : 14 Oct 2008 10:42 |
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Dmitry
Shostakovich - Orchestral Works. Performed
by USSR Ministry of Culture Soloists
Ensemble
Dmitry Shostakovich -
Orchestral Works
2 CD-Set | Genre: Neo-Classical | Lossles: APE+CUE | Covers (300 dpi) | 347+346 Mb
SPARS Code: ADD | Labels: Melodiya (Russia), BMG Classics | 1998 Year | 2h:23min
Four mirrors: Rapidshare, Depositfiles, Uploading and Megaupload
2 CD-Set | Genre: Neo-Classical | Lossles: APE+CUE | Covers (300 dpi) | 347+346 Mb
SPARS Code: ADD | Labels: Melodiya (Russia), BMG Classics | 1998 Year | 2h:23min
Four mirrors: Rapidshare, Depositfiles, Uploading and Megaupload
“Dmitri
Shostakovich listen (Russian: Дми́трий
Дми́триевич Шостако́вич, Dmitrij
Dmitrievič Šostakovič) (September 25
[O.S. September 12] 1906–August 9, 1975)
was a Russian composer of the Soviet
period. Shostakovich had a complex
relationship with the Soviet government,
suffering two official denunciations of
his music, in 1936 and 1948, and the
periodic banning of his work. At the
same time, he received a number of
accolades and state awards and served in
the Supreme Soviet. Despite the official
controversy, he remained the most
popular Soviet composer of his
generation.
After a period influenced by Prokofiev and Stravinsky (Symphony No. 1), Shostakovich switched to modernism (Symphony No. 2 and “The Nose”) before developing a hybrid of styles with “Lady Macbeth” and the ill-fated Fourth Symphony. This hybrid style ranged from the neo-classical (with Stravinskian influences) to the post-romantic music (with Mahlerian influences). His tonality involved much use of modality and some astringent neo-classical harmonies à la Hindemith and Prokofiev. His music frequently includes sharp contrasts and elements of the grotesque.
Shostakovich prided himself on his orchestration, which is clear and well-projected. This aspect of Shostakovich's technique owes more to Gustav Mahler than Rimsky-Korsakov. His greatest works are generally considered to be his symphonies and string quartets, fifteen of each. Other works include operas, six concertos, and a substantial quantity of film music. David Fanning concludes in Grove that: Amid the conflicting pressures of official requirements, the mass suffering of his fellow countrymen, and his personal ideals of humanitarian and public service, he succeeded in forging a musical language of colossal emotional power.” – Wikipedia.org
After a period influenced by Prokofiev and Stravinsky (Symphony No. 1), Shostakovich switched to modernism (Symphony No. 2 and “The Nose”) before developing a hybrid of styles with “Lady Macbeth” and the ill-fated Fourth Symphony. This hybrid style ranged from the neo-classical (with Stravinskian influences) to the post-romantic music (with Mahlerian influences). His tonality involved much use of modality and some astringent neo-classical harmonies à la Hindemith and Prokofiev. His music frequently includes sharp contrasts and elements of the grotesque.
Shostakovich prided himself on his orchestration, which is clear and well-projected. This aspect of Shostakovich's technique owes more to Gustav Mahler than Rimsky-Korsakov. His greatest works are generally considered to be his symphonies and string quartets, fifteen of each. Other works include operas, six concertos, and a substantial quantity of film music. David Fanning concludes in Grove that: Amid the conflicting pressures of official requirements, the mass suffering of his fellow countrymen, and his personal ideals of humanitarian and public service, he succeeded in forging a musical language of colossal emotional power.” – Wikipedia.org
В
начале 1914 года, за несколько месяцев до начала Первой мировой войны,
американский скрипач Альберт Сполдинг случайно встретил своего знаменитого
коллегу Фрица Крейслера, находившегося в зените славы. Последний выглядел
несколько подавленным и признался, что подумывает о завершении артистической
карьеры. Американец был чрезвычайно удивлен ведь Крейслер считался в ту пору
первым скрипачом мира и еще не достиг и сорока лет. На вопрос, что побудило
его к таким размышлениям, Крейслер рассказал, что недавно побывал в России и
присутствовал на классном вечере Леопольда Ауэра в Петроградской
консерватории. Среди многих талантливых ребятишек особенно поразил его
тринадцатилетний мальчик его игра показалась Крейслеру столь совершенной,
что всем остальным скрипачам на этом фоне попросту больше нечего было делать.
В
1917 году Хейфец давал концерты в Петрограде и Саратове. Последний раз он
играл в Петрограде на Концерте-митинге эсеров, где выступал А. Керенский.
Путь в Америку из-за войны пролегал через Сибирь. 8 июля семья Хейфецов (кроме
дочерей) отплыла на пароходе из Владивостока в Японию, а оттуда в Америку.
