Name: Les noces, K040
Start: 2020-11-21T00:00:00.000Z
End: 2020-11-21T00:00:00.000Z
Location: Zaryadye Hall

Organization

Baritone

Alexey Smirnov

Le Père

Tenor

Maxim Sazhin

Le Fiancé

Soprano

Alina Yarovaya

La Fiancée

Conductor

Nikolay Azarov

Igor Dronov

Zaryadye Hall

Les noces, K040 -  (The Wedding)

Moscow

Russia

Public

The Wedding

Approved

Les Noces Stravinsky

The concert is attended by ensembles that have earned recognition for their particularly reverent attitude to Russian music, subtle and accurate reading of the works of Russian classics. The works collected in the program are deeply personal statements of composers Rachmaninov, Stravinsky and Sviridov on the theme of Russian song, folklore and traditions.

 "Three Russian Songs" were created by Rachmaninoff in exile in the United States (the premiere took place in Philadelphia in 1927). After eight years of silence, the composer turned to Russian folk song as a source of inspiration, the revival of his creative will. One of the songs "Oh you, Vanka" Sergei Vasilyevich heard performed by F.M. Chaliapin.

Sviridov 's "Kursk Songs"  were first performed on June 13, 1964 in the Great Hall of the Conservatory. The cantata was based on the songs of the Kursk region, Sviridov's small homeland: lyrical lingering, oblique, wedding, barge, round dance. The composer chose 7 songs, preserving not only their special, sometimes archaic, melody, but also the originality of the local language.

"Podblyuchnye songs" and "Svadebka" belong to the so-called Russian period of Igor Fedorovich Stravinsky's work, the main theme of which was Russian folklore. In the folk tradition, songs performed during the Christmas divination for the narrowed one (“fortune-telling under the dish”) were called “subservient”. The cycle was written in Switzerland, where the composer moved at the beginning of the First World War, and was first performed in Geneva in 1918.

"Svadebka"  was created from 1914 to 1923. On June 13, 1923, the ballet was presented by the Diaghilev troupe at the Sarah Bernard Theater in Paris. The audience was stunned by the novelty of the musical language, largely due to the interpretation of the piano part. According to Stravinsky, “in the past, the piano was used like an orchestra, at times as if it were a human voice, that is, they made it “sing” ... forgetting about its completely obvious and individual character of a percussion instrument.”

English

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