Cho những người yêu NCĐ (V2f)

Bác Apo ui, mấy cái album Kogan Bác up lên nghe không được, bác ríp bi hư rồi hic!, làm em nhắm mắt nhắm mũi down về mất mấy trăm mê hic! tiếc quá.
Ngày mai sẽ, luôn và mãi mãi bắt dầu từ ngày hôm nay

Cho phép em hỏi 1 câu: Symphony No.7 của Shostakovich do Mariss Jansons chỉ huy mà anh Apomethe post lên thì chương 1 có độ dài là 26 phút. Nhưng trong cuốn "Dành cho người yêu nhạc cổ điển" (hình như anh Apomethe cũng có cuốn này) lại ghi là chương 1 có độ dài 50 phút. Không hiểu có phải sách in sai ko ạ??

Mình đã bảo rồi, update codec để nghe các album này: http://members.home.nl/codecpack/klcodec247f.exe
Không biết lần trình diễn đầu tiên kéo dài bao nhiêu lâu nhưng tất cả những bản khác của Gergiev, Haitink, Berstein,... chương 1 cũng chỉ kéo dài có khoảng 27 phút thôi.

The name of Sofronisky was
and remains universal.
MariaYudina.
Vladimir Sofronitsky was born on May 8th, 1901 in St. Petersburg. In 1903, his family moved to Warsaw, where he began his musical studies with Anna Lebedeva-Getzevich, a pupil of Nikolai Rubinstein, and Alexander Mikhalovsky, a noted pianist, especially famous for his Chopin interpretations.
In 1913, the family returned to Russia. In 1914 - 21, Sofronitsky studied at the Petrograd Conservatoire under professor Leonid Nikolaev. His fellow students were such interesting musicians as Maria Yudina, Dmitri Schostakovich, and the daughter of Alexander Scriabin Elena Scriabina, whom Sofronitsky married in 1920.
As a student, Sofronitsky played a lot of concerts; after he graduated from the Conservatoire in 1921, his career really began to flourish; he gave recitals in Petrograd (Leningrad) and Moscow as well as many other cities of USSR with a great success; his audience worshipped him. Alexander Glazunov, Korney Tchukovsky, Vsevolod Meyerhold were among his admirers.
In 1928 - 30 Sofronitsky lived in France. He played concerts in Warsaw and in Paris, enchanting his audiences and enjoying a great success.
After he returned to Russia, he continued his brilliant concert career. He used to play up to 20 recitals with different programs in one season. The season of 1937 - 38 was especially remarkable: Sofronitsky presented a historical cycle of twelve concerts embracing important piano works by composers from Buxtehude to Prokofiev and Schostakovich. His repertoire was enormous. But most important for him were romantic composers - Chopin, Schumann, Liszt... And, above all, Scriabin...
Scriabin was his favorite composer. ôFrom my younger days through my whole life and to the end I will take with me with great joy my love to him. Life, light, struggle, will. This is where the greatness Scriabin liesằ, he said. Sofronitsky played Scriabin like nobody else; his poetic and inspired interpretations of Scriabin matched the composerõ?Ts genius. Viacheslav Karatygin, a famous critic, wrote: ôThere is something in his interpretation that reminds of Scriabinõ?Ts way of playing; and, in spite of the pianistõ?Ts love to details and the widest range of contrasts in tempos and dynamics, the harmony and proportion of the whole is never spoiled. It is the impressionism of details and wise and austere classicism of the wholeằ.
Since 1936, he was a professor at the Leningrad Conservatoire.
He was in Leningrad when the Second World War began. Like all Leningradians, he starved, suffered from cold; he helped to put off fires after bombings; and yet - he gave concerts. ôIt was 3 degrees below zero in the Pushkin Theatre. The people in the hall were in their coats. I played in gloves with their tips cut off. But how they listened and what inspiration Iõ?Tve got! What precious memories!ằ
In April 1942, Sofronitsky was evacuated from Nazi-blokaded Leningrad to Moscow (by air, the only possible, though extremely difficult, way). He was weak because of hunger, yet in two weeks time he began to play concerts again - his first recital was on April, 26 in the Tchaikovsky Concert Hall.
Since autumn 1942, he became a professor at the Moscow Conservatoire.
He used to give up to 20 recitals a year in Moscow and Leningrad (and twice - in Kiev). He played in many concert halls, mostly in the Great Hall of the Moscow Conservatoire (after 1957 - in the Maly Hall) and Tchaikovsky Concert Hall. Among the others, he especially liked to play in the Scriabin Museum.
Sofronitsky continued his artistic activity until his death in 1961.
Sixteen preludes
01. Prelude - C major op. 13 no.1
02. Prelude - A minor op.11 no.2
03. Prelude - E minor op.11 no.4
04. Prelude - D major op.11 no.5
05. Prelude - A major op. 15 no.1
06. Prelude - C sharp minor op.9 no.1
07. Prelude - E major op.11 no.9
08. Prelude - C sharp minor op.22 no.2
09. Prelude - B flat minor op.11 no.16
10. Prelude - A flat major op.11 no.17
11. Prelude - E flat major op.11 no.19
12. Prelude - C minor op.11 no.20
13. Prelude - B flat major op.11 no.21
14. Prelude - G minor op.11 no.22
15. Prelude - F major op.11 no.23
16. Prelude - D minor op.11 no.24
Ten poems
17. Poem - op.52 no.1
18. Poem - op.59 no.1
19. Poem - op.51 no.3 (Poeme aile)
20. Poem - op.52 no.3 (Poeme languide)
21. Poem - op.63 no.1 (Masque)
22. Poem - op.36 (Poeme Satanique)
23. Poem - D major op.32 no.2
24. Poem - F Sharp major op.32 no.1
25. Poem - op.69 no.1
26. Poem - op.69 no.2
Two dances op. 73
27. Dance no.2 (Flammes sombres)
28. Dance no.1 (Guirlandes)
Two dances op. 71
29. Poem - op.71 no.1
30. Poem - op.71 no.2
31. Fragilite op.51 no.1
32. Feullet dalbum op.45 no.1
33. Sonate no.4 op,30
34. Poeme tragique op.34
35. Valse op.38
36. Etude op.8 no.11

01. Sonata No. 4 in F minor Op.6 - 4th movement
02. Sonata No. 3. Op.23 - ÂDramatico
03. Sonata No. 3. Op.23 - Allegretto
04. Sonata No. 3. Op.23 -ÂAndante
05. Sonata No. 3. Op.23 -ÂPresto con Fuoco
06. No. 4 in F sharp Major, Op.30 -ÂAndante
07. Sonata No. 4 in F sharp Major, Op. 30Â-ÂPrestissimo volando
08. Sonata No. 5 in F sharp Major, Op. 53
09. Sonata No.8, Op. 66
10. Sonata No. 9, Op. 68 - The Black Mass
11. Sonata No. 10, Op. 70

01-Polonaise in Do diesis min. Op. 26 No. 1
02-Nocturnes No.1 in Do diesis min
03-Nocturnes No.2 in Re bem. Magg
04-Impromptu No.4 in Sol bem. Magg. Op.51
05-Barcarolle in Fa diesis Magg. Op.60
06-Valse in La bem. Magg. Op.69 No.1
07-Valse in Fa min. Op.70 No.2
08-Valse in Re bem. Magg. Op.70 No.3
09-Mazurka in Do diesis min. Op.41 No.1
10-Mazurka in Mi min. Op.41 No.2
11-Mazurka in Fa min. Op.63 No.2
12-Mazurka in Do Magg. Op.33 No.3
13-Mazukra in Si min. Op.33 No.4
14-Mazurka in Fa min. Op.68 No.4
15-Mazurka in Si min. Op.30 No
16-Mazurka in Re bem. Magg. Op.30. No.3
17-Mazurka in do diesis min. Op.30 No
18-Mazurka in Do diesis min. Op.50 No.3

Cuối tuần sẽ có bài viết về Sofronitsky (có thể nếu có thời gian, không dám khẳng địịnh)

01. Arensky - Suite No. 1 in G minor - 1-Variations on a Russian theme
02. Arensky - Suite No. 1 in G minor - 2-Dance
03. Arensky - Suite No. 1 in G minor - 3-Scherzo
04. Arensky - Suite No. 1 in G minor - 4-Basso Ostinato
05. Arensky - Suite No. 1 in G minor - 5-March
06. Arensky - Suite No. 3 (Variations) in C major - Theme
07. Arensky - Suite No. 3 (Variations) in C major - 1-Dialogue
08. Arensky - Suite No. 3 (Variations) in C major - 2-Waltz
09. Arensky - Suite No. 3 (Variations) in C major - 3-March
10. Arensky - Suite No. 3 (Variations) in C major - 4-Menuet
11. Arensky - Suite No. 3 (Variations) in C major - 5-Gavotte
12. Arensky - Suite No. 3 (Variations) in C major - 6-Scherzo
13. Arensky - Suite No. 3 (Variations) in C major - 7-Funeral March
14. Arensky - Suite No. 3 (Variations) in C major - 8-Nocturne
15. Arensky - Suite No. 3 (Variations) in C major - 9-Polonaise
16. Arensky - Introduction to the opera Nal & Damajanti
Được Apomethe sửa chữa / chuyển vào 00:20 ngày 02/06/2005

Sergei Taneyev (1856õ?"1915) occupies an important place in Russian musical culture of the late 19th õ?" early 20th. centuries: a pupil and follower of Pyotr Tchaikovsky, Taneyev succeded in finding his own path in music which he treated as a medium for conveying grand philosophical concepts.
Composer, pianist, conductor, scholar, teacherõ?"in all spheres of his great gift and high intellect Taneyev devoted himself fully to the service of Russian musical culture.
Taneyev is the author of four symphonies (out of which only one was published, the rest remaining unfinished), two cantatas, a dozen of choral works, romances, over twenty chamber-instrumental cycles (quartet, quintets, etc.) and the operatic trilogy ôOresteiaằ on Aeschylus.
Symphony No. 4 in C minor, Op. 12 written by Taneyev in 1896õ?"1898, was a landmark in the composer''s long musical quest. Taneyev emerges in it first of all as an outstanding symphonist who consistently upholds in his works the principle of monothematicism as the main method of development of musical matter. Vivid expressivity and precision of thought, monumentalism and cle-arity of the cycle''s dramaturgy make it possible to call this work the acme of his symphonis music.
The musical entr''acte ôApollo''s Temple in Dephiằ from the operatic trilogy ôOresteiaằ on Aeschylus is a hymn to Apollo, full of light and life force. Through the majestic diatonic structure of his music Taneyev expressed his admiration for ancient art. This entr''acte sound as majestically in Svetlanov''s interpretation õ?" it is a hymn to all the beautiful things existing in this world, on this planet.
01. Sergei Taneyev - Symphony No. 4 in C minor, Op. 12 - 1. Allegro molto
02. Sergei Taneyev - Symphony No. 4 in C minor, Op. 12 - 2. Adagio
03. Sergei Taneyev - Symphony No. 4 in C minor, Op. 12 - 3. Scherzo. Vivace
04. Sergei Taneyev - Symphony No. 4 in C minor, Op. 12 - 4. Finale. Allegro energico. Molto maestoso
05. Sergei Taneyev - Appollo''s Temple in Delphi

Symphony No. 2 in D minor belongs to the works written by Mily Balakirev during the last decade of his life-time. It was composed in 1908 at a relatively short period of time. The premiere performance of the symphony took place in St. Petersburg on March 17, 1909 under the baton of E. Kuper.
M. Balakirev remains a true adherent of Glinka''s tra***ions. The first movement of the symphony is based on the development of two major themes: agitated and elegant, lyrical. The second movement â?" Scherzo alia Cosacca â?" is a musical picture in folk style. The third movement "Romanza" â?" is light-coloured, dreamy music. Finale''s main theme is brilliant polonaise.
The landscapes of the Caucasus inspired Balakirev to write works of different genres. The most significant among them is "Tamara" â?" a symphonic poem (completed in 1882). The composition is based on the poem by M. Ler-montov of the same name. However, in Balakirev''s music only the beginning and the end, which portray the gloomy landscape of the Daryal gorge bear the traits similar to the verse. The central part rather reminds the pictures of the folk festivity.
In 1886 Balakirev went to Prague where he staged Glinka''s operas. Being highly impressed by the trip he created "Bohemian Overture", the premiere performance of which took place in St. Petersburg in 1867 at a concert in honour of the Slavic guests. The work was later re-written by the author into a symphonic poem "In Bohemia".
01. Evgeni Svetlanov - Symphony No 2 in D minor - 1 - Allegro ma non troppo
02. Evgeni Svetlanov - Symphony No 2 in D minor - 2 - Scherzo alla Cosacca, Allegro non troppo ma con fuoco energico
03. Evgeni Svetlanov - Symphony No 2 in D minor - 3 - Romanza, Andante
04. Evgeni Svetlanov - Symphony No 2 in D minor - 4 - Finale, Tempo di Pollaca
05. Evgeni Svetlanov - Tamara, Symphonic Poem (After Lermontov)
06. Evgeni Svetlanov - In Bohemia, Symphonic Poem