112,613 research outputs found
Rostropovich
No full textROSTROPOVICH
By Alexander Ivashkin
Tokyo: Shunjusha, 2007.
This biography is the first full-scale publication dedicated to the life and art of the greatest musician
of our time, Mstislav Rostropovi
ch. It includes many important documents from Rostropovich's
private archive, his own writings, fragments from
his talks with the author, the full list of
Rostropovich's premieres as a cellist, c
onductor and pianist, and many unique photos.
It was the Maestro's wish that hi
s biography should be published in
Japan as soon as possible. Japan
was the country Rostropovich liked very much. He
played and conducted in Japan very often, and it
was in Tokyo where his very last con
cert took place in early December 2006.
The book was written by Alexander Ivashkin, a celli
st and a friend of Ro
stropovich, in a close
collaboration with the Maestro himself.
Alexander Ivashkin is Professor of Music at
Goldsmiths College, University of London.
Translated from English and Russian by Satoyo Akimot
Shostakovich, old believers and new minimalists
No full textThe chapter discusses ‘minimalist’ elements of Dmitri Shostakovich's style as embodiments/ expressions of traditional Russian expressive modes rooted in the idioms of old folk music and the music of the ‘old believers’
The collection volume comprises a selection of articles that, as a group, marks an important new stage in our understanding of Shostakovich and his working environment. The papers have in common a perspective that we believe offers the most fruitful route forward for Shostakovich studies today. All address aspects of the composer’s output in the context of his life and cultural milieu. They are thus illuminating from two directions: the uncovering of ‘outside’ stimuli allows us to perceive the motivations behind Shostakovich’s artistic choices, while at the same time the nature of those choices offers insights into the workings of the larger world—cultural, social, political—that he inhabited. Thus his often ostensibly quirky choices are revealed as responses—by turns sentimental, moving, sardonic and angry—to the particular conditions, with all their absurdities and contradictions, that he had to negotiate.
The composer emerging from the role of tortured loner of older narratives into that of the gregarious and engaged member of his society that, for better and worse, characterized the everyday reality of his life
A Schnittke Reader
No full textThe first English-language collection of Schnittke's writings.
This compilation assembles previously published and unpublished essays by Schnittke and supplements them with an interview with cellist and scholar Alexander Ivashkin. The book is illustrated with musical examples, many of them in Schnittke’s own hand. In A Schnittke Reader, the composer speaks of his life, his works, other composers, performers, and a broad range of topics in 20th-century music. The volume is rounded out with reflections by some of Schnittke’s contemporaries
Live Performance
No full textConcerto Performances of two cello concertos - by Nikolai Korndorf (written for Alexander Ivashkin) and by Alexander Raskatov (world premiere) - at the International Festival 'Stars of the White Nights'. Alexander Ivashkin, solo cello, with the Mariinsky Orchestra conducted by Valery Gergie
Alfred Schnittke: Concerto for Electric Instruments
No full textAlfred Schnittke, Concerto for Electric Instruments:
Reconstruction and world premiere performance conducted by Alexander Ivashkin
London Philharmonic Orchestra Schnittke Festival, Southbank Centre, 22 November 200
New Cello Concertos, Collaborations with Composers (portfolio), 2011 + 2013
No full textRoger Redgate (b.1958) – Black Icons, for cello and small orchestra (2011).
World premiere at the Rakhmaninov’s Hall of Moscow State Conservatoire in April 2011 (commissioned by the Eurocommission for Ivashkin).
http://youtu.be/nP7lJhNHd8Y
Published on CD ‘Ivashkin plays Gubaidulina, Tarnopolski and Redgate’, Alma Classics 5032 , Auckland, New Zealand, November, 2013.
Gabriel Prokofiev (b.1974) – Cello Concerto No 1 (2013).
Commissioned for Ivashkin by Ralph Vaughan-Williams Foundation, first performed at the concert 'The Prokofievs: Three Generations’ at the Great Hall of St Petersburg Philharmonia on 18 May 2013 , with St Petersburg Academic Symphony orchestra, conducted by Sabrie Bekirova, together with the unfinished Concertino for cello and orchestra by Sergei Prokofiev and poems by Oleg Prokofiev.
http://youtu.be/gItCa9FrV4U
The complete audio recording: http://www.alexanderivashkin.com/11video-audio.html#live_radi
Concert in memory of Noelle Mann at Queen Elizabeth Hall, London
No full textAlexander Ivashkin played cello and conducted. Other artists included Dmitri Alexeev on piano and Goldsmiths Sinfonia and Chorus.
Works performed included:
- Sergei Prokofiev – sonata for cello and piano, op. 119
- S. Prokofiev – cantata 'Seven, they are seven
Alfred Schnittke: cello concerto no 2 performed with London Philharmonic Orchestra
No full textConcerto performance in Royal Festival Hall with London Philharmonic Orchestra under Vladimir Jurowski:
Ivashkin, a close colleague of the dedicatee Mstislav Rostropovich, managed to emulate something of his great fellow cellist's intensity and perhaps an even greater sense of line and purpose
Contemplating Shostakovich: Life, Music and Film.
No full textContemplating Shostakovich marks an important new stage in the understanding of Shostakovich and his working environment. Each chapter covers aspects of the composer's output in the context of his life and cultural milieu. The contributions uncover 'outside' stimuli behind Shostakovich's works, allowing the reader to perceive the motivations behind his artistic choices; at the same time, the nature of those choices offers insights into the workings of the larger world – cultural, social, political – that he inhabited. Thus his often ostensibly quirky choices are revealed as responses – by turns sentimental, moving, sardonic and angry – to the particular conditions, with all their absurdities and contradictions, that he had to negotiate. Here we see the composer emerging from the role of tortured loner of older narratives into that of the gregarious and engaged member of his society that, for better and worse, characterized the everyday reality of his life.
This invaluable collection offers remarkable new insight, in both depth and range, into the nature of Shostakovich's working circumstances and of his response to them. The collection contains the seeds for a wide range of new directions in the study of Shostakovich's works and the larger contexts of their creation and reception.
Contents: Contemplating Shostakovich: life, music, films, Alexander Ivashkin and Andrew Kirkman; Part I Music and Style: Through the looking glass: reflections on the significance of words and symbols in Shostakovich’s music, Elizabeth Wilson; Shostakovich, old believers and new minimalists, Alexander Ivashkin; Five Satires (Pictures of the Past) by Dmitrii Shostakovich (op. 109): the musical unity of a vocal cycle, Gilbert Rappaport; Moving towards an understanding of Shostakovich’s Viola Sonata, Ivan Sokolov, translated by Elizabeth Wilson. Part II Film: Madness by design? Hamlet’s state as defined through music, Erik Heine; Stalin (and Lenin) in Shostakovich’s cinema, John Riley; Hamlet, King Lear and their companions: the other side of film music, Olga Dombrovskaia. Part III Life and Documents: Arrangements for Piano Four Hands in Dmitrii Shostakovich’s creative work and performance, Inna Barsova; Shostakovich and Soviet Eros: forbidden fruit in the realm of communal Communism, Vladimir Orlov; A Soviet opera in America, Terry Klefstad; Shostakovich in mid-1930s: operatic plans and their realization (autograph of unknown opera by the composer), Olga Digonskaia, translated by Stephen Dinkeldein; Index
Contemplating Shostakovich: Life, Music and Film.
No full textContemplating Shostakovich marks an important new stage in the understanding of Shostakovich and his working environment. Each chapter covers aspects of the composer's output in the context of his life and cultural milieu. The contributions uncover 'outside' stimuli behind Shostakovich's works, allowing the reader to perceive the motivations behind his artistic choices; at the same time, the nature of those choices offers insights into the workings of the larger world – cultural, social, political – that he inhabited. Thus his often ostensibly quirky choices are revealed as responses – by turns sentimental, moving, sardonic and angry – to the particular conditions, with all their absurdities and contradictions, that he had to negotiate. Here we see the composer emerging from the role of tortured loner of older narratives into that of the gregarious and engaged member of his society that, for better and worse, characterized the everyday reality of his life.
This invaluable collection offers remarkable new insight, in both depth and range, into the nature of Shostakovich's working circumstances and of his response to them. The collection contains the seeds for a wide range of new directions in the study of Shostakovich's works and the larger contexts of their creation and reception.
Contents: Contemplating Shostakovich: life, music, films, Alexander Ivashkin and Andrew Kirkman; Part I Music and Style: Through the looking glass: reflections on the significance of words and symbols in Shostakovich’s music, Elizabeth Wilson; Shostakovich, old believers and new minimalists, Alexander Ivashkin; Five Satires (Pictures of the Past) by Dmitrii Shostakovich (op. 109): the musical unity of a vocal cycle, Gilbert Rappaport; Moving towards an understanding of Shostakovich’s Viola Sonata, Ivan Sokolov, translated by Elizabeth Wilson. Part II Film: Madness by design? Hamlet’s state as defined through music, Erik Heine; Stalin (and Lenin) in Shostakovich’s cinema, John Riley; Hamlet, King Lear and their companions: the other side of film music, Olga Dombrovskaia. Part III Life and Documents: Arrangements for Piano Four Hands in Dmitrii Shostakovich’s creative work and performance, Inna Barsova; Shostakovich and Soviet Eros: forbidden fruit in the realm of communal Communism, Vladimir Orlov; A Soviet opera in America, Terry Klefstad; Shostakovich in mid-1930s: operatic plans and their realization (autograph of unknown opera by the composer), Olga Digonskaia, translated by Stephen Dinkeldein; Index
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