Lost and found 2: a Stravinsky orchestral work

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John F
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Lost and found 2: a Stravinsky orchestral work

Post by John F » Thu Dec 01, 2016 4:40 am

Unlike that "Mozart" concerto, this is the real thing.

Second-Ever Concert of Stravinsky’s Lost ‘Funeral Song’ to Stream Free
By MICHAEL COOPER
NOV. 29, 2016

An early Stravinsky work that was performed just once, in 1909, and then disappeared during the Russian Revolution will finally receive its second performance on Friday. The recently rediscovered piece will be conducted by Valery Gergiev at the Mariinsky Theater in St. Petersburg, in a concert that will be streamed online, free of charge.

The long-lost piece, “Funeral Song,” a 12-minute orchestral work that Stravinsky wrote when he was 26 to mark the death of his teacher, Nikolai Rimsky-Korsakov, was rediscovered in 2015 amid masses of scores at the St. Petersburg Conservatory. Scholars consider it a missing link between his youthful efforts and the ballets (including “The Firebird,” “Petrushka” and “The Rite of Spring”) with which he made his international reputation in the years that followed.

Mr. Gergiev will lead the Mariinsky Orchestra in “Funeral Song,” which will be performed alongside “Firebird” and Rimsky-Korsakov’s suite from “The Legend of the Invisible City of Kitezh,” to begin a yearlong celebration of Stravinsky’s music. The concert will be streamed online on medici.tv, and on Facebook on Friday at 2 p.m. New York time.

“Funeral Song” was performed on Jan. 17, 1909, at a memorial concert for Rimsky-Korsakov. Stravinsky later wrote that the score had “unfortunately disappeared in Russia during the Revolution, along with many other things which I had left there.” He remained curious about it in his later years, writing in “Memories and Commentaries”: “I would be curious myself to see what I was composing just before ‘The Firebird.’”

More audiences will get to hear the work live beginning next year: Boosey & Hawkes, Stravinsky’s principal publisher, is preparing the full score for publication, and a number of concerts around the world are already being planned.

http://www.nytimes.com/2016/11/29/arts/ ... -free.html
John Francis

lennygoran
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Re: Lost and found 2: a Stravinsky orchestral work

Post by lennygoran » Thu Dec 01, 2016 5:05 am

John F wrote:
An early Stravinsky work that was performed just once, in 1909, and then disappeared during the Russian Revolution will finally receive its second performance on Friday. The recently rediscovered piece will be conducted by Valery Gergiev at the Mariinsky Theater in St. Petersburg, in a concert that will be streamed online, free of charge.... Rimsky-Korsakov’s suite from “The Legend of the Invisible City of Kitezh,”
Thanks for the alert-I'll try to remember to catch it. On Kitezh funny I had come upon this prediction that the Met will do Rimsky-Korsakov's The Legend of the Invisible City of Kitezh in 2019/20
Production: Dmitri Tcherniakov :( Too bad they chose Tcherniakov Regards, Len

John F
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Re: Lost and found 2: a Stravinsky orchestral work

Post by John F » Thu Dec 01, 2016 9:55 am

This shows that Valery Gergiev still has some influence at the Met, because he's been crusading for this opera for years, and conducted two different Mariinsky Theater productions of it on tour in NYC. Some think it Rimsky-Korsakov's masterpiece. I wouldn't go so far, but it may be his most ambitious work, and I look forward to seeing it again.
John Francis

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Re: Lost and found 2: a Stravinsky orchestral work

Post by lennygoran » Thu Dec 01, 2016 10:16 am

John F wrote: and I look forward to seeing it again.
Yes I saw it too July 23, 2003-Lincoln Center Festival--that was a great summer! Regards, len

LINCOLN CENTER FESTIVAL REVIEW; Casting New Spell Over Russian Tale

By ANTHONY TOMMASINI JULY 18, 2003


During a symphonic interlude before the final scene of Rimsky-Korsakov's enchanted opera ''The Legend of the Invisible City of Kitezh and the Maiden Fevronia,'' the central character, young Fevronia, a forest-dweller who has lived in harmony with the animals and devised powerful herbal remedies for sickness and ills, is being led to the invisible city by two prophet birds. There, one of these magical creatures promises her, Fevronia will find everlasting life among other joyful departed souls, including the dashing prince who was to marry her but fell in battle to a marauding band of Tartar-Mongols.

In the 2001 Kirov Opera production that came to the Metropolitan Opera House on Wednesday night as part of the Lincoln Center Festival, the reassuring prophet bird appears as a wizened Russian peasant woman who leans out the window of a wooden shack, meant to be Fevronia's portal to the heavens, and lights a cigarette. A prophet bird taking a smoking break? Sounds like a typical Euro-trash staging, right?

Actually, the moment is just one of many inspired strokes in this wondrously imaginative production by Dmitri Cherniakov, a 32-year-old Russian stage director and set designer, and if Met officials have not jotted down this young man's contact information they are crazy.

I must admit that I was skeptical when I heard that the Kirov's production was a modern-dress concept. Given this opera's historic connection to the Maryinsky Theater in St. Petersburg, Russia, where it received its premiere in 1907, the mystical resonance of its story, a 13th-century fairy tale of conflict between feudal Russians and invading Tartars, and the shimmering beauty of Rimsky-Korsakov's subdued score, often called the Russian ''Parsifal,'' I thought that if any opera warranted an elaborately faithful production, it was this one.

But how do you stage a legend? The production is not so much updated as rendered timeless through a bold mix of costumes from myriad styles and set designs that blur realistic and abstract images in a wash of mists and light. Moreover, Valery Gergiev's radiant, tellingly paced and intricately textured performance with the splendid orchestra and chorus of the Maryinsky enhanced the opera's inherent timelessness. Mr. Gergiev cedes the podium to an associate, Mikhail Agrest, for the final performances of ''Kitezh'' tomorrow afternoon and on July 25. And a different cast will sing the latter one. But this opera is so embedded in the core of this company that you can count on hearing a performance of comparable authority.

After a hushed symphonic prelude that depicts the quiet stirrings of the wilderness, a passage that echoes the forest-murmurs music of Wagner's ''Siegfried,'' we see Fevronia, alone and pensive, sitting on a rock near the shore of the lake that borders the city of Lesser Kitezh, dressed in a simple white shirt and black skirt. Tall, reedy stalks represent the greenish growth of the woods; makeshift stepladders suggest gnarly trees; and huge white ceramic pitchers eerily remind us that she is a practitioner of natural medicine. With a pouch of herbs dangling from her neck, Fevronia seems like some kindly ministering nurse to the forest creatures she loves. But here those creatures are portrayed as downtrodden Russian peasants: a long-beaked crane is a gangly barefooted boy in a cap.

Prince Vsevolod, the young son of Prince Yuri, who rules the cities of Lesser and Greater Kitezh, arrives, looking like some rugged hunter in rustic leather. Enchanted by the winsome Fevronia, the prince brings her to the city as his intended. But Lesser Kitezh is a rowdy place where, in this production, ruffian peasants disdain the prince's choice of a low-born wife. When the Tartars attack as the wedding is about to take place, they are led by a black-clad warrior atop an Industrial Age monster horse with mechanical-hoe hooves and ferocious searchlight eyes, a creature that bursts through the town wall.

In the next scene the citizens of Greater Kitezh, the enlightened city, learn that Lesser Kitezh has been ravaged and Fevronia captured. The choristers in their sleekly elegant robes just stand in dignified rows and sing, lighted by overhead lamps that dangle from cords.

The staging is a miracle of simplicity. Hoping to keep Greater Kitezh safe from attack, Fevronia, in flight from her captors, prays that it be made invisible, and her wish is granted. But Mr. Cherniakov depicts the metamorphosis only through shafts of light that shoot up from the rear of the stage and mingle with the mists.

The staging would not be so effective, though, if it did not so acutely capture the sensibilities of the score. Rimsky-Korsakov had conflicting impulses at work when he wrote this penultimate of his 15 operas. Like many of the non-German composers of his day, he was influenced by the arrogant Wagner but reluctant to admit it. Still, woven through the long, spacious expanses of post-Romantic harmony are folkloric tunes, exotic colors and hymnal Russian music that achieves stately grace. All these qualities clearly influenced the young Stravinsky, who began studying with Rimsky-Korsakov in 1903, the year the elder Russian started composing this opera. Whole swaths of ''The Firebird'' are lifted, at least in spirit, right out of this score.

The cast was splendid. Mlada Khudolei brought her cool, gleaming and beautifully earthy soprano voice to the tiring role of Fevronia, which, like an Italian spinto role, requires lyrical elegance and dramatic power. The tenor Oleg Balashov's clarion voice and husky, youthful physique were ideal for Prince Vsevolod. And Nikolai Gassiev, with his nasal-toned tenor voice and antic acting skills, almost stole the evening as Grishka, the town drunk and rabble-rouser who falls prey to the machinations of the Tartar invaders.

Once again Mr. Gergiev is giving New Yorkers a chance to experience an enthralling production of an opera justly revered in his homeland. If I were not off heading West this weekend to the Santa Fe Opera, I'd be going back a second time.

http://www.nytimes.com/2003/07/18/movie ... -tale.html

lennygoran
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Re: Lost and found 2: a Stravinsky orchestral work

Post by lennygoran » Sat Dec 03, 2016 8:47 am

John F wrote:
>Mr. Gergiev will lead the Mariinsky Orchestra in “Funeral Song,” which will be performed alongside “Firebird” and Rimsky-Korsakov’s suite from “The Legend of the Invisible City of Kitezh,” to begin a yearlong celebration of Stravinsky’s music. The concert will be streamed online on medici.tv, and on Facebook on Friday at 2 p.m. New York time.<
Our treeman was here yesterday and it was kind of hectic-I happened to take a break shortly before 2PM to check my email and one arrived reminding me about the medici.tv event-I watched and listened to the whole program-enjoyed the music from the Funeral Song-quite accessible which is not always the case for me with Stravinsky-Gergiev is always fascinating to watch! Regards, Len :)

Modernistfan
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Re: Lost and found 2: a Stravinsky orchestral work

Post by Modernistfan » Mon Dec 05, 2016 7:31 pm

Rats--this means that the "complete" Stravinsky set that I bought recently (on Deutsche Grammophon) is not really complete! I will definitely try to find a recording of this piece as soon as it comes out.

lennygoran
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Re: Lost and found 2: a Stravinsky orchestral work

Post by lennygoran » Mon Dec 05, 2016 7:34 pm

Modernistfan wrote: I will definitely try to find a recording of this piece as soon as it comes out.
I have it in my computer right now-wish I could somehow get it to you-could I email the file to you? Regards, Len

Modernistfan
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Re: Lost and found 2: a Stravinsky orchestral work

Post by Modernistfan » Thu Nov 30, 2017 6:07 pm

Well, this is to appear on Decca next month along with "The Rite of Spring." Riccardo Chailly is conducting the Lucerne Festival Orchestra. I shall definitely have to get this CD.

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Re: Lost and found 2: a Stravinsky orchestral work

Post by Lance » Sat Dec 02, 2017 12:06 am

Yes, early Stravinsky really appeals to me very much. A must-have CD for me, too.
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