{"id":1865,"date":"2016-10-27T15:56:08","date_gmt":"2016-10-27T15:56:08","guid":{"rendered":"http:\/\/altocd.com\/northernflowers\/?p=406"},"modified":"2024-01-24T00:31:59","modified_gmt":"2024-01-24T00:31:59","slug":"nfpma9918","status":"publish","type":"product","link":"https:\/\/altocd.com\/northernflowers\/product\/nfpma9918\/","title":{"rendered":"Boris Tchaikovsky. Chamber Symphony. Signs of the Zodiac. Four Preludes. Clarinet Concerto"},"content":{"rendered":"

Boris Alexandrovich Tchaikovsky <\/strong>(1925 \u2013 1996)<\/p>\n

St.\u00a0Petersburg Chamber orchestra<\/strong><\/p>\n

Edward Serov, <\/strong>conductor<\/p>\n

Margarita Miroshnikova, <\/strong>soprano
\nGrigory Korchmar, <\/strong>cembalo
\nAdil Feodorov, <\/strong>clarinet<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
<\/td>\n<\/tr>\n
<\/td>\nChamber Symphony (1967)<\/strong><\/td>\n\n

\n<\/td>\n<\/tr>\n

1.<\/td>\nSonata<\/td>\n\n

\n<\/td>\n<\/tr>\n

2.<\/td>\nUnison<\/td>\n\n

\n<\/td>\n<\/tr>\n

3.<\/td>\nChoral Music<\/td>\n\n

\n<\/td>\n<\/tr>\n

4.<\/td>\nInterlude<\/td>\n\n

\n<\/td>\n<\/tr>\n

5.<\/td>\nMarch Tunes<\/td>\n\n

\n<\/td>\n<\/tr>\n

6.<\/td>\nSerenade<\/td>\n\n

\n<\/td>\n<\/tr>\n

<\/td>\nSigns Of The Zodiac (1974), Cantata for soprano, cembalo and string orchestra<\/strong><\/td>\n<\/tr>\n
7.<\/td>\nPrelude<\/td>\n\n

\n<\/td>\n<\/tr>\n

8.<\/td>\nSilentium! (Silence!).Words by F.\u00a0Tyutchev<\/td>\n\n

\n<\/td>\n<\/tr>\n

9.<\/td>\nFar Out. Words by A.\u00a0Blok<\/td>\n\n

\n<\/td>\n<\/tr>\n

10.<\/td>\nCross O\u2019 Four Road. Words by M.\u00a0Tsvetaeva<\/td>\n\n

\n<\/td>\n<\/tr>\n

11.<\/td>\nSigns Of The Zodiac. Words by N.\u00a0Zabolotsky<\/td>\n\n

\n<\/td>\n<\/tr>\n

<\/td>\nFour Preludes for chamber orchestra (1984)<\/strong><\/td>\n<\/tr>\n
12.<\/td>\nAgitato. Declamando. Sostenuto. Risoluto<\/td>\n\n

\n<\/td>\n<\/tr>\n

13.<\/td>\n13. Con moto<\/td>\n\n

\n<\/td>\n<\/tr>\n

14.<\/td>\nAdagio<\/td>\n\n

\n<\/td>\n<\/tr>\n

15.<\/td>\nSemplice<\/td>\n\n

\n<\/td>\n<\/tr>\n

<\/td>\nConcerto for clarinet and chamber orchestra (1957)<\/strong><\/td>\n<\/tr>\n
16.<\/td>\nModerato<\/td>\n\n

\n<\/td>\n<\/tr>\n

17.<\/td>\nVivace<\/td>\n\n

\n<\/td>\n<\/tr>\n

18.<\/td>\nAllegro<\/td>\n\n

\n<\/td>\n<\/tr>\n

Recorded at the Capella Concert Hall in 1985 (1 \u2013 6; 12 \u2013 18) and in 1986 (7 \u2013 11)
\nSound recording & supervision: Gerkhard Tzes (7 \u2013 11) and Feliks Gurdzhi. Digital mastering (2003): Victor Dinov
\nText: Northern Flowers English text: Sergey Suslov
\nDesign: Oleg Fakhrutdinov & Anastasia Evmenova<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
\n
\n\n\n\n
\n
We say that works of Boris Tchaikovsky are among the most notable phenomena in the 20th century Russian music; that he created his inimitable musical language organically matching classical heritage and up-to-date technique elements; that he was a virtuoso and expert in orchestration; that his best works are perfect in form and deep in content; that his refined, poetical music inspired with high ethical ideas was always free both of official ideology and volatile fashion; that it was Man, with all of his inner feelings, that always was in the focus of the composer.<\/div>\n
All the above is true. But certain inimitable human, and composer\u2019 s, qualities of Boris Tchaikovsky set him among a special selection of artists. He was endowed with a remarkable, generous, and really inexhaustible musical talent \u2014 and a whole-hearted, abundant, organic, and noble character. With his great heart, he could feel the acute artistic problems of his time, human sorrow and joy, subtlest feelings of an individual facing complicated collisions of life \u2014 and therefore he could speak out the essence of the surrounding world in a deep and sincere way. It is probably this facet of his music that attracts and fascinates us so strongly, and makes us revert to his compositions again and again.<\/div>\n
Boris Alexandrovich Tchaikovsky (1925 \u2013 1996) was born in Moscow into a white\u2013 collar family: his father was an expert in statistics and economic geography, and his mother was a medic. The parents were talented individuals who worked very efficiently, knew literature and art well, and passionately loved music. The ethical principles inherited from the parents became his lifelong inner core. Boris Tchaikovsky finished school, and the Gnessin College, and entered Moscow Conservatoire in 1941, but his studies were interrupted by the war, to be resumed only in 1944. His teachers at the Conservatoire were the prominent Vissarion Shebalin, Nikolai Myaskovsky, and Dmitry Shostakovich (Composition), and Lev Oborin (Piano.) The composer\u2019s heritage of Boris Tchaikovsky is vast and comprehensive, comprising four symphonies, a Symphoniette, a Chamber Symphony, concertos for clarinet, cello, violin, and piano with orchestra, six string quartets, numerous chamber compositions, vocal cycles, and music to more than 30 motion pictures.<\/div>\n
In the Chamber Symphony<\/strong> (1967) the author is based on the musical genres of the past, which shows in the very names of the movements. Each movement bears a clear original constructive idea. The musical development of the symphony is very logical: from a stable, eternal, but also fragile image of the universe (Sonata<\/i>) via refined flexibility and statics of Unison, Choral Music<\/i>, and Interlude<\/i> to the vigorous March Tunes<\/i> and the to final Serenade, so harmonious and reconciling. Music of Boris Tchaikovsky is generally lyrical, meaningful, and clear in style; these features are directly pronounced in the Chamber Symphony.<\/div>\n
Signs Of The Zodiac<\/strong>, cantata for soprano, chamber orchestra, and harpsichord, is permeated with thrilling dramatic impact and passionate expressiveness. The selection of poetry for the cantata is striking, for it is hard to set in a row poets that would be more unlike, and to combine moods and images so differing. On the other hand, all the four poems represent the best pages of Russian lyrical poetry. The highest quality of the literature was a source of inspiration for the composer, while its strangeness and contrast enabled Boris Tchaikovsky to create a really integral opus where Music and Word co\u2013exist in inseparable, mutually enriching fusion.<\/div>\n
In the orchestra Prelude<\/i>, the composer exposes the main components of the cantata’s musical material; he tunes the listener to a certain range of images and attitudes. Silentium! <\/i> (Silence!) by Fyodor Tyutchev selected as the base for the second part is a landmark poem in Russian literature. It is eighteen lines about the intrinsic value of human inner world, about its loneliness, and impossibility to penetrate and understand human soul with any completeness. The orchestration of this part is very troubled, and the vocal tune is dynamic and expressive, its nature quite fitting with the imperative tone of the poem.<\/div>\n
The third part, Far Out<\/i> to words by Alexander Blok (Blok\u2019s title of the poem is \u201cWe\u2019ll Be Buried Deep In The Earth\u201d), is transparent and fragile, it lulls and calms you in a steady dispassionate motion. Boris Tchaikovsky emphasizes the bright sorrow and charming musicality of Blok\u2019s words. The culmination of the Cantata is its fourth part, Cross O\u2019 Four Roads<\/i> by Marina Tsvetaeva. The broad range and excited advance of the melody, enormous amplitude of sound from pianissimo<\/i> to fortissimo<\/i>, and diversity of complex alternating measures (to suit Tsvetaeya\u2019 line \u201cI don\u2019t trust poetry that flows, I trust it when it bursts\u201d) produce striking and impressive musical action. Reaching the apex with the utmost stress and piercing pain, the motion freezes; the shout is reduced to begging, and despair, to resignation.<\/div>\n
In the final part, Signs Of The Zodiac<\/i> to words by Nikolai Zabolotsky, a very favorite poet of Boris Tchaikovsky, we find a sharp and sudden contrast to the preceding parts. It bears no drama, no sadness, and no contemplation. Crisp chords of harpsichord, high flageolet sounds of violins, a very simple tune reminding a naive childish song, and a surprising, whimsical, mysterious, and a bit mocking poem of young Zabolotsky (dated 1929, the time of \u2018negation\u2019 of classical, Pushkinian first of all, traditions of Russian poetry.) The phantasm of night visions, a bit funny and a bit frightening, the comical and delirious dreams of a tired mind let you forget death, and pain, and calamities of life just for a while.<\/div>\n
In 1965, Boris Tchaikovsky addressed the lyrics of Joseph Brodsky to create a vocal cycle titled Four Poems of J. Brodsky<\/i> for voice and piano. This composition had to be kept in the composer’s desk completely unknown for 23 years; it was a rather daring act in the Soviet Union of those days to pronounce aloud the name of that Noble Prize winner, that \u00e9migr\u00e9 to the West, let alone public recitals. No hope left for restoration of the banned poet\u2019s good name, the composer re-arranged the vocal cycle for orchestra, and titled the version \u201cFour Preludes for Chamber Orchestra\u201d <\/strong>.<\/div>\n
In this opus, the author ponders over various impressions of life in their dramatic development, presenting them in understandable and clear forms. The reciting attitude of the opening Agitato<\/i>, nervous pulsation in Con moto<\/i>, ultimate emotional stresses in the third prelude, Adagio<\/i>, and a moment of bright joy, impulse, and anticipation of the future so typical for Boris Tchaikovsky, in the final piece Semplice<\/i> (it is noteworthy that the finale of the vocal cycle is named Stanzas<\/i>, its words being one of the most thrilling poems of Joseph Brodsky, I don’t want to choose \/ Neither country nor graveyard \/ It\u2019s Vasilievsky Island \/ Where I’ll come back to die<\/i>.) Such was the \u2018construction material\u2019 of this outstanding opus with a complicated background.<\/div>\n
Concerto for clarinet and orchestra<\/strong> (1957) is an earlier composition of Boris Tchaikovsky. Its three movements following without any break are built into an integral, whole, and harmonious composition. The first movement, melodious and elegiac, is superseded by the virtuoso\u2013laden second, while the finale, the longest and most developed in the concerto, is marked with contrasting themes and dramatic strain.<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n

 <\/p>\n

\n

Fyodor Tyutchev. Silentium! (Silence!)<\/strong>
\nBe silent, keep away, and hide
\nYour feelings and your dreams \u2014
\nLet them rise, and let them set
\nIn the depth of your soul,
\nSilent as stars in the night \u2014
\nAdmire them in silence.How can your heart speak out?
\nAnd how can others understand?
\nAnd will others see your life’s light?
\nA thought when uttered is a lie.
\nYou’ll stir up springs by digging deep \u2014
\nImbibe them in silence.<\/p>\n

Know how to live inside yourself \u2014
\nFor there’s a world within your soul
\nOf secret and of magic thoughts,
\nAny outer noise will stun them down,
\nAny day’s beams will turn them off \u2014
\nHark to their singing in silence!\u2026<\/p>\n

 <\/p>\n<\/div>\n

\n

Alexander Blok. Far Out<\/strong>
\nWe\u2019ll be buried deep in the earth,
\nGrass will grow on our poor mound,
\nAnd we\u2019ll hear little sounds of rain
\nFar out, up there, somewhere on the earth.
\nWe\u2019ll not ask any more questions,
\nWhen we wake up from our lazy sleep,
\nFor we know that low sounds mean autumn,
\nAnd vigorous sounds mean spring.It\u2019s so fine that the dozy sounds
\nBear no trace of delight or despair,
\nThat the coffin\u2013lid is our safeguard
\nAgainst tortures of loving and leaving.<\/p>\n

It\u2019s so cozy here, we never hurry;
\nAnd some day we may try and guess
\nThe idea of unworthy and worthy life
\nAs maintained by the wits of the quick.<\/p>\n<\/div>\n

\n

Marina Tsvetaeva. Cross O\u2019 Four Roads<\/strong>
\nTake it easy my soul, eat and drink!
\nAnd when my time comes,
\nBury me at the cross
\nO\u2019 four roads.Out there in the open field,
\nWhere just ravens and wolves can be seen.
\nRoadpost, you’ll be the cross
\nOn the top of my grave.<\/p>\n

Why, I never avoided
\nAny bad place in the night.
\nYou nameless cross,
\nRise above me so high.<\/p>\n

Quite a few of you friends
\nWere fed and drunk with me.
\nYou wild grass, from pate to toe
\nCover me.
\nDon\u2019t light a candle
\nIn the church gloom.
\nDon\u2019t want your eternal memory
\nIn my homeland!<\/p>\n<\/div>\n

\n

Nikolai Zabolotsky. Signs Of The Zodiac<\/strong>
\nThe Zodiac signs fade away
\nAbove the vast field tracts,
\nA beast called Dog is sleeping,
\nA bird called Sparrow is dozing.
\nFat\u2013bottomed mermaids
\nAre flying up right into the sky,
\nWith arms strong as clubs
\nAnd breasts round as turnips.
\nA witch has saddled a triangle
\nAnd is turning into smoke.
\nA dead man\u2019s dancing cakewalk
\nWith she\u2013goblins, spruce as hell.
\nWay off, wizards in a pale chorus
\nAre trying to catch a fly,
\nAnd the Moon’s motionless face
\nStands up above the hillside.The Zodiac signs fade away
\nAbove the vast village tracts,
\nA beast called Dog is sleeping,
\nA fish called Sole is dozing.
\nThe rattle\u2019s going tap, tap, tap.
\nA beast called Spider is sleeping,
\nCow\u2019s sleeping, and Fly too.
\nThe Moon is hanging above the Earth.
\nA big pan of topsy\u2013turned
\nWater’s hanging above the Earth.
\nLook, a goblin’s pulled a log
\nOut of its shaggy beard.
\nA siren is stretching her pretty leg
\nOut from behind a cloud,
\nA cannibal gnawed off a privy
\nPart of a gentleman.
\nAll are mixed in a common dance,
\nAnd are rushing in all directions:
\nHamadryads and the Brits,
\nWitches, fleas, and dead men.<\/p>\n

You graduate of ages gone,
\nYou strategist of years coming,
\nO my Mind! These poor freaks
\nAre but fiction, are just rave.
\nThey are fiction, they are muse,
\nJerking of my sleepy thought,
\nDisconsolate suffering,
\nNon-existent things, a nought.<\/p>\n

The earth\u2019s abode is tall and lofty.
\nToo late, too late. Time to bed!
\nMind, O my poor warrior,
\nYou\u2019d better nap till the morning.
\nWhat is doubt? And what is worry?
\nThe day\u2019s gone, and you and me,
\nHalf-beasts and half-gods,
\nAre falling asleep at the verge
\nOf young, new life.<\/p>\n

The rattle’s going tap, tap, tap,
\nA beast called Spider is asleep,
\nCow’s asleep, and Fly is, too.
\nThe Moon is hanging above the Earth.
\nA big pan of topsy-turned
\nWater\u2019s hanging above the Earth.
\nA plant called Potato’s sleeping.
\nCome, let you sleep too!<\/p>\n<\/div>\n

<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

NF\/PMA 9918<\/h2>\n

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