Описание CD

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  Исполнитель(и) :
◄◄◄        ►►►

  Наименование CD :
   Symphony No 2 Etc.

Год издания : 2009

Компания звукозаписи : Silvestrov Archive, (wb)

Время звучания : 1:07:24

Код CD : SA 02

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Modern Classics/SU)      

Recordings from the composer's archive

Self-made covers + composer's cover

Another CD from the Silvestrov's archive representing one more early avant-garde work: Symphony No. 2 (1965). Cantata (1973) also belongs to this period in some way.

#1. Symphony No. 2 (1965) for flute, timpani, piano and string orchestra

Igor Blazhkov, conductor (Leningrad, 1967)

#2. Cantata (1973) for soprano and orchestra on the words by Tyutchev and Blok

Nelly Lee, soprano; Igor Blazhkov, conductor (Kiev, 1980)

#3. Serenade (1978) for strings

Alexander Rudin, conductor (Moscow, 1993)

Serenade for string orchestra

"...[music] is not a philosophy, not a world-view, it is the song of the world about itself, as it were a musical testimony to existence..." - Hegel

In the literal sense, song is given the loop in Silvestrov's music: The normative itinerary of a "serenade," which passes from thought to word, word to tone, tone to breath and mouth, and mouth to ear, is detoured from its traditional destination. It doesn't travel postcard-like to the acoustic addressee - instead, it orbits the singer herself and returns to her own ears. If by "existence" Silvestrov means "self-consciousness," than his species of song is a kind of musical allegory for the Western nineteenth century in general, for what German philosopher Hegel imagined as the "world-spirit" perpetually incorporating its selves into itself. But the tenor of Hegel's vision is in truth nothing like Silvestrov's music; the former is massive, supra-public, and systematic; the latter is extremely private and hermetic in method and effect. One does not hear Silvestrov's music, one overhears it, as if eavesdropping. And yet, even further: why would one sing to oneself and what would one sing oneself? A kind of twofold distance enfolding all Silvestrov's work: The distance of music not meant for our ears, cradled into the distance of music not meant for our time; and in this condition, this archetypal situation, Silvestrov himself serves as a kind of traveler, doubly taxed with listening in and listening back, tapping a private line and reconstructing a long-disconnected one. Musically, the 1976 Serenade is quite similar to the much larger Symphony No. 4 written in the same year. Indeed, at moments the music sounds like an echo, or "postscript," to its parent work, increasing its reflexive stance. And similarly, its form is a single, long-drawn expanse, a tortured lyrical line that expands and contracts in simulation of some Olympian natural process, the ebb of the tide or the dissipating aftershocks of a remote quake. Here the landscape is a kind of eroded nineteenth century genre piece; perhaps the original (which is, in typical Silvestrov-fashion, lovingly forged) was a periodic melody with light accompaniment, a post-Mozart divertimento emanating high spirit and sentimentality. But Silvestrov's score also harbors the sense of lapsed time, the processes of decay, historical and acoustic half-life. It begins already in two tiers, one unfolding in lithe, arching lines, another in thick chromatic spasms; this dialectical play amplifies into a kind of cathartic process and the moment of purgation brings with it the "song" proper, a schmaltzy but precisely notated and dynamized melody. The topography eventually disintegrates altogether and one is left in a wistful, mystic limbo high in the violins. The work refolds itself into paradox, its melos a the monologue that is a dialogue, the one-which-is-two. A serenade, an "evening song" perhaps, but an evening song as Hegel would have possibly imagined at his more pessimistic moments - a song the world sings to itself as it passes into a night of historical oblivion, a "night when all cats are black."

- Seth Brodsky (www.allmusic.com)

#4. Autumn Serenade (1980... 2000) for chamber orchestra

Ludmila Voinarovskaya, soprano; Virko Baley, conductor (Kiev, 2000)

#5. Intermezzo (1983, rev. 1993) for chamber orchestra

Virko Baley, conductor (Kiev, 1994)

#6. Epitaph (L.B.) (1999) for piano and string orchestra

Virko Baley, conductor (Kiev, 2000)

  Соисполнители :

Alexander Rudin (Conductor)
Igor Blazhkov (Conductor)
Ludmila Voinarovskaya (Soprano Voice)
Nelly Lee (Soprano Voice)
Virko Baley (Conductor)

№ п/п

Наименование трека



   1 Symphony No. 2         0:11:27 (1965)
   2 Cantata On The Words By Tyutchev And Blok         0:11:19 (1973)
   3 Serenade         0:16:00 (1978)
   4 Autumn Serenade         0:13:58 (1980... 2000)
   5 Intermezzo         0:06:48 (1983, Rev. 1993)
   6 Epitaph     T       0:07:52 (1999)


 T   'щелкнуть' - переход к тексту композиции.

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