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Lectures on Stochastic Flows and Applications
Educational Psychology by Edward L. Thorndike
The Last Days of Tolstoy by V. G. Chertkov
Globalization and Responsibility
Lectures on Siegel Modular Forms and Representation by Quadratic Forms
Lectures on Topics In One-Parameter Bifurcation Problems
History of the Incas by Pedro Sarmiento de Gamboa
Linear Algebra: Theorems and Applications
Lectures on Stochastic Differential Equations and Malliavin Calculus
A Short Biographical Dictionary of English Literature
Lectures on Sieve Methods and Prime Number Theory
Dollars and Sense by William Crosbie Hunter
The Theory of the Theatre by Clayton Hamilton
The Mathematics of Investment
Occupiers of Wall Street: Losers or Game Changers
The Solution of the Pyramid Problem
Lectures on Moduli of Curves
Walden by Henry David Thoreau
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Modest Mussorgsky - Khovanshchina
Posted on 2010-09-27
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More (Integrale) Classical | 3 CD | TT: 2h50'32" | 1990 | Deutsche Grammophon One of the things I find fascinating about 19th century Russian music is that in many ways, it was a collaborative effort. A small community of composers believed in the importance of music and creating a nationalistic sound and worked toward that effort. Some of the composers included Rimsky-Korsakov, Liadov, Borodin, Balakirev, and Mussorgsky. Of course they often discounted and criticized the work of Russia's best known and perhaps most gifted composer, Tchaikovsky, but still they did give us a great variety of music. It also seems that making sure the music was performed was a top priority, and incomplete or unfinished scores were not an obstacle but a challenge. Works that were not completed were completed by others, and if this were not the case the world of opera would be missing not only Borodin's PRINCE IGOR but Mussorgsky's BORIS GODOUNOV and KHOVANSHINA. To say KHOVANSCHINA was a draft is an understatement. Composing was not always Mussorgsky's top priority. Combine this with an unhappy life and a severe drinking problem and you have a fragmented at best work. Nicolai Rimsky Korsakov was the first to attempt a version of the work that could be staged. Its greatness was immediately recognized. Later Igor Stravinsky tried to recreate some scenes and finally Dmitri Shostakovich reworked passages and is largely responsible for the work as we know it today. It is an epic opera based on events during the time of Peter the Great. The story involves royal intrigue, rebellion, and a love story: all common fare in Russian opera. There are grand choral scenes as well as haunting arias and duets. Amazon review DOWNLOAD ON FILESERVE DOWNLOAD ON FILESONIC TRACKS Disc 1 1. Khovanshchina - Overture (Prelude) 2. Act 1 - Podojdu, podojdu... pod Ivangorod (Kuzka, 2nd Strelyets, 1st Strelyets, Scribe) 3. Act 1 - Ej!... Ey ty, strocilo! (Shaklovity, Scribe, Muscovites) 4. Act 1 - "Aj! Prjamaja pogibel',..." - "A my zivem nyne v pochoronkach" - "Da cto ty strascaes'?" 5. Act 1 - "Cto b eto na Moskve takoe prikljucilos'?" - "Zil da byl pod'jacij sem'desjat godov" - "Stojte, stojte, okajannye!" - "Och ty, rodnaja matuska Rus'" - "Aj da! Veselo!" Heinz Zednik 6. Act 1 - "Ljudi pravoslavnye, ljudi rossijskie" - "Deti, deti moi!" - "Slava lebedju, slava belomu" 7. Act 1 - "Pustite, pustite!" - "Otdajsja mne!.. Ne pytaj menja!" 8. Act 1 - Tak, tak, knjaze! (Marfa, Emma, Andrei Khovansky, People, Streltsy) 9. Act 1 - "Slava lebedju" - "Cto takoe?.." 10. Act 1 - "Marfa, svedi-ko ljuterku domoj" - "Strel'cy!.. Zivo! V Kreml'!" - "Boze vsesil'nyj" Disc 2: 1. Act 2 - "Svet moj, bratec Vasen'ka" - "Kto tam?" 2. Act 2 - "Postav'!" - "Vot v cem resen'e sud'by moej" 3. Act 2 - "A my bez dokladu, knjaz', vot kak!" - "Ne tebe sudit' moi postupki!" 4. Act 2 - Pobedichom, pobedichom, posramichom (Old Believers, Ivan Khovansky, Dosifei, Golitsyn) 5. Act 2 - Knjaze, knjaze! (Marfa, Golitsyn, Ivan Khovansky, Dosifei, Varsonofiev) 6. Act 2 - Knjaz'ja! (Shaklovity, Ivan Khovansky, Dosifei) 7. Act 3 - "Posramichom, prerekochom" 8. Act 3 - "Ischodila mladesen'ka" - "Grech! Tjazkij, neiskupimyj grech" - "Esli b ty togda ponjat' mogla" - "Ty... ty iskusila menja" 9. Act 3 - "Pocto mjatesisja?" - "Beliala i besov ugodnica" - "Strasnaja pytka ljubov' moja" 10. Act 3 - Spit streleckoe gnezdo (Shaklovity) 11. Act 3 - "Podnimajsja, molodcy!" - "Vali valom!" 12. Act 3 - "Ach, okajannye propojcy" - "Oj, da achti z" 13. Act 3 - Och, mne nevmogotu, och, vot (Kuzka, Streltsy Women, Streltsy) 14. Act 3 - "Beda, beda... ach, zlejsaja!.." - "... mernyj dal'nij topot" - "Strel'cy! Sprosim batju" 15. Act 3 - Zdorovo, detki (Ivan Khovansky, Streltsy Women, Streltsy) Disc 3: 1. Act 4 - "Vozle recki na luzocke" - "Ty zacem?" 2. Act 4 - Dances of the Persian Slave Girls 3. Act 4 - "Ty zacem?" - "Plyvet, plyvet lebeduska" 4. Act 4 - Gljan'-ko! Vezut, vezut kak est'! (Muscovites) 5. Act 4 - "Sversilosja resenie sud'by" - "Cto z, proznala ty, golubka" 6. Act 4 - "A, ty zdes', zlodejka!" - "Vidno, ty ne cujal, knjaze" - "Ja ne verju tebe" 7. Act 4 - "Gospodi, boze moj!" - "Preobrazhensky March" - "Strel'cy! Cari i gosudari Ivan i Petr" 8. Act 5 - ""Zdes', na etom meste svjate" - "Oblekajtesja v rizy svetlye" - "Vrag celovekov" 9. Act 5 - "Gde ty, moja voljuska?" - "Ja ne ostavlju tebja" - "Truba predvecnogo!" - "Gospodi slavy" 10. Act 5 - "Gospod' spaset mja" - "I Gospod' moj, spaset mja " - Closing applause Performers: Anatolij Kotscherga (Bass) Wilfried Gahmlich (Tenor) Vladimir Popov (Tenor) Bojidar Nikolov (Tenor) Peter Koves (Voice) Paata Burchuladze (Bass) Joanna Borowska (Soprano) Heinz Zednik (Tenor) Goran Simic (Bass) Brigitte Poschner (Voice) Aage Haugland (Bass) Vladimir Atlantov (Tenor) Marjana Lipovsek (Mezzo Soprano) Konzertvereinigung Wiener Staatsopernchor Slowakischer Philharmonischer Chor Bratislava Wiener Sängerknaben Orchester der Wiener Staatsoper conductor: Claudio Abbado
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