 | Tchaikovsky, Piotr Ilitch - "Dumka" for Flute & Strings Op. 59 Flûte et Quatuor à cordes |
VoirPDF : "Dumka" (Op. 59) for Flûte & Strings (27 pages - 861.68 Ko)33x⬇ VoirPDF : Violoncelle (112.97 Ko) VoirPDF : Alto (117.31 Ko) VoirPDF : Violon 2 (119.23 Ko) VoirPDF : Flûte (153.14 Ko) VoirPDF : Violon 1 (145.05 Ko) VoirPDF : Conducteur complet (482.23 Ko) MP3 : "Dumka" (Op. 59) for Flute & Strings 4x⬇ 90x
Dumka for Flute & Strings
MP3 (8.65 Mo) : (par MAGATAGAN, MICHAEL)11x⬇ 14x
Vidéo :
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| Compositeur : | Tchaikovsky, Piotr Ilitch (1840 - 1893) | ||||
| Instrumentation : | Flûte et Quatuor à cordes | ||||
| Genre : | Classique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 23 Nov 2023 Pyotr Ilyich Tchaikovsky (1840 – 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the current classical repertoire, including the ballets Swan Lake and The Nutcracker, the 1812 Overture, his First Piano Concerto, Violin Concerto, the Romeo and Juliet Overture-Fantasy, several symphonies, and the opera Eugene Onegin. Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching that Tchaikovsky received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five with whom his professional relationship was mixed. The accepted structure of the modern piano recital (first and second half divided by an intermission) may be responsible for the exclusion of Tchaikovsky's Dumka for piano, Op. 59, from the standard concert repertory. It is difficult to place on a program. At nearly nine minutes, it shares the duration of a Chopin Ballade, but has no suitable companion pieces to accompany it. It is not part of a set of compositions, and Tchaikovsky wrote nothing similar that might pair well. By itself it is too short to occupy an entire half of a recital. So, by default, it begins the program. Given the intensity and range of emotions contained in this small masterpiece, the Dumka deserves a contemplative pause to isolate it from the rest of the program. By April of 1885, Tchaikovsky had sought refuge from hectic metropolitan life and taken up solitary residence in the countryside far north of Moscow. The previous decade had taken its toll. The tragedy of his failed marriage, coming to terms with his homosexuality, the deaths of mentors and family, and a hectic schedule of work, left the composer prone to occasional periods of depression and drinking. The financial support of his patroness, Nadezhda von Meck, eased his circumstances to some degree and after intermittent travels abroad, Tchaikovsky found much in his new environment inspiring and comforting. He wrote to von Meck: "I love our Russian countryside more than any other, and for me the Russian landscape in winter has an incomparable charm… It's a marvelous day, sunny, the snow is glistening like myriads of diamonds and is thawing slightly, my window gives me a wide view right into the distance. It's wonderful and spacious, you can breathe properly in these immense horizons." The Dumka, published the following year, bears the subtitle "Rustic Russian Scene." A form of Polish or Ukrainian ballad, a dumka is characterized by a predominantly sad or plaintive tone contrasted with a central celebratory section. Given the biographical events leading up to its composition, it is difficult not to hear the composer's personal narrative in this music. The opening chords establish an immediate mood of intense melancholy and solitude. A pleading repeated pattern leads into the central "con anima" section and its dance-like folkloric exuberance. But the darkness of the opening is not dispelled, and a desolate resignation closes in, concluding the emotional journey more sadly than it began. The Dumka is an epic on a small scale, its emotional charge no less potent than that of the Pathetique Symphony to be composed six years later. Source: Wikipedia (https://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky ) Although originally composed for Solo Piano, I created this Interpretation of "Dumka" (Russian Rustic Scene Op. 59) for Flute & Strings (2 Violins, Viola & Cello). Partition centrale : | Dumka (2 partitions) | | |||
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