Reinhold Glière - 12 Album Leaves for cello and piano, Op. 51 (1910)
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- čas přidán 15. 07. 2024
- Reinhold Moritzevich Glière (Russian: Рейнгольд Морицевич Глиэр, Ukrainian: Ре́йнгольд Мо́ріцевич Гліер / Reingol'd Moritsevich Glier; born Reinhold Ernest Glier, which was later converted for standardization purposes; 11 January 1875 [O.S. 30 December 1874] - 23 June 1956), was a composer in the Russian Empire and Soviet Union, of German and Polish descent.
12 Album Leaves for cello and piano, Op. 51 (1910)
1. Con moto (0:00)
2. Commodo (3:08)
3. Andantino (6:33)
4. Andante con moto (8:56)
5. Andantino poco animato (10:45)
6. Allegretto (13:18)
7. Allegretto ma non troppo (15:33)
8. Affanato (17:23)
9. Cantabile (19:36)
10. Con tristezza (21:48)
11. Andante (24:08)
12. Animato (26:09)
Martin Rummel, cello & Till Alexander Körber, piano
The reputation of Reinhold Gliere (sometimes spelled Glier 1875-1956) today rests primarily upon his symphonies, ballets and operas, however he was also a composer of superb chamber music. Gliere was born in Kiev where he began his first musical studies with the famous violin teacher Otakar Sevcik, among others. He then went to the Moscow Conservatory where he studied with Sergei Taneyev, Anton Arensky and Mikhail Ippolitov-Ivanov. His superb compositional technique was quickly recognized by his teachers and he won several prizes for his early works. Gliere, himself, taught at the Moscow and Kiev conservatories for nearly 40 years. Among his many successful students were Khachaturian, Prokofiev and Miaskovsky.
The Albumblätter (Album Leaves) for cello and piano were composed in 1910 while Gliere was living in Berlin and this perhaps explains both the title and impetus for composing a set of 12 character pieces, in this instance, for cello and piano. The writing of sets of character pieces was a particularly German tradition, It was Robert Schumann who popularized the genre with his own Albumblätter for piano, Op.124. Subsequently, it became a format much beloved by German composers and audiences. The fact that there was no real tradition for this sort of composition in Russia makes it probable that the idea suggested itself to Gliere while in Germany and perhaps because of Schumann's work of this type.
In these 12 pieces, Gliere shows himself a master of melody, the sources of which are both Russian and Asiatic. He exploits the total tonal range and ability of the instrument. However, here, it is the singing nature of the cello which dominates the composer’s thoughts. While in the 19th century, it was not uncommon for a set of 12 character pieces to be performed together as half of or even an entire recital, nowadays, this practice has all but disappeared. So while it is certainly possible to play the entire set together, as they unquestionably would make up a fine recital, it is also possible to select four, five or six to make up a shorter work. And several could, by themselves, be used as fine encores. We have selected six soundbites to give an example. - Hudba
Wow. Gliere was a truly great composer.
Multifaceted and very pleasant to listen to. Really enjoyed that ~ thanks!
thanks for Reinhold Gliere's Album Leaves! GREAT
A refreshing piece that is immediately uplifting! Thank you.
complimenti vivissimi per questa splendida esecuzione di pagine di gran bella Musica!
Many thanks for let us have chance to see those valuable musical scores.
Love these so much
Beautiful music!
Wonderful!
More Gliere, wonderful! Diese sind sicherlich bunte (Album)Blätter!
Ohhhhh, che meraviglia!!! Complimenti vivissimi 👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏 Cordiali saluti, Anna e Luigi.
che jdvnjnfljkglfjglsjfshlkjfhlsjdghfjklsghdjlfkhsjklsghdfjkhsjkdfglhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhgjggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggggg
Your citation about Schumann's Albumblätter conjured up to me the open wound of sad loss of his Five Romances for cello and piano, burnt by Clara whom kept them unpublished fearing they could hurt Robert's memory as people may have perceived the germs of his insanity.
Most probably they were, quite simply, masterpieces a bit too advanced to be immediately understood.
Unfortunately we'll never know......
Gliere cello and piano pieces have little to do with Schumann legacy but the above parallelism spontaneously generated into my head.......
And I do agree that Gliere chamber music is as good as orchestral one and should be better known.
The andantino is beautiful
The 1st movement sounds similar to Musetta's aria from Puccini's La Boheme.
Mr. DSCH -- True....I gotta see which came first?
Mr. DSCH -- .....and #10 "Con Tristezza" recalls that gorgeous Morceau in Arensky's Opus 36, I think....or 63....Damn! Gotta research.....
Not at all. What you're talking about is (apparently) a single phrase, or in fact a part of a phrase. It might be a reference, which is unlikely; I'd say it is a cute little coincidence.
🥰😘🤗👏👏👏👍😘
schöne Sendung
👍🤗👏👏👏😘
2:06 "Tempest" Sonata, 3rd mov
13:18 Incredibly modern!
Is there a version for viola and piano? Exept the two arranged pieces wich are on imslp…
Have you thought about uploading something for double bass?
there are very beautiful scores for that instrument
by the way english is not my first language
If you have any suggestions, please let me know.
Eleum Loyce -- Yes, let's suggest some Double-Bass pieces! (As for English, I'm more comfortable in Arabic.....
سلام عليكم من المكسيك
sorry for not answering but here's something
there are very beautiful double bass concerts
like bottesini, vanhal, dittersdorf, koussevitzky.
which for me are one of the best double bass concerts.
but I think something interesting would be the per questa bella mano from Mozart. the elegy 1,2,3 the reverie and the adagio melanconico ed appassionato by bottesini. also is the giovinetto innamorato also from bottessini.
there is also the composer domenico dragonetti who collaborated with many important musicians, my teacher told me that his concerts were practically impossible to interpret due to their high difficulty.
@@bartjebartmans thanks for asking a greeting from Mexico
@@steveegallo3384 شكرا جزيلا لك تحياتي من المكسيك وآسف إذا كانت هناك أخطاء إملائية
who is playing?
6:33
11:33 sol# (mi majeur)
OH MY. Good catch.
0:06