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Marga, a mí también me agradó Montezuma y The Idyll of
Theocritus
, las dos piezas líricas que conozco de Sessions. Tengo pendiente encontrar y escuchar The Trial of Lucullus, que me interesa además por compararlo con el de Dessau.

A lo mejor Zelenka lo incluye en su nueva ficha del post.


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Me temo que no. No tengo esas obras :roll: pero este hilo no es mio. Cualquiera puede hacer una vigneta. Si no sabe como me manda un privado y nos ponemos de acuerdo para seguir respetando las reglas del primer mensaje y para que esa semana yo no suba una :wink:


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Oleee llegó la esperada zarzuela barroca :wink:
Me encanta!

GRACIAS ZELENKA! :nw:


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Howard Harold Hanson (1896–1981) He was born in Wahoo, Nebraska to Swedish parents, Hans and Hilma (Eckstrom) Hanson. In his infancy he studied music with his mother. Later, he studied at Luther College in Wahoo, receiving a diploma in 1911, then at the Institute of Musical Art in New York City, where he studied with the composer and music theorist Percy Goetschius in 1914. Afterwards he attended Northwestern University, where Hanson studied composition with church music expert Peter Lutkin and Arne Oldberg in Chicago. Throughout his education, Hanson studied piano, cello and trombone. Hanson received his BA degree in music from Northwestern University in 1916, where he began his teaching career as a teacher's assistant.

That same year, Hanson got his first full-time position as a music theory and composition teacher at the College of the Pacific in California, and only three years later, the college appointed him Dean of the Conservatory of Fine Arts in 1919. In 1920 Hanson composed The California Forest Play, his earliest work to receive national attention. Hanson also wrote a number of orchestral and chamber works during his years in California, including Concerto da Camera, Symphonic Legend, Symphonic Rhapsody, various solo piano works, such as Two Yuletide Pieces, and the Scandinavian Suite, which celebrated his Lutheran and Scandinavian heritage.

Hanson was the first recipient of the American Academy's Prix de Rome, awarded by the American Academy in Rome, in 1921, for both The California Forest Play and his symphonic poem Before the Dawn. Thanks to the award, Hanson lived in Italy for three years. During his time in Italy, Hanson wrote a Quartet in One Movement, Lux aeterna, The Lament for Beowulf (orchestration Bernhard Kaun), and his Symphony No. 1, "Nordic". It has been incorrectly stated that Hanson studied composition and/or orchestration with Ottorino Respighi, who studied orchestration with Nikolay Rimsky-Korsakov. Hanson's unpublished autobiography refutes the statement, attributed to Ruth Watanabe, that he had studied with Respighi.

Upon returning from Rome, Hanson's conducting career took off, making his premiere conducting the New York Symphony Orchestra in his tone poem North and West. In Rochester, New York in 1924, he conducted his Symphony No. 1, and this brought him to the attention of George Eastman, inventor of the Kodak camera and roll film, who chose Hanson to be director of the Eastman School of Music. Hanson held that position for forty years, turning the institution into one of the most prestigious music schools in America. He accomplished this by improving the curriculum, bringing in better teachers and refining the school's orchestras. Also, he balanced the school's faculty between American and European teachers, even when this meant passing up Béla Bartók. Hanson offered a position to Bartok teaching composition at Eastman, a position that Bartok declined as Bartok did not believe that one could teach composition. Bartok placed Hanson in a difficult position as he wished to teach piano at Eastman - Eastman had a full staff of piano instuctors at the time and Bartok's piano technique fell far short of the quality that Eastman students demanded.

In 1925, Hanson established the American Composers Orchestral Concerts. Later, he founded the Eastman-Rochester Symphony Orchestra, which consisted of first chair players from the Rochester Philharmonic Orchestra and selected students from the Eastman School, and then The Festivals of American Music followed. To celebrate the fiftieth anniversary of the Boston Symphony Orchestra, Serge Koussevitzky commissioned Hanson's Symphony No. 2, the "Romantic", and premiered it in 1930. Hanson's opera Merry Mount is credited as the first American opera, since it was written by an American composer and an American librettist on an American story, and it was premiered with a mostly American cast at the Metropolitan Opera in New York, in 1934. Hanson was elected as a member of the National Institute of Arts and Letters in 1935, President of the Music Teachers' National Association from 1929 to 1930, and President of the National Association of Schools of Music from 1935 to 1939.

In 1944 Hanson was awarded the Pulitzer Prize for Symphony No. 4, subtitled Requiem. In 1945 he became the first recipient of the Ditson Conductor's Award for commitment to American music. From 1946 to 1962 Hanson was active in United Nations Educational, Scientific and Cultural Organization (UNESCO) . UNESCO commissioned Hanson's Pastorale for Oboe and Piano, and Pastorale for Oboe, Strings, and Harp, for the 1949 Paris conference of the world body. Even after his retirement from Eastman in 1964, Hanson continued his association with the school. Hanson's Song of Democracy, on a Walt Whitman text, was also performed at the inaugural concert for incoming U.S. President Richard Nixon in 1969, an event Hanson proudly described as the first inaugural concert featuring only American music. Hanson continued conducting, composing and writing in his eighties, up to his death in Rochester, New York.

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Merry Mount, ópera en tres actos y seis escenas (1933). Comienzo.

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Última edición por Zelenka el 23 May 2014 14:15, editado 1 vez en total

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Marga escribió:
He escuchado Montezuma, de Roger Sessions y me ha gustado mucho.

Como no tengo documentación (solo tengo los CD's de Montezuma), ni se expresarme suficientemente bien, me gustaría que alguien con mas experiencia y capacidad para el enrolle, haga una semblanza sobre Sessions.

Gracias


El Montezuma que yo conozco es de Gian Francesco De Majo


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Merry Mount (1933) Opera en tres actos y seis escenas. Comienzo.


No me gustó... pero me encantó lo anterior :roll: Jupiter y Semele y Acis y Galatea :roll:


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Dale otra oportunidad a Hanson. Fue muy buen compositor :wink:


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Zelenka escribió:

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¿Es Cornell MacNeil el que canta en esa grabación?

_________________
Il barone fu ferito, però migliora


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Lawrence Tibbett, creo recordar, cantó en en el estreno


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Walter Mac Nail.


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Niccolò Jommelli (1714–1774) Jommelli was born to Francesco Antonio Jommelli and Margarita Cristiano in Aversa, a small town some 20 kilometres north of Naples. He had one brother Ignazio, who became a Dominican monk and helped the composer in his old age, and three sisters. His father was a prosperous linen merchant, who entrusted Jommelli to the choir director of the cathedral, Canon Muzzillo. As he had shown talent for music Jommelli was enrolled after in 1725 at the Conservatorio di Santo Onofrio a Capuana in Naples, where he studied under Ignazio Prota and Francesco Feo. Three years later he was transferred to the Conservatorio di Santa Maria della Pietà dei Turchini, where he was trained under Niccolò Fago, having Don Giacomo Sarcuni and Andrea Basso, as second maestri, that is, singing teachers (maestri di canto).

His first opera, the comedy L’Errore Amoroso, was presented, with great success, under the protection of the Marquis del Vasto, Giovanni Battista d’Avalos, the winter of 1737 in the Teatro Nuovo of Naples. It was followed in the next year by a second comic opera, Odoardo, in the Teatro dei Fiorentini. His first serious opera Ricimero rè de’ Goti, presented in the Roman Teatro Argentina in January 1740, brought him to the attention and then the protection of the Duke of York, Henry Benedict. The duke would later be raised to the rank of cardinal and procure Jommelli an appointment at the Vatican. During the 1740s Jommelli wrote operas for many Italian cities: Bologna, Venice, Turin, Padua, Ferrara, Lucca, Parma, along with Naples and Rome. When in Bologna in 1741, for the production of his Ezio, Jommelli (in a situation blurred with anecdotes) met Padre Martini. Saverio Mattei said that Jommelli studied with Martini, and acknowledged to have learned with him ‘the art of escaping any anguish or aridity’. Nevertheless, Jommelli’s constant travelling in order to produce his many operas seems to have prevented him from ever having any lessons on a regular basis. Moreover, Jommelli’s relationship with Martini was not without mutual criticism. The main result of his stay in Bologna and his acquaintance with Martini was to present to the Accademia Filarmonica of that city for the procedures of admission, his first known church music, a five-voice fugue a cappella, on the final words of the small doxology, the ‘Sicut Erat’. The musicologist Gustav Fellerer, who examined several such works testifies that Jommelli’s piece, though being just ‘a rigid school work’, could well rank among the best admission pieces now stored in the Bolognese Accademia Filarmonica.

During the early 1740s Jommelli wrote an increasing amount of religious music, mainly oratorios, and his first liturgical piece still extant, a very simple Lætatus sum in F major dated 1743, is held in the Santini collection in Münster. The appointment of Jommelli, recommended by Hasse, as maestro di cappella to the Ospedale degl’ Incurabili in Venice is not definitively documented. However, in 1745 he did start writing religious works for women’s choir to be performed in the church of the Incurabili, San Salvatore, a duty that was -- together with the tuition of the more advanced students of the institution -- part of the chapel master’s obligations. There are no autographs of Jommelli’s music composed for the Incurabili, but there are many copies of different versions of several of his works that may, with some certainty, be attributed to his period as maestro there. Among the music Helmut Hochstein lists as being composed for Venice, are to be found four oratorios: Isacco figura del Redentore, La Betulia liberata, Joas, Juda proditor; some numbers in a collection of solo motets called Modulamina Sacra; one Missa breve in F major with its Credo in D major, probably a second mass in G major, one Te Deum, and five psalms.

Though some his earliest biographers, Mattei and Villarosa, give 1748 as the year when Jommelli gave up his employment in Venice, his last compositions for the Incurabili are from 1746. He must have left Venice at the very end of 1746 or at the beginning of the following year, because on 28 January 1747 Jommelli was staging at the Argentina theatre in Rome his first version of the Didone abbandonata, and in May at San Carlo theatre in Naples a second version of Eumene. It was the need of an active chapel master for the basilica of Saint Peter’s in reaching for the Jubilee festival year that brought both Jommelli and David Perez to Rome in 1749. The Jubilee is a year-long commemoration which the Roman Catholic Church holds every fifty years. Therefore this was an important occasion for Roman aristocratic society to show off. Jommelli was summoned by the Cardinal Duke of York, Henry Benedict, for whom he wrote a Metastasian oratorio, La Passione — that continued to be played yearly in Rome — and who presented him to Cardinal Alessandro Albani, an intimate of Pope Benedict XIV.

He subsequently visited Vienna before taking a post as kapellmeister to Duke Karl-Eugen of Württemburg in Stuttgart in 1753. This period saw some of his greatest successes and the composition of what are regarded as some of his best works. Many were staged at the Duke's private theatres in the Palace of Ludwigsburg, outside Stuttgart. Mozart and his father passed through Ludwigsburg in 1763 and met the composer. Jommelli returned to Naples in 1768, by which time opera buffa was more popular than Jommelli's opera seria, and his last works were not so well received. He suffered a stroke in 1771 which partially paralysed him, but continued to work until his death three years later. Jommelli wrote cantatas, oratorios and other sacred works, but by far the most important part of his output were his operas, particularly his opere serie of which he composed around sixty examples, several with libretti by Metastasio.

Niccolò Jommelli was an innovative opera seria composer with an extraordinary dramatic flair. He altered the contemporary opera seria, involving the orchestra in an ever greater dramatic role, and coming up with innovative ways of arriving at this result. When Jommelli arrived on the scene, Italian opera was dominated by the virtuosic solo singer, and drama was of secondary or even tertiary importance. The public went to hear their favorite singer or composer, and was enthralled by the vocal acrobatics of the virtuosi of the day. Steady streams of groups of secco recitative and exit arias, an aria which was placed at the end of the scene to encourage applause so that the singer could come back on stage, were the building blocks of opera seria, and had little connection with valid dramaturgy. Jommelli and others wanted to change that. Jommelli's compositions tended to use more obbligato recitative, which involved the orchestra as a dramatic partner with the singer. In his later life, he also wrote ensembles and choruses, which had completely gone out of vogue in Italy and, influenced by French opera composers such as Jean-Philippe Rameau, he introduced ballets into his work. Elements of his style include harmonic and melodic daring, full use of his orchestral resources, (particularly the wind instruments) in a much more prominent way to illustrate the goings-on of the story, and wrote passages for the orchestra alone rather than having it purely as support for the singers, mingling of aria and declamation, and a liberal use of chromaticism. His orchestral writing, which included dynamics and the crescendo and diminuendo effects and secondary themes in the dominant, directly influenced the Mannheim symphonists. From Johann Adolph Hasse, he learnt to write recitatives accompanied by the orchestra, rather than just by a harpsichord. His reforms are sometimes regarded as equal in importance to Christoph Willibald Gluck's.

Wikipedia

Don Trastullo, intermezzo a 3 voces en dos partes (1749). Aria del primer intermezzo, Chi sa come la piglia. Aria del segundo intermezzo, M'avete visto in guerra, eh?.

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Armida abbandonata, ópera seria en tres actos (1770). Aria del primer acto, Resta, ingrata; io parto. Aria del segundo acto, Troppo da me pretendi.

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Última edición por Zelenka el 23 May 2014 19:01, editado 1 vez en total

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Carl August Peter Cornelius (1824-1874) He was born in Mainz, Germany. He was the son of two actors, Carl Joseph Gerhard Cornelius and Friedereike Cornelius (née Schradtke). His father trained him as an actor, and as part of that training, he was also given music lessons. Cornelius played violin and composed lieder from an early age, and began studying composition with Heinrich Esser in 1841. By the age of 15 he was a violinist in the theater orchestra in Mainz, and in 1842 he became an actor in the theater company in neighboring Wiesbaden. After his father died in 1843, the family decided he should study music full-time. He was sent to live with his uncle, the famous painter Peter von Cornelius (1783-1867), in Berlin from 1844 to 1852, during which time he met prominent figures such as Alexander von Humboldt, the Brothers Grimm, Friedrich Rückert and Felix Mendelssohn. In Berlin he began serious musical studies with Siegfried Dehn and became part of a literary and artistic circle. He was hired by Franz Liszt to translate his French-language articles. Liszt read Cornelius' early art songs and encouraged him, admitting him into his own artistic group in Weimar. Cornelius demonstrated talent for both poetry and music. During his last few years in Berlin, Cornelius wrote music criticism for several major Berlin journals and entered into friendships with Joseph von Eichendorff, Paul Heyse and Hans von Bülow.

In 1855 Cornelius started work on his opera Der Barbier von Bagdad, written to his own libretto. The premiere of that opera in 1858, at Weimar under Liszt's baton, became one of the great scandals in music in the nineteenth century. The opera and conductor became victims to a pre-arranged hostile demonstration, directed against Liszt, not Cornelius or the new opera, except insofar as the work was representative of the "New Germans," Liszt's progressive group of musicians and composers, which included Wagner. The hostile demonstration resulted in Liszt resigning from his positions in Weimar. The resignations were turned down, and Liszt remained in Weimar for three years to serve out his contracts, but he had no more contact with the opera house.

When Liszt left Weimar, Cornelius did, too, and settled in Vienna, where he worked on another opera, Le Cid. His existence there was marginal, so when he was hired by Wagner as a rehearsal coach in Munich, he felt he could not decline, even though he was wary of again becoming closely connected with one of the towering and most controversial artists of his day, fearing that his talent would be overwhelmed by his work for the great genius. And, indeed, Wagner angrily demanded Cornelius' resignation when the less well-established composer actually dared to take time off to see his own Le Cid finally get a premiere in Weimar while Wagner's Tristan und Isolde was in rehearsal. Cornelius held on to his post, got an additional job teaching at the Royal School of Music in Munich, married Bertha Jung and fathered four children. The premiere of Le Cid, by the way, was successful, but soon Cornelius got caught up in preparations for the premiere of Wagner's Der Meistersinger, and with the planning and building of Wagner's Festspielhaus in Bayreuth. This kept him from completing what might have been a major work, a mythic opera called Gunlöd before he died.

Cornelius was well-regarded by his contemporaries, considered honest, honorable, sophisticated, and engaging in conversation and personal manner. Cornelius's relatively small musical output consists mostly of Lieder (about 100), duets (23) and choral works (many for men's chorus). Many of these vocal works (and all three of his operas) were settings of Cornelius's own texts. He also wrote a small number of solo piano works, including a piano sonata (1848).

Wikipedia/Joseph Stevenson, All Music Guide

Der Barbier von Bagdad, ópera cómica en dos actos (1855-1858). Fragmento del acto primero.

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Der Cid, drama lírico en tres actos (1860-1865). Fragmento del acto segundo.

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Última edición por Zelenka el 23 May 2014 19:11, editado 1 vez en total

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Hombre, por fin un compositor que me suena!
Tengo que hacerme con ese barbero de Bagdag!


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Werther escribió:
Hombre, por fin un compositor que me suena!
Tengo que hacerme con ese barbero de Bagdag!


Yo digo lo mismo :D es el único que ya conocía :D juaaaaaaaaaaaaa.... creo que lo puedes encontrar en las verdes praderas :roll:


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Sergej Sergejevič Prokofiev (1891-1953) He was born in Sontsovka, Krasnoarmiiskyi Raion, in Donetsk Oblast, Ukraine. His mother was a pianist and his first music teacher. Prokofiev displayed unusual musical abilitie s by the age of five. His first piano composition to be written down (by his mother), an Indian Galop, was in F major but without the customary B-flat--the young Prokofiev did not like to touch the black keys. By the age of seven, he had also learned to play chess. Much like music, chess would remain a passion his entire life, and he became acquainted with world chess champions Capablanca and Botvinnik. A child prodigy, at the age of nine he was composing his first opera, The Giant; an Overture; and miscellaneous pieces. By 1902, when Prokofiev started taking private lessons in composition, he had already produced a number of innovative pieces. As soon as he had the necessary theoretical tools, he quickly started experimenting, laying the base for his own musical style. After a while, Prokofiev felt that the isolation in Sontsovka was restricting his further musical development. Although his parents were not too keen on forcing their son into a musical career at such an early age, in 1904 he moved to St. Petersburg and applied to the St. Petersburg Conservatory. By this point he had composed two more operas, Desert Islands and The Feast during the Plague and was working on his fourth, Undine. He passed the introductory tests and started his composition studies the same year, being several years younger than most of his classmates. He was viewed as eccentric and arrogant, and he often expressed dissatisfaction with much of the education, which he found boring. During this period he studied under, among others, Nikolai Rimsky-Korsakov. Later, he would regret squandering his opportunity to learn more from Rimsky-Korsakov. He also became friends with Boris Asafiev and Nikolai Myaskovsky.

As a member of the St. Petersburg music scene, Prokofiev eventually earned a reputation as an enfant terrible, while also getting praise for his original compositions, which he would perform himself on the piano. In 1909, he graduated from his class in composition, getting less than impressive marks. He continued at the Conservatory, but now concentrated on playing the piano and conducting. His piano lessons went far from smoothly, but the composition classes made an impression on him. His teacher encouraged his musical experimentation, and his works from this period display more intensity than earlier ones. In 1910, Prokofiev's father died and Sergei's economic support ceased. Luckily, at that time, he had started making a name for himself as a composer, although he frequently caused scandals with his forward-looking works. His first two piano concertos were composed around this time. He made his first excursion out of Russia in 1913, travelling to Paris and London where he first encountered Sergei Diaghilev's Ballets Russes. In 1914, Prokofiev left the Conservatory with the highest marks of his class, a feat which won him a grand piano. Soon afterwards, he made a trip to London where he made contact with Diaghilev and Igor Stravinsky. During World War I, Prokofiev returned again to the Academy, now studying the organ. He composed an opera based on Fyodor Dostoevsky's novel The Gambler, but the rehearsals were plagued by problems and the première scheduled for 1917 had to be cancelled because of the February Revolution. In summer the same year, Prokofiev composed his First Symphony, the Classical. This was his own name for the symphony which was written in the style, that according to Prokofiev, Joseph Haydn would have used if he had been alive at the time. Hence, the symphony is more or less classical in style but incorporated more modern musical elements. After a brief stay with his mother in Kislovodsk in the Caucasus, because of worries of the enemy capturing Petrograd (the new name for St. Petersburg), he returned in 1918, but he was now determined to leave Russia, at least temporarily. In the current Russian state of unrest, he saw no room for his experimental music and, in May, he headed for the USA.

Arriving in San Francisco, he was immediately compared to other famous Russian exiles (such as Sergei Rachmaninoff), and he started out successfully with a solo concert in New York, leading to several further engagements. He also received a contract for the production of his new opera The Love for Three Oranges but, due to illness and the death of the director, the première was cancelled. This was another example of Prokofiev's bad luck in operatic matters. The failure also cost him his American solo career, since the opera took too much time and effort. He soon found himself in financial difficulties, and, in April 1920, he left for Paris, not wanting to return to Russia as a failure. Paris was better prepared for Prokofiev's musical style. He reaffirmed his contacts with the Diaghilev's Ballets Russes and with Stravinsky, and returned to some of his older unfinished works such as the Third Piano Concerto. Later, in December 1920, The Love for Three Oranges finally premièred in Chicago. However, the reception was cold, forcing Prokofiev to again leave America without triumph. Prokofiev then moved with his mother to the Bavarian Alps for over a year so he could concentrate fully on his composing. Most of his time was spent on an old opera project, The Fiery Angel. By this time his later music had started sifting back into Russia and he received invitations to return there, but he felt that his new European career was more important. In 1923, he married the Spanish singer Lina Llubera, before moving back to Paris. There, a number of his works (for example the Second Symphony) were performed, but critical reception was lukewarm, perhaps because he could no longer really lay claim to being a "novelty". He did not particularly like Stravinsky's later works and, even though he was quite friendly with members of "Les Six", musically he had very little in common with them. Around 1927, things started looking up; he had some exciting commissions from Diaghilev and made a number of concert tours in Russia; in addition, he enjoyed a very successful staging of The Love for Three Oranges in Leningrad (as Saint Petersburg was then known). Two older operas (one of them The Gambler) were also played in Europe and in 1928 he produced the Third Symphony which was broadly based on his unperformed opera The Fiery Angel. The years 1931 and 1932 saw the completion of his fourth and fifth piano concertos.

In 1929, he had a car accident in which his hands were slightly injured, preventing him from touring in Moscow, but permitting him to enjoy some of the contemporary Russian music instead. After his hands healed, he made a new attempt at touring in the USA, and this time he was received very warmly, propped up by his recent success in Europe. This, in turn, propelled him to do a major tour through Europe. In the early 1930s, Prokofiev was starting to long for Russia again and he moved more and more of his premières and commissions to his home country instead of Paris. One such was Lieutenant Kije, which was commissioned as the score to a Russian film. Another commission, from the Kirov Theatre in Leningrad, was the ballet Romeo and Juliet, today one of Prokofiev's best known works. However, there were numerous choreographic problems, postponing the premiere for several years. Prokofiev was soloist with the London Symphony Orchestra, conducted by Piero Coppola, in the world premiere recording of his Third Piano Concerto. In 1938, he conducted the Moscow Philharmonic Orchestra in a recording of the second suite from his ballet Romeo and Juliet; this performance was also later released on LP and CD. Another reported recording with Prokofiev and the Moscow Philharmonic was of the Prokofiev First Violin Concerto with David Oistrakh as the soloist.

In 1934, Prokofiev moved back to the Soviet Union permanently, but his family came a year after him. At this time, the official Soviet policy towards music changed; a special bureau, the "Composers' Union", was established in order to keep track of the artists and their doings, and regulations were drawn up outlining what kind of music was acceptable. By limiting outside influences, these policies would gradually cause almost complete isolation of Soviet composers from the rest of the world. Willing to adapt to the new circumstances Prokofiev wrote a series of "mass songs" (opp. 66, 79, 89), using the lyrics of officially approved Soviet poets, and also the oratorio Zdravnitsa (Hail to Stalin) op.85, which secured his position as a Soviet composer and put an end to persecution. At the same time Prokofiev also composed music for children (Three Songs for Children, Peter and the Wolf, and so on) as well as the gigantic Cantata for the Twentieth Anniversary of the October Revolution, which was, however, never performed. The première of the opera Semyon Kotko was postponed because the producer Vsevolod Meyerhold was imprisoned and executed. In 1938, Prokofiev collaborated with the great Russian filmmaker Sergei Eisenstein on the historical epic Alexander Nevsky, composing some of his best dramatic music. Although the film had very poor sound recording, Prokofiev adapted much of his music into a cantata. In 1941, Prokofiev suffered the first of several heart attacks, resulting in a gradual decline in health. Because of the war, he was periodically evacuated to the south together with a large number of other artists. This had consequences for his family life in Moscow, and his relationship with the 25-year-old Mira Mendelson finally led to his separation from his wife Lina, although they remained married for the next seven years. It should be mentioned that marriage with foreigners had been made illegal and some believe that the breakup with his wife was forced.

The outbreak of war inspired Prokofiev to a new opera project, War and Peace, which he worked on for two years, along with more film music for Sergei Eisenstein (Ivan the Terrible) and the Second String Quartet. However, Soviet government had opinions about the opera which resulted in numerous revisions and no première. In 1944, Prokofiev moved to an estate outside of Moscow, to compose his Fifth Symphony (Op. 100) which would turn out to be his most successful. Shortly afterwards, Sergei suffered a concussion in a fall from which he never really recovered and which severely lowered his productivity in later years. Prokofiev had time to write his postwar Sixth Symphony and a Ninth Piano Sonata (for Sviatoslav Richter) before the Party suddenly changed its opinion about his music. The end of the war allowed attention to be turned inwards again and the Party tightened its reins on domestic artists. Prokofiev's music was now seen as a grave example of formalism, and dangerous to the Soviet people. On February 20, 1948, the same year Prokofiev married Mira, his wife Lina was arrested for 'espionage', as she tried to send money to her mother in Spain. She was sentenced to death and killed in March 1949. Prokofiev supposedly began writing a prelude inspired by her murder, but it was never finished.

His latest opera projects were quickly cancelled by the Kirov Theatre and this, in combination with his declining health, caused Prokofiev to withdraw more and more. His doctors ordered him to limited his activities, which resulted in him spending only an hour or two each day on composition. His last performance was the première of the Seventh Symphony in 1952, a piece of somewhat bittersweet character, for which Prokofiev was asked to substitute a cheerful ending, possibly because the music was written for a children's television program. Prokofiev died at the age of 61 on 5 March 1953 (on the same day and from the same cause as Soviet premier Joseph Stalin). Prokofiev had lived near Red Square and for three days the throngs gathered to mourn Stalin made it impossible to carry Prokofiev's body out for the funeral service at the headquarters of the Soviet Composer's Union. Paper flowers and a taped recording of the funeral march from his Romeo and Juliet had to be used, as all real flowers and musicians were reserved for Stalin's funeral. He is buried in the Novodevichy Cemetery in Moscow. Prokofiev's death is usually attributed to cerebral hemorrhage (bleeding into the brain) but it is known that he was not well for 8 years before he died and was plagued during that length of time by headaches, nausea and dizziness, so the precise nature of Prokofiev's terminal illness is uncertain.

Wikipedia

Maddalene, ópera en un acto (1911-1913). Comienzo.

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Última edición por Zelenka el 23 May 2014 19:25, editado 1 vez en total

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