词条 | Islamey |
释义 |
Islamey: Oriental Fantasy ({{lang-ru|Исламей: Восточная фантазия}}), Op. 18, is a composition for piano by Russian composer Mily Balakirev, written in August-September 1869. CompositionBalakirev, a committed nationalist whose music was influenced by Russian traditions, was inspired to write the piece after a trip to the Caucasus, as he relates in a letter:
The piece was composed in the course of one month in 1869, in stark contrast to Balakirev's usual habit of taking sometimes years to complete a work. In the score he noted that he started the work on 9/21 August in Moscow, and completed it on 13/25 September in Saint Petersburg. Balakirev revised the work in 1902.[1] It is divided into three distinct parts, an opening (Allegro agitato), which introduces the main theme, a middle (Tranquillo – Andantino espressivo) that introduces an entirely new theme (both described in the above quote), and a third (Allegro vivo – Presto furioso), which returns to the main theme. DifficultyThe many existing editions have numerous alternative passages (ossias) – most are easier, some are more difficult. This technical difficulty made it a favourite with virtuosos such as Nikolai Rubinstein (who premiered the piece), Franz Liszt, and in recorded history, Simon Barere, Julius Katchen, György Cziffra, Boris Berezovsky, Mikhail Pletnev and Ivo Pogorelić. Balakirev, considered a virtuoso pianist in his time, once admitted that there were passages in the piece that he "couldn't manage." Also, Alexander Scriabin seriously damaged his right hand fanatically practicing the piece along with Liszt's Réminiscences de Don Juan, though the injury eventually healed.[2] Legacy and influencesIslamey has had a lasting impact on piano solo music; Ravel once remarked to a friend that his goal in writing Gaspard de la nuit was to compose a piece that was "more difficult than Balakirev's Islamey." Alexander Borodin included quotations from the piece in his opera Prince Igor, while Nikolai Rimsky-Korsakov did the same in Scheherazade. The piece has been twice arranged for orchestra, by Alfredo Casella shortly before Balakirev's death, and by Sergei Lyapunov. Eugene Ormandy and the Philadelphia Orchestra recorded the orchestral version in stereo on February 26, 1961, for Columbia Records.[3]Recent musicological work has shown that the melodies that Balakirev preserved in this work are still present in folk music in the former USSR. For instance, the first theme has been found to be a variety of the Lezginka from Kabardino-Balkaria, which differs notably from Balakirev's work in its time signature. The second theme has been demonstrated to have the origins as related to Balakirev, namely that of a Tatar love song. Balakirev himself indicated in the score that the coda should be played similarly to the Russian Tropak, again a traditional Russian tune. RecordingsNotable recordings include: Simon Barere (1947, APR), Vladimir Horowitz (1950, Sony/BMG), Emil Gilels (1951, DOREMI), Julius Katchen (1958, Decca), György Cziffra (1957 & 1970, EMI), Boris Berezovsky (1996, Teldec) and Mikhail Pletnev (2000, DG). References1. ^"Balakirev, Mily Alekseyevich" by Stuart Cambell, Grove Music Online {{Subscription required}} 2. ^{{cite book| url=https://books.google.com/books?id=Zv-ICh8SFg8C&pg=PA141&vq=%22the+damage+was+done%22&dq=scriabin+damage+hand |pages=141|first=Percy|last=Scholes|authorlink= Percy Scholes|title=Crotchets: A Few Short Musical Notes|publisher=Books for Libraries Press|location=Freeport, NY|year=1969|origyear=1924|isbn=978-0-7222-5836-1|oclc=855415}} ISBN is for January 2001 edition. 3. ^http://www.geocities.jp/ormandy/orchestra.html Sources
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4 : Compositions for solo piano|Compositions by Mily Balakirev|1869 compositions|Compositions in B-flat minor |
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