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DRD 2005
DRD 2005
SHOSTAKOVICH FILM SERIES
DMITRI SHOSTAKOVICH FILM MUSIC
V OLUME 5
GOLDEN HILLS, OP. 30A*
1.
2.
3.
4.
5.
6.
ADVENTURES OF KORZINKINA, OP. 59
Introduction. Moderato (1:17)
Waltz. Andante (5:31)
Fugue. Largo-Allegro (6:42)
with Alexander Nazarik, organ
Intermezzo. Andante (4:12)
Funeral March. Largo (2:09)
Finale. Largo (2:08)
14. Overture (0:36)
15. March (2:04)
16. The Chase (2:54)
Irina Kolesnikova and
Nina Kavetskaya, duo-pianists
17. Restaurant Music (3:02)
18. Finale (1:37)
With the Belarus State Chorus
THE TALE OF THE PRIEST AND
HIS WORKER BALDA, OP. 36
7.
8.
9.
10.
11.
12.
13.
19. THE SILLY LITTLE MOUSE, OP. 56 (15:22)
~ In the form of a one-act children’s opera ~
World Premiere Recording
Cast and complete Russian/English text
included in booklet
Overture (1:37)
Nocturnal Procession (1:50)
Carousel (1:44)
Bazaar (1:17)
Balda’s Dialogue (3:49)
Dream (2:51)
Finale (1:41)
TOTAL PLAYING TIME: 62:44
*Byelorussian Radio and TV Symphony Orchestra
State Cinematographic Orchestra
Walter Mnatsakanov, conductor
24-bit digital transfer by Bruce Leek of 16-bit digital originals recorded by Pyotr Kondrashin
at the Mosfilm Studios Moscow – tracks 1-6 April, 1997 and at the SKAT Studios, Minsk – tracks 7-19 February 1997.
Design: Mark H. Evans
7W
2011 Delos Productions, Inc., P.O. Box 343 Sonoma, CA 95476-9998
(707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645
www.delosmusic.com
B
NOTES ON THE PROGRAM
eginning with his score for the 1929 silent film The
New Babylon, Dmitri Shostakovich contributed frequently to the film score genre and it in fact played a
considerable role in his stylistic evolution. In these
scores he often ventured into bold experiments, incorporating literal quotations from — or references to — folk
or “pop” music. These provided the authenticity of local
color and at the same time mirrored the composer’s attitude; which, especially in the earlier 1930s films, was frequently whimsically satiric, even nose-thumbing. Thus
one finds rhythms and melodic turns representative of
sentimental romance, waltz, polka, tango, fox-trot,
French can-can, gallop, street song, etc. For
Shostakovich, all these symbolized the vulgarity of the
nouveau riche and the bourgeois way of life. In much of
his film music, these are opposed by the tunes of revolutionary songs, tinged with the pathos of struggle.
Within the framework of a single film score, the
scope of the composer’s orchestral devices could be unusually broad; from poster-like, almost simplistic effects,
to the most subtle psychological nuances. The stylistic
fingerprints so characteristic of Shostakovich’s symphonies — such as his rich polyphonic development,
broad instrumental solos, low instrumental colors (cello,
trombone, bassoon) in dramatic or tragical episodes and
high, bright colors (violin, flute, trumpet) in lyrical, satirical/comic ones — are all present in his film music.
The composer’s second essay in writing for films,
Golden Hills, was his first for a sound film. It premiered
November 6, 1931 in the only theater then equipped for
sound in Moscow (today called the “Khudozhestvenny”). The film’s scenario involved a peasant
named Pyotr who goes to the city (St. Petersburg) to
work. The composer came up with a score characterized
by an integrated symphonic development incorporating
extensively developed motifs. Although this score frequently employs large symphonic forces, it also contrasts these with simpler forms. For example, the waltz,
heard once in the film performed by an outdoor-type
small brass band and then as a solo piano piece, later
emerges as a full-blown extended cue. Shostakovich, in
his typical willingness to experiment and expand, was
not adverse to incorporating the most complicated musical forms. Certainly the best example of this in the suite
from Golden Hills occurs in track 3, the “Fugue,” composed for organ and large symphony orchestra. This
piece was immediately hailed as a major achievement.
The Tale of the Priest and His Worker Balda was composed in 1934 for an animated film that was banned
under the rigid Soviet censorship then in effect. The
suite’s orchestration is simple; though the selections are
related to each other through some thematic links, the
score is characterized by illustrative, purely theatrical ef-
fects. However, its derisive, satiric, even grotesquely
comic exuberance — with interesting contrasts of low
and high instrumental colors (trombones and tuba vs.
celesta and flute) — makes for an entertaining work.
Some have found similarities to the Op. 34 piano preludes of 1932-33; while others will be struck by a kinship
in style to Kurt Weill’s Three Penny Opera.
Adventures of Korzinkina, a comedy made in 1940, was
originally intended as the first of a cycle of comedies; it
stands alone, however, the result of the intervention of
World War II. The suite’s five selections are relatively
straightforward, though imaginative and winningly lyrical. Particularly memorable are the farcical “March,” the
toccata-like brilliance of the breezy “Chase” (for duo
piano and a bit reminiscent of the First Piano Concerto),
“Restaurant Music” — one of the most inspired pasticcios ever penned by Shostakovich — and the charming
“Finale,” with its choral repetition of “nyanya,” Russian
for nanny.
The Silly Little Mouse, after Marshak (1939), screenplay
by Tzekhnovsty, is unique in being Shostakovich’s only
film score conceived as an entire composition not divided into separate sections. This brilliant piece, a kind
of one-act opera for children, is somewhat similar to
Ravel’s 1920-24 l’Enfant et les Sortilèges, and was composed for a short animated film. A delightfully inventive
major discovery, this is the World Premiere Recording of
the piece, thanks to conductor Walter Mnatsakanov, who
located the materials while exploring the archives of the
State Cinema Orchestra. However, the autograph of the
score has not yet been located; for this performance it
was prepared by St. Petersburg teacher and conductor
Boris Tiles.
Shostakovich wrote of this music: “Animated cartoon
is a very interesting form, and music has to be stylistically equivalent to it. I am working on it with great
pleasure. This is my first essay in the field of film music
for children. The score consists of a lullaby sung in turn
by Mouse, Duck, Pig, Toad, Horse, and Cat. The song is
modified according to the character of each animal. The
music is cheerful and lyrical.”
— Notes compiled by L. Hakopian and Tom Null incorporating material from Shostakovich by S. Khentova.
Text: The Silly Little Mouse, Op. 56
DEYSTVUYUSHCHIE LITZA
CAST
Mishka
Koshka
Utka
Loshadí
Svinka
Zhaba
Polkan
Mishonok
Shchuka
Vedushchiy
Mouse – high soprano; Yevgenia Kazantseva
Cat – soprano; Leslia Liut
Duck – mezzo-soprano; Nina Tishina
Horse – tenor; Sergei Schapov
Pig – baritone; Oleg Gordinets
Toad – bass; Mikhail Druzhina
Dog – bass; Mikhail Druzhina
Little Mouse (spoken part); Yevgenia Kazantseva
Pike (wordless part)
Narrator – Antinina Ivanova
Vedushchiy
Solntze zevaet i opuskaetsya za gorizont.
Vse gotovyatsya ko snu.
Polkan igraet na rozhke… zevaet…
i obiavlyaet:
Narrator
The sun yawns and sinks beyond the horizon…
Every creature retires for the night.
Dog blows his horn… yawns…
Then he says:
Polkan
Spat’ pora! Spat’ pora!
Dog
It’s time to sleep! It’s time to sleep!
Mishka
Tikho, tikho v nashey norke,
Spi, mishonok, zamolchi!
Dam tebe ya khlebnoy kroshki
I ogarochek svechi.
Bayu-bay, bayu-bay.
Dam tebe ya mannoy kashki,
Dam tebe loskut bumazhki,
Dam kusochek piroga
I ogrizok sapoga.
Mouse
It’s so quiet in our hole,
sleep, my little mouse, be silent.
I’ll give you some bread crust
and a piece of candle.
Hushaby, hushaby.
I’ll give you some porridge.,
I’ll give you a scrap of paper,
I’ll give you a piece of cake,
and a gnawed bit of boot.
Bayu-bay, bayu-bay.
Tikho, tikho v nashey norke,
Spi, mishonok, zamolchi!
Bayu-bay, bayu-bay.
Hushaby, hushaby,
It’s so quiet in our hole,
sleep, my little mouse, be silent.
Hushaby, bushaby.
Vedushchiy
Prosnulas’ sosedka utka.
Narrator
Their neighbor Duck wakes up.
Mishonok
Ti ne poy mne etoy pesni,
Ya ne budu spat’, khot’ tresni.
Luchshe, mama, ne pishchi,
Ti mne nyan’ku poishchi.
Little Mouse
Don’t sing me this song, mother!
I’ve tried, but I just can’t sleep.
Please stop squeaking
See if you can find a friend to sing me to sleep.
Vedushchiy
Mishka-mat’ bezhit nyan’ku iskat’.
Narrator
Mother Mouse runs away to look.
Utka
Krya-krya.
Duck
Quack-quack!
Mishka
Tetya utka, tetya utka,
Gromko plachet moy malyutka,
Ni za chto ne khochet spat’.
Prikhodi k nam, tetya utka
Nashu detku pokachat’.
Mouse
Aunt Duck, Aunt Duck —
my little one cries so bitterly,
he cannot sleep.
Come, come here, Aunt Duck,
to cradle our baby.
Utka
Krya-krya, krya-krya.
Ya tvoya sosedka utka,
Ga-ga-ga, usni, malyutka.
Posle dozhdichka v sadu
Chervyachka tebe naydu.
Bayu-bay, bayu-bay.
Duck
Quack-quack!
I’m your neighbor Duck,
quack-quack, sleep my baby;
in the garden, when the rain is over,
I’ll find a worm for you.
Hushaby, hushaby.
Mishonok
Net, tvoy golos nekhorosh,
Slishkom gromko ti poesh’,
Little Mouse
No, your quack is ugly,
your singing is too loud!
Mishka
Chto mne delat’, tetya utka,
Tretiyu noch’ ne spit malyutka!
Mouse
Whatever shall I do, Aunt Duck,
it’s his third restless night!
Utka
Pobezhim s toboy vdvoem,
Nyan’ku novuyu naydem.
Duck
Let’s hurry
and find someone else.
Vedushchiy
I begut za novoy nyan’koy.
Narrator
They run away to look.
Svinka
Khryu-khryu. Chto vi brodite sprosoniya?
Pig (grunting)
Why are you scurring around half-awake?
Mishka i Utka (vmeste)
Zdravstuy, tetushka Khavronya.
Mouse, Duck (together)
How are you Aunt Pig?
Mishka (odna)
Moy sinok ne khochet spat’,
Prosit nyan’ku poiskat’.
Mouse (alone)
My son cannot sleep,
he needs a new soothing voice.
Utka
Ti poydi k nemu, pokhryukay
I malyutku ubayukay.
Duck (alone)
So, go to the baby
and grunt him your lullaby.
Svinka
Khryu-khryu, khryu-khryu!
Bayu-bayu, bayu-bayu,
Ya mishonka ukachayu,
Bayu-bayushki, khryu-khryu,
Spi, tebe ya govoryu!
Bayu-bayushki, khryu-khryu,
Bayu-bayushki, khryu-khryu,
(khrap, zasipaet)
Zhaba
Ya prishla k tebe pokvakat’.
Kva-kva-kva, ne nado plakat’.
Spi, mishonok, do utra,
Prinesu ya komara!
Bayu-bayu, bayu-bayu.
Toad
I’m here, and I’m going to croak for you.
So, don’t cry Little Mouse.
Sleep until morning,
and then I’ll bring you a bug.
Hushaby, hushaby!
Mishonok
Net, tvoy golos nekhorosh,
Slishkom glupo ti poesh’!
Little Mouse
No, your voice is ugly,
yout croaking is stupid!
Vedushchiy
V okno visovivaetsya golova loshadi.
Narrator
Horse sticks his head through the window.
Pig
Hushaby, hushaby,
I’ll cradle my little mouse,
Hushaby, hushaby,
Now go to sleep!
Hushaby, hushaby,
Hushaby, hushaby,
(the pig falls asleep, snoring)
Loshad’
Ti mishonok, ya loshadka,
Spi, moy mal’chik, sladko, sladko.
Povernis’ na praviy bok,
Dam ovsa tebe meshok.
Horse
You’re a little mouse, and I’m a little horse,
sleep, my boy, sleep sweetly.
Turn on your right side,
and I’ll give you a sack of oats.
Mishonok
Net, tvoy golos nekhorosh,
Slishkom strashno ti poesh’!
Little Mouse
No, your voice is ugly,
your braying is too frightful!
Mishanok (plachet)
Net, tvoy golos nekhorosh,
Slishkom khriplo ti poesh’!
Little Mouse (crying)
No, your voice is ugly,
your singing is too hoarse!
Vedushchiy
V spalenku vpolzaet shchuka i takzhe
pitaetsya pet’.
Narrator
Pike wiggles into the bedroom
and tries to sing, too
Vedushchiy
Gde yeshche iskat’ nyan’ku?
Mozhet, sprosit’ zhabu?
Narrator
Now, what to do?
Maybe they should approach Toad!
Svinka
Chto poesh’ mishonku, shchuka?
Rot otkrila, a ni zvuka.
Pig
Pike, what are you singing to the Little Mouse?
Your mouth is open but no sound comes out.
Mishka, Utka, Svinka (vmeste)
Ukachay ti nam rebenka,
Bespokoynogo mishonka.
Mouse, Duck, Pig (together)
Please, cradle our baby,
our restless little Mouse!
Zhaba
Ya prokvakala vsyu noch’,
Da uzh, nado vam pomoch’.
Toad
I’ve been croaking all night,
So I’m ready to help you.
Mishonok
Ne khochu ya etoy pesni,
Ya ne budu spat’ khot’ tresni!
Razevaet shchuka rot
I ne slishno, chto poet.
Little Mouse
What kind of song is this!
I just can’t sleep!
Even though Pike opens her mouth,
I can’t hear anything.
Utka
Tetya Koshka!
Duck
Aunt Cat!
Vedushchiy
Zhaba prigaet, prikhvativ gitaru,
Vskochila v spalenku,
Narrator
Toad takes her guitar
and hops into the bedroom.
Svinka
Tetya Koshka!
Gromko plachet nasha kroshka,
Ni za chto ne khochet spat’!
Pig
Aunt Cat,
our little one cries so bitterly,
and still can’t sleep.
Mishka
Prikhodi k nam, tetya Koshka
Nashu derku pokachat’.
Mouse
Come to us, Aunt Cat,
to cradle our child.
Koshka
Zavtra utrom, posle chayu
Ya pridu i pokachayu.
Cat
Maybe I’ll come tomorrow,
After my breakfast.
Mishka, Utka, Loshad’, Svinka, Zhaba (vmeste)
Dolgo zhdat’ nam do utra,
Spat’ yemu seychas pora.
Mouse, Duck, Horse, Pig, Toad (together)
It’s too long to wait until tomorrow,
he must sleep now.
Koshka
A kakov soboy mishonok?
Chto on — tolst il’ ochen’ tonok?
Cat
And what does this little mouse look like?
Is he fat or thin?
Vie vmeste
Nash mishonok tak khorosh —
Luchshe v mire ne naydesh’!
All together
Our Little Mouse is so lovely,
he is the prettiest one in the world!
Koshka (v storonu)
Nu togda drugoe delo,
Ya mishey davno ne yela.
Cat (aside)
So, that’s a different story —
It’s about time to taste a mouse!
Vedushchiy
Nyan’ki idut domoy,
Koshka vkhodit k mishonku.
Narrator
The other animals leave.
Cat enters the bedroom.
Koshka
Spi mishonok malen’kiy, mur-mur-mur,
V nashey tikhoy spalenke, mur-mur-mur,
Spi mishonok gladen’kiy, mur-mur-mur,
Spi mishonok sladen’kiy, mur-mur-mur.
Cat
Sleep, my Little Mouse, miaow,
in our cozy little bedroom, miaow,
sleep, my downy Little Mouse, miaow,
sleep, my sweet Little Mouse, miaow.
Mishonok
Golosok tvoy tak khorosh,
Ochen’ sladko ti poesh’.
Little Mouse
Your voice is so lovely,
your singing is so sweet!
(Krik petukha)
(A rooster crows)
Vedushchiy
Tetya Koshka gasit svechu.
Mishka vbegaet v spalenku,
a Mishonka… net!
Trevoga! Trevoga!!!
Khitraya Koshka gotova uzhe
polakomit’sya mishonkom…
I tut poyavlyaetsya Polkan.
Koshka
Spi mishonok malen’kiy, mur-mur-mur,
V nashey tikhoy spalenke, mur-mur-mur,
Spi mishonok gladen’kiy, mur-mur-mur,
Spi mishonok sladen’kiy, mur-mur-mur.
Vedushchiy
Pochuyav bedu, Polkan brosaetsya na Koshku.
Narrator
Aunt Cat blows out the candle…
Mouse rushes into the bedroom.
She looks for her child and cannot find him…
Panic!
The cunning Cat is about to dine on
Little Mouse…
But Dog appears just in time.
Cat
Sleep, my Little Mouse, miaow,
in our cozy little bedroom, miaow,
sleep, my downy Little Mouse, miaow,
sleep, my sweet Little Mouse, miaow.
Narrator
Sensing the danger, Dog attacks Cat.
(they fight)
(bor’ba)
Dog carries the rescued baby to his mother.
Polkan neset spasennogo Mishonka.
Mishka
Tikho, tikho v nashey norke,
Spi mishonok, zamolchi.
Dam tebe ya khlebnoy korki
I ogarochek svechi,
Dam tebe ya khlebnoy korki
I ogarochek svechi…
Polkan
Spat’ pora! Spat’ pora!
Mouse
It’s so quiet in our hole,
sleep, my little mouse, be silent.
I’ll give you some bread crust
and a piece of candle,
I’ll give you some bread crust
and a piece of candle…
Dog
It’s time to sleep! It’s time to sleep!
Translation: L. Hakopian
BIOGRAPHY
Walter Mnatsakanov’s career began in the mid-1960s
when the young conductor, a graduate of the Moscow
(1953-58 – choirmaster) and Leningrad (1961–66 – opera
and symphonic conductor) Conservatories, began his
professional activity at the Chelyabinsk Opera and Ballet
Theater where he performed La Traviata, Rigoletto, Don
Carlos, Tosca, Prince Igor, Eugene Onegin, Swan Lake, The
Nutcracker, Peer Gynt, Giselle and others. He continued
his conducting work with symphony orchestras in
Minsk, including the Byelorussian Bolshoi Theater Orchestra and the Byelorussian Conservatory Opera Studio
and in Grozny, where he was chief conductor of the Republican Symphony Orchestra. During these years,
Mnatsakanov extended his repertoire which presently
embraces symphonies by Beethoven, Tchaikovsky, Schumann, Rachmaninoff, Brahms, Shostakovich, Khacha-
turian, Kancheli, Szymanovsky and others. He has
worked with many renowned Soviet performers including Pavel Serebriakov, Rudolf Kerer, Oxana Yablonskaya, Boris Gutnikov, Ruben Aharonian, and Igor
Oistrakh as well as soloists from France,
Germany, Yugoslavia and other countries.
He continues to be invited to conduct various orchestras in Russia.
Apart from his main work as a conductor, Walter Mnatsakanov has been actively involved in teaching and writing
music reviews since 1980. In addition,
under commission from the State publishing house Musika, he has made a great
number of symphonic transcriptions for piano and piano
four/hands.
AVAILABLE DELOS RUSSIAN DISC REISSUES
Shostakovich Film Series: Suites from
the film scores “Zoya” and “The
Young Guard” • DRD 2001
Shostakovich Film Series: Music from
the film “Alone” • DRD 2002
Shostakovich Film Series: Film Music
from “Sofia Perovskaya” • “Viborg
District” • “The Man with a Gun” •
“Passer-by” • “The Great Citizen” •
DRD 2003
Shostakovich Film Series: The Lady
and the Hooligan Ballet • Ballet
Suite No. 2 • DRD 2004
Shostakovich Film Series: Music from
the Films “Golden Hills” • “The Tale
of the Priest and His Worker Balda”
• “Adventures of Korzinkina” • “The
Silly Little Mouse” • DRD 2005
Russian Romances • Arax Davtian,
soprano • Vladimir Yurigin-Klevke,
piano • DRD 2007
20th Century Russian Piano Music:
Gubaidulina, Pärt, Shostakovich,
Shchedrin, Karayev • Vladimir
Yurigin-Klevke, piano • DRD 2008
Kara Karayev: Ballet Suites - Seven
Beauties, In The Path of Thunder •
DRD 2009
Anton Rubinstein: Symphony No. 2
“Ocean” • Ballet Music from
Feramors • DRD 2010
Dmitry Kabalevsky: Romeo and
Juliet, The Comedians, Overture
Pathétique, Spring, Overture to
Colas Breugnon • DRD 2017
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