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Music theory Query edit
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OPERA-L edit
Opera-L is an electronic mailing list devoted to opera and related topics. CLASSICAL MUSIC;Of Star Worship And Flame Wars
Yakov edit
Julia Fischer interview: http://www.zeit.de/2011/31/Rettung-Julia-Fischer/seite-1
Debut with Chicago SO in 1992.[1]
http://www.telegraph.co.uk/news/obituaries/8396357/Yakov-Kreizberg.html
http://www.guardian.co.uk/music/2011/mar/21/yakov-kreizberg-obituary
Personal edit
"He was a musician of great elegance and passion, with an intense focus and a warm, lovable personality – not a series of qualities automatically found combined in the same person." Stephen Hough, "The sad and too-early death of Yakov Kreizberg" The Telegraph Mar. 16, 2011.
Nature of rehearsal and performance edit
I would say that the framework is prepared during the rehearsals – that is, the structure of how it is going to be presented....the conductor and the musicians will agree or lay the foundation for the performance. But then, of course ... every performance has a life of its own. It takes on a life of its own because at any given moment the direction of the performance can be changed by...the response of the musicians. You must remember that the musicians (as well as the conductor) on a different evening have a different pulse, they feel different things – sometimes they’re more calm, sometimes they’re more excited...and we’re talking about one hundred people – all of these things can change the direction in which the performance will take place.
Well, there is a plan so hopefully the changes – they’re not going to be structural changes – but, within the phrases, even within small segments there’s going to be a different approach and a different feeling, and the moment one phrase goes in a different direction from the way it was yesterday it will affect how the next phrase will be shaped....a different tempo will affect the next one. So in a way, that changes the structure too, to a certain degree. So it’s a very much living breathing organism – every performance – and no matter how much you can put into a preparation of it, and no matter how much you can agree “we’re going to do this, or we’re going to do that” – I can tell this from an experience of working with singers for many, many years (there it is especially acute) – you can agree on everything, exactly how everything is going to take place, but when you walk out in the pit in the middle of an opera performance, a human voice is so dependent on the body -- more than any instrument -- that things can go completely differently from what they were supposed to go. And you have to be on your toes at all times.
Negative edit
In Opera:
- "Yakov Kreizberg conducted with a leaden hand, his textures thick and slow, as if there had never existed a lighter, more transparent approach toward Mozart's operas."
Jochen Breiholz, "In Review: From Around the World--Berlin," Opera News 64, no. 5 (November 1999), p. 84-86.
- "His direction in other repertoire, including Mozart, could sometimes seem unduly hard-pressed, and his Rosenkavalier for ENO (1994), for all its vigour, lacked an innate feel for the blend of voices and instruments."
Barry Millington, "Yakov Kreizberg obituary," The Guardian March 21, 2011.
General edit
"His conducting style was large-scale and expressive but its neatness meant that it never compromised the passion of the performance. Interpretatively, he was his own man; even the presence of composers did not cow him and they would sometimes end up agreeing with his deviations from tempo and dynamic markings."[2]
- Julia Fischer interview
"For example, last year with Yakov Kreizberg I learned a lot, especially the Russian repertoire, which is his specialty. "
In 2003, she was engaged to perform the Khachaturian Concerto with Kreizberg and the Philadelphia Orchestra. She'd never worked with that conductor before, but they immediately hit it off, and before she knew it, she and Kreizberg were recording that and two other Russian concertos for PentaTone. "I didn't want to record a CD," she says. "My manager had been trying to convince me to record for five years. I always said no because I'm too lazy; I just put it off into the future. But when we performed the Khachaturian Violin Concerto in Philadelphia, Yakov Kreizberg turned to me right away and asked if I'd like to record the Concerto. I loved working with him, but I just thought he was being polite. The next day he called me and said, 'So I think this is what we should be doing for this CD.' I said, 'Wait a second--what are you talking about?' He said, 'We can do it in May with the Russian National Orchestra, record the Khachaturian Concerto and some other Russian pieces.' (The couplings turned out to be concertos by Prokofiev and Glazunov.) I said, 'I'm not convinced that I should record a CD at all.' But he convinced me. It took him two months, but he really convinced me. I was scared of having to live with this recording to the end of my life and going to a studio and playing for eight hours a day, but the recording sessions were amazing and a lot of fun, and I'm more than happy with how the CD came out, and the response was amazing, too."
James Reel, "Talking with Violinst Julia Fischer," Fanfare 29, no. 1 (September-October 2005), p. 59.
Recordings edit
- Strauss
"I did not look forward to this, for what can a Russian offer in this most Viennese music? As it turns out, quite a bit! His tempos are rather leisurely and he really has a Viennese feel for this music. A test is Tales From the Vienna Woods with its wonderful zither solo. Wilfried Scharf plays it with great feeling and Kreizberg and the Vienna Symphony accompany most elegantly." Carl Bauman, "Strauss, J: Waltzes" American Record Guide, May 1, 2006.
- Dvorak 7
"The performance reminds me very much of the old London Phil/Giulini (EMI, Nov/Dec 1996—not the super-charged account once issued on a Chicago Symphony fund-raising disc) but the sound is better...if you are looking for a less Beethovenian, less dramatic Seventh, you may like Kreizberg’s quiet, gentle end to the first movement, his songful II (where the SACD resolution brings out some lovely detail), and a III that’s lyrical rather than vehement. The finale strikes me as a bit too blowzy even for listeners who prefer less punchy articulation than I do. I’d like to hear what this team can do with the more pastoral Symphony 6..." Lawrence Hansen, American Record Guide, Sept. 1, 2009, p. 86.
- Dvorak 9
"Throughout the New World Symphony, Kreizberg makes the most of dynamic contrasts without exaggerating them. He has a wonderful ear for orchestral color and achieves enviable instrumental blend and balances. The conductor lingers at the right places in the first movement's introduction, while the main body of that movement is dramatically propelled. At 13:52, Kreizberg's Largo is on the longer side...but it never bogs down (despite some very pregnant pauses in the chamber section after rehearsal number 5.) Perhaps the cross-rhythms in the Scherzo could have more snap, but they register clearly; the finale is knowingly shaped and--again--dramatically charged. Romeo and Juliet doesn't get as overheated as some other versions, but it's a beautifully paced performance and the return of the Big Tune is really quite stirring. As with the Dvorák, the conductor elicits clearly voiced yet luscious symphonic sonorities that serve the music well."
- Bruckner 7
"...Kreizberg's thoughtful and superbly executed interpretation deserves a wide hearing."[3]
- Concerning Shostakovch 5th:
"Kreizberg clearly feels that the emotional core of the work is the Largo, but his approach is not at all heavy-handed. It is more of an elegiac lament characterized by transparent and fairly lightweight string sonorities. The ending of the movement, with its remarkably blended harp-celesta notes, is stunning. The first movement and especially its Mahlerian middle section are taken quickly, but Kreizberg effectively broadens the tempo at the climax reminiscent of Tchaikovsky's Manfred and The Tempest. The second movement is decidedly straight-laced. There is not much humor there. Both conductors play the finale in the Russian tradition. That is to say: very slowly. In the hands of Kreizberg , this is a screeching musical portrait of a hollow victory that the generally cool, transparent sound cannot mollify." - Lintgen
- Concerning Shostakovich 9th:
"The overall effect is a cool, crystalline clarity that is fine for the Ninth, but detracts from the dynamic impact inherent in Kreizberg 's Fifth...Kreizberg seems to be emulating Rostropovich without the interpretive excesses, and that should be ideal. Ultimately, the transparent sound works well in the softer, lightly orchestrated sections, but seriously detracts from the impact of Kreizberg's interesting interpretation of the Fifth Symphony." - Lintgen
- Dvorak 6th:
"Kreizberg certainly makes an excellent case for his slower and slightly darker approach, but it eventually tends to drag and you just want him to get on with it. The remarkable and colorfully orchestrated tone poems based on the folk ballads of Karel Jaromir Erben obviously fuel Kreizberg 's dramatic instincts. He gives an electrifying account of the grisly events depicted in The Water Goblin. In fact, his performances of the three Dvorák tone poems he has recorded so far are second to none." -- Aerthur Lintgen, "Classical Recordings: Dvorak - Symphony No. 6 in D; 'The Water Goblin', Fanfare 32 no. 1 (Sept.-Oct. 2008), p. 144-145.
- Schmidt Symphony no. 4:
"Now, just at the dawn of the SACD era, we already have a first-rate new version of Schmidt's Fourth in superb surround sound from Yakov Kreizberg and the Netherlands Philharmonic on PentaTone. The recorded sound is a bit distant, but detailed (clear enough to reveal an occasional grunt from the podium). More important, Kreizberg 's performance breathes nicely, with a natural rubato that makes its effect over large musical paragraphs more than through individual phrases."[4]
- Wagner:
"This could be a risky supposition but, on the basis of PentaTone's generous program, perhaps we should be eager to hear Yakov Kreizberg lead a complete Wagner opera. He achieves admirable orchestral balances, tempos are always apt, and--most critically--he nails the individual character of each work exactly so. Especially successful is the 20 minutes from Tristan, recorded at the Concertgebouw before an exceptionally quiet audience (the other pieces were recorded in Yakult Hall of the Beurs van Berlage). Kreizberg generates plenty of tension in the act I Prelude, lingering over the ripe harmonies yet, despite some very pregnant pauses, never gets bogged down. The listener senses the air change with the first notes of the Liebestod: there's a tangible feeling of resolution and relief, similar to what you get at around 11:30 p.m. when you've experienced a complete performance in a theater. Just think of the time you save."Cite error: A <ref> tag is missing the closing </ref> (see the help page).
NedPhO
During his first rehearsal with the NedPhO, he stopped conducting to explain something, and found that many musicians continued playing. "I realized that this is not an orchestra that really looks at the conductor. I think they are accustomed to weak guest conductors." When it happened a second time, Kreizberg recalled: "'Let us agree that when I stop beating, you stop playing. That is better for you because this is wasted energy.' And what happens? They applaud. Since then we have worked extensively. We're friends." [ ref name=beer/ ]
Sharpe
"He belongs to the school that believes that slavish adherence to the composer's marking, other than the actual notes, is not always appropriate. The composer may believe passionately that his tempo indications, dynamic markings, and so forth, are the right ones, but there is a physicality involved in performance that may require adjustments."
Duffie
"There is no such thing as an authentic interpretation...a piece of music will only live if it is recreated by a creative mind"
Citizen Kane (score) edit
| Cue name | Instrumentation | Description of Action |
|---|---|---|
| Prelude | 2 flute, bass flute, 2 clarinets, 3 bass clarinets, 3 bassoons, contra bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (2 players), double basses | - |
| Newsreel | - | Newsreel |
| Rain (Susan in Nightclub) | 3 flutes, 2 clarinets, 2 bassoons, contra bassoon, celesta, harp, vibraphone, violin 1 (divided into 3), violin 2 (divided into 2) | - |
| Litany | 2 flutes, 2 clarinets, 2 bass clarinets, contra bassoon, 2 horns, 3 trumpets, 3 trombones, tuba, harp | - |
| Manuscript Reading and Snow Picture | flutes, oboe, 2 clarinets, bass clarinet, 2 bassoons, 3 trumpets, 3 trombones, timpani, glockenspiel, triangle, celesta, harp, strings | - |
| Mother Sacrifice | clarinet, horn, strings | - |
| Charles Meets Thatcher | 2 flutes, oboe, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, 2 vibraphones, Hammond organ, strings | - |
| (Montage sequence with Thatcher) | 2 flutes, 2 oboes, 2 clarinets, 2 bass clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion (2 players): glockenspiel, triangle, timpani, strings | - |
| Dissolve | clarinet, 4 horns, 3 trombones, tuba, timpani, double basses | - |
| 2nd Manuscript (not used) | flute, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, celesta, harp, double basses | - |
| Thanks | oboe, 2 clarinets, horn, 3 trumpets, 3 trombones | - |
| Bernstein's Narrative | flute, 2 clarinets, strings | - |
| ("Ragtime") | piccolo, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, percussion (snare drum), piano, double basses | - |
| Hornpipe Polka | 2 clarinets, 2 bassoons, bass clarinet, contrabass clarinet, chimes, blocks | - |
| New Hornpipe Polka | 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, chimes, blocks, harp, celesta, strings | - |
| Carter's Exit (not used) | 2 flutes, bass flute, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, horn, trumpet, vibraphone, 6 solo violins | - |
| ("Overture") | piccolo, flute, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 2 percussionists (glockenspiel, wood blocks, snare drum, bass drum), celesta/piano, 2 harps, strings | - |
| Kane's Return | 2 flutes, 2 oboes, 2 clarinets, 2 bassoon, 2 horns, 2 trumpets, trombone, timpani, strings | - |
| Collecting Statues | 2 oboes, 2 clarinets, 1 trumpet, strings | - |
| Valse Presentation | 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 harons, 2 trumpets, celesta, harp, strings | - |
| Sunset Narrative | 2 flutes, oboe, English Horn, clarinet, 2 bassoons, 2 horns, trumpet, cymbal, strings | - |
| Theme and Variations | 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 turmpets, 3 trombones, harp, celesta, strings | - |
| Kane and Susan | oboe, harp, violas (divisi into 3), and violoncellos (divisi into 3) | - |
| Susan's Room | 2 flutes, 2 clarinets, harp, strings | - |
| Mother Memory | 2 flutes, 2 clarinets, 2 bassoons, strings | - |
| The Trip - Version A | piccolo, 2 clarinets, 2 bass clarinets, Hammond organ, bass drum | - |
| The Trip - Version B | piccolo, 2 clarinets, 2 bassoons, Hammond organ, vibraphone, 2 horns, 2 trombones, bass drum | - |
| Geddes Departure - Version A | 2 flutes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, violins (divisi in 3), double basses, Hammond organ | - |
| Geddes Departure - Version B | 3 flutes, 2 clarinets, 2 bassoons, Hammond organ | - |
| [Susan Wedding - from Wells Raises Kane] | 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 2 percussionists (cymbals..), celesta, harp, strings | - |
| Salaambo's Aria | 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, 2 percussionists (cymbal, bass drum, harp, soprano, strings | - |
| Leland's Dismissal | 2 English horns, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 2 timpani, bass drum, double basses, Hammond organ | - |
| New Dawn Music | 2 flutes, 2 clarinets, bassoon, horn, vibraphone, strings (without double basses) | - |
| Opera Montage | piccolo, flute, oboe, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, cymbal, snare drum, strings | - |
| Xanadu | flutes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, bass drum, tam tam, 2 vibraphones, strings | - |
| Jigsaws "Perpetual Motion" | 2 flutes, 2 clarinets, 4 horns, wood blocks, strings | - |
| Second Xanadu | 2 flutes, 2 clarinets, bass clarinet, 4 horns, 3 trumpets, timpani, vibraphone, strings | - |
| Kane's Picnic | 2 bassoons, 3 trumpets, 3 trombones, tuba, snare drum, violoncellos, double basses, piano | - |
| Susan Leaves | 2 bass flutes, 2 clarinets, 4 horns, timpani, violoncellos, double basses | - |
| El Rancho | 2 flutes, 2 clarinets, basson, 4 horns, 3 trumpets, 3 trombones, vibraphone, cymbals, timpani, strings | - |
| The Glass Ball | 2 bass flutes, 2 clarinets, bass clarinet, 2 bassons, 4 horns, 3 trombones, bass drum, harp, strings | - |
| Finale | piccolo, flute, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tam tam, harp, celesta, strings | - |
Also these cues:
| Xanadu music | 3 flutes, 2 clarinets, 3 bass clarinets, 2 bassoons, contrabassoon, 3 trumpets, 3 trombones, vibraphone, bass drum, violins (divisi into 3), 2 double basses | - |
| The Night (Xanadu) | 3 alto flutes, 2 clarinets, 3 bass clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, vibraphone, double basses | - |
List of Columbia Workshop shows edit
| Date | Title | Writer | Adaptation | Director/Producer | Music | Remarks |
|---|---|---|---|---|---|---|
| July 18, 1936 | A Comedy of Danger | Richard Hughes | - | Myron Safler | - | First show |
| The Finger of God | Percival Wilde | |||||
| July 25, 1936 | Broadway Evening | Leopold Proser | - | Irving Reis | - | - |
| August 1, 1936 | Technical Demonstration | - | - | Irving Reis | - | - |
| Cartwheel | Vic Knight | |||||
| August 8, 1936 | Experiment | Mary Parkington | - | Irving Reis | - | - |
| Highway Incident | Brian J. Byrne | |||||
| August 15, 1936 | Case History | Milton M. E. Geiger | - | Irving Reis | - | Fantasy of pilot in airline crash |
| date | title | author | adaptor | director/producer | music | remarks |
Link to Wikitable edit
http://en.wikipedia.org/wiki/List_of_The_Shadow_episodes#Season_1:_.281937_.E2.80.94_1938.29
Lost operas from Scarabocchio edit
This list of lost operas has been extracted from the works lists of the OperaGlass website (ed. Rick Bogart). Explanatory Notes and Abbreviations
The lines have been left in their original raw html forms, with a rough-and-ready wikilink added on the composer name. The list is ordered by birth year (or 30 years before the first lost opera where no birth year was given).
- year | composer | title | date of first performance |theater of premiere |city of first performance
1550 edit
1615 edit
1635 edit
1650 edit
1655 edit
1660 edit
1665 edit
1675 edit
1680 edit
1690 edit
1700 edit
1715 edit
1725 edit
1735 edit
1740 edit
1746 edit
1750 edit
1758 edit
1764 edit
1800 edit
1900 edit
Notes edit
- ^ John von Rhein, "Kreizberg Makes A Flourishing Debut," Chicago Tribute, August 9, 1992.
- ^ "Conductor's fearless passion for complexity," The Australian, March 29, 2011.
- ^ Robert McColley, "Classical Recordings." Fanfare 29 no. 2 (November-December 2005), p. 148.
- ^ James Schmidt Reel, "Symphony No. 4 in C. Notre Dame: Introduction, Intermezzo, and Carnival Music," Fanfare 27 no. 1 (September-October 2003), p. 214.