Rodion shchedrin biography of williams

  • Rodion Shchedrin began his musical career as a singer in the choir school of his native city Moscow.
  • He was born in Moscow as the son of a musician and grandson of an Orthodox priest, and he virtually inherited both spiritual independence and critical awareness.
  • This dissertation introduces the work of Russian composer Rodion Shchedrin (b.

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    Rodion Shchedrin: Autobiographical Memories

    Ebook421 pages5 hours

    By Rodion Shchedrin

    ()

    About this ebook

    Rodion Shchedrin is internationally recognized as the pre-eminent contemporary composer of the Russian modern school. His autobiography looks back over an eventful life and provides a variety of stimulating insights behind the facade of the international music scene. Along the way Shchedrin elaborates highly personal views on the political situation and many other aspects of life in the former Soviet Union, turning an unsparing eye on the machinery of ideological repression exerted on artists as they struggled to interpret and conform to the constantly mutating diktats of the regime. A wealth of anecdotes and humorous observations offer the reader glimpses of the author's essentially sanguine and life-enhancing disposition.

    LanguageEnglish

    PublisherSchott Music

    Release dateApr 2, 2014

    ISBN9783795791742

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    Carmen Suite

    Program Notes by Dr. K. Dawn Grapes

    Rodion Shchedrin
    Carmen Suite
    Date of Composition: 1967
    Duration: 46 minutes

    Russian pianist-composer Rodion Shchedrin (b. 1932) is young enough to have avoided the worst of Stalin’s “Reign of Terror” years, but still spent most of his career maneuvering Soviet expectations and restrictions. To his credit, he was one of the most successful and prolific of the Soviet-era composers, specializing in ballets and operas for the Russian stage. Shchedrin’s Carmen Suite was written in 1967 for his wife Maya Plisetskaya, one of the premier prima ballerinas of the 20th century. She had always dreamed of dancing the role of Carmen, the fiery cigarette factory worker first introduced musically in Georges Bizet’s 1875 opera. Plisetskaya’s home company, the Bolshoi Ballet, was accommodating. After Shchedrin told his wife he was too busy to write a new score just then, Plisetskaya turned to Dmitri Shostakovich with the request. The noted composer, however, did not wish to attempt something that would surely be compared to Bizet. Alberto Alonso of the Cuban National Ballet, who choreographed the piece, tried to use music from Bizet’s opera, but the vocal arrangements did not fit what he needed. Shchedrin then relented, accompanyi

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