of his Fifth Symphony came, as Prokofiev described, from a “pretty old” idea. He used sketched themes conceived two or three years prior to deciding their use in the symphony. “I set them down in my theme book and then put them aside. When the time came, I was ready to work very fast – I wrote the whole thing in a month, on a three-or four-line score. Then I stopped for a month or two and took the thing up again, and in another month I finished it,” says Prokofiev about the timing it took him to
Musical conductors are individuals that help direct a musical performance. They will ensure that the band is in the right tempo and that each section of the ensemble enters the performance at the correct time. The conductors may use hand gestures or a baton in order to guide the band. Many people believe that musical conductors are beneficial and help improve a band’s performance. However, Russian composer Igor Stravinsky disapproves of the usage of musical conductors as he believes that they are
When film first started gaining popularity, it want’s as obvious that be connecting two different images, we would assume their relation. Film simply document events that occurred, it wasn’t until the enterprising pioneers of early cinema took hold that they began to manipulate their audience into following a story their way and feeling it in those exact steps. Lev Vladimirovich Kuleshov a Soviet filmmaker and film theorist in the 1920s who taught at and helped establish the world’s first film school
“Music is enough for a lifetime, but a lifetime is not enough for music.” This is a quote from the great and talented composer Sergei Rachmaninoff. If you look up what the quote means you can get many different answers, but many I don’t agree with. I believe the quote means something more to Rachmaninoff. I think the quote means that through Rachmaninoff’s lifetime he could have been satisfied with the music he created, but through his lifetime he did not create all the music he could have. This
Sergei Rachmaninoff was a Romantic Russian composer who lived from 1873 to 1943. He experienced many tragedies in his life and suffered with melancholia for many years, but as a musician he has written some of the most powerful pieces of the Romantic period and is known as one of the most legendary pianists of all time. Rachmaninoff was also one of the most focused and hard-working composers, and because of his disciplined ways he was able to travel and perform all over Europe and America in his
Russian composers are often mentioned in history as the most influential in the world. With style unlike any other, Russians are able to capture mood through a unique ability to capture exactly what they feel. Exactly how the Russians are able to do this is unknown, though through this, the greatest composers have turned out to be Russian. Tchaikovsky, Rachmaninoff and Shostakovich are all able to write and portray the most detailed feelings and moods, and it is to them that we owe the advancement
In this essay I will discussing how the theory of montage is used to construct meaning which results in a response from the audience to watching this specific sequence in Battleship Potemkin directed by Sergei Eisenstein in 1925. The theory of montage has 5 parts to it which I will discuss in detail further on with reference to the Odessa steps sequence. History also plays an important part as to how Pudovkin, Lev Kuleshov and D. W Griffiths influenced Eisenstein to look deeper into editing. Eisenstein
In a day and age where getting noticed or receiving recognition within the music industry is a struggle, upon releasing material musicians enter a battlefield. For established musicians, those with a loyal fan base, recognition isn’t necessarily a problem but for musicians attempting to “make it”, it is. There are a number of ways in which a budding musician can increase their chances of gaining recognition and one of the most common attempts comes in the form of the remix. Musicians, primarily working
Concert Report The location of the concert was in Downtown San Jose and it was held in the California theater. The seating was appropriate for the ensemble. I was able to see all the instruments because of the risers and hear all the wind instruments because they were placed on a higher level with risers or platforms. The acoustics for the orchestra was very well. I did not hear any outside noise even though we were near the San Jose Airport. The walls and ceilings gave us the reflected sound because
In “Beyond the Shot”, Sergei Eisenstein breaks down cinematography and defines his concept of montage. With the emergence of cinema comes new modes of theatrical expression not possible in stage plays. Although Eisenstein “shifted his attention to film, hoping to find an art form capable of a more thorough-going realism” (Eisenstein, 35), what he finds is merely a new method at defying positivist realism. Positivist realism being the idea that sensory experience filtered by rational thought creates
sums up the integral role some Soviet filmmakers played in the development of cinema and in particular the art of editing. In this essay I will elaborate on three of the Soviet era’s most prominent contributors: Lev Kuleshov, Vsevold Pudovkin and Sergei Eisenstein, elaborating on the role they played within the development of modern day cinema and in specific their contribution to the technique of editing. Lev Vladimirovich Kuleshov was born on January 13th, 1899 in Moscow, Soviet Union (known today
Known as one of the greatest Russian pianists of all time, Sergei Vasilievivh Rachmaninoff was born on the 1st of April 1873 near Novgorod . Rachmaninoff was born into an aristocratic family that had a strong musical background. His father, Vasily Arkadyevich, was an amateur pianist. Sergei’s mother, Lyubov Butakova, and her father encouraged the development of his musical talent, providing him with piano lessons at the age of four. Financial crisis hit the family when Rachmaninoff was nine years
Stravinsky’s music to be performed. In the audience of one of these performances was Sergei Diaghilev, a dire... ... middle of paper ... ...and his mother, as well as the outbreak of World War II, he left France and went to the United States where he settled down, remarried, and lived for the rest of his days. In the last few years of his life his health began to decline. He died in 1971 and at his request was buried next to Sergei Diaghilev on the Island of San Michele. Stravinsky was a great composer who
Tim Jenison, the man behind the documentary film entitled Tim’s Vermeer set out to replicate a painting in the style of the beloved artist Johannes Vermeer. In order to do this, Jenison replicated a system of lenses that he believed Vermeer had used hundreds of years before him for the sake of duplicating the correct light variations around the objects of his muse. The course of the documentary showcases Jenison as he first constructs this hypothesis of Vermeer mastering light, moves on to Jenison's
The Russian ballet, The Firebird, was first performed in 1910 by the Ballets Russes company. The music was composed by Igor Stravinsky, and the piece was choreographed by Michel Fokine. The performers in the video from class are Exaterina Kondaurove and Ilya Kuzentsov. My first reaction to this piece regards the tempo of the music and difficulty in counting the music. This particular song is one that you learn to dance to mostly based off the cues in the music. Since this particular song is difficult
Ballet Company Research Paper: American Ballet Theater The American Ballet Theater started in 1939. ABT was created, the creators and developers of the company wanted to create this ballet company to “develop a repertoire of the best ballets from the past and to encourage the creation of new works by gifted young choreographers, wherever they might be found.” (ABT: AMERICAN BALLET THEATRE) Lucia Chase and Oliver Smith were the first original directors of ABT from 1945 to 1980. In 1980, a new
Igor Stravinsky’s ballet, The Firebird, premiered on June 25, 1910. Stravinsky was just twenty-seven years old at the time. Stravinsky was hired by Sergei Diaghilev, the founder of the Ballets Russes Company of Paris, France, to compose the ballet. Michel Fokine was in charge of the choreography used in The Firebird. This work is an example of how tradition and innovation can come together to create a piece, which has withstood the test of time. Such aspects as its use of melody, harmony, and rhythm
Dohnanyi Recital Hall. The pianist was Kaisar Anvar. The pieces performed were: Frederic Chopin- Fantasy in F minor, Op. 49 Ludwig van Beethoven- Piano Sonata in G Major, Op. 31, No. 1 I. Allegro vivace II. Adagio grazioso III. Rondo Allegretto Sergei Rachmaninoff- Two Etude Tableu, Op. 33 I. No. 3 in C minor II. No. 7 in E flat Major Isaac Albeniz- Triana The venue was a small amphitheatre with wood paneled walls and a wooden stage with the piano situated in the middle. The chairs were covered
During the years of 1909 and 1914, Diaghilev’s Ballets Russes transformed into a “vast commercial undertaking” from an accessory to the Imperial Theatres of St. Petersburg, Russia. Garafola states that “unlike Russia, the West offered a home to such an enterprise—in the operatic market (Garafola 177).” It is important to note that Russian theatres were only for the wealthy and political dignitaries of the time, whereas, Parisian life offered ballet to the common people, thus allowing for a larger
This paper discusses the artist, Leon Bakst and his influences in the Ballet Russe as a costume and scenic designer and analyses its significant social message (political message, or etc.) as related to its time period. Leon Bakst, originally with the name of Lev Samuilovich, was born in Belarus on April 27,1866, into bourgeois Jewish family. He was the youngest of four children making him very overindulged with attention; he also always had his parent’s devotion due to his severe mood-sings and