<?xml version="1.0" encoding="utf-8" ?><feed xmlns="http://www.w3.org/2005/Atom" xmlns:tt="http://teletype.in/" xmlns:opensearch="http://a9.com/-/spec/opensearch/1.1/"><title>Pianorium</title><subtitle>о музыке / about music</subtitle><author><name>Pianorium</name></author><id>https://teletype.in/atom/pianorium</id><link rel="self" type="application/atom+xml" href="https://teletype.in/atom/pianorium?offset=0"></link><link rel="alternate" type="text/html" href="https://teletype.in/@pianorium?utm_source=teletype&amp;utm_medium=feed_atom&amp;utm_campaign=pianorium"></link><link rel="next" type="application/rss+xml" href="https://teletype.in/atom/pianorium?offset=10"></link><link rel="search" type="application/opensearchdescription+xml" title="Teletype" href="https://teletype.in/opensearch.xml"></link><updated>2026-10-24T12:22:10.413Z</updated><entry><id>pianorium:ovwwf9gMML</id><link rel="alternate" type="text/html" href="https://teletype.in/@pianorium/ovwwf9gMML?utm_source=teletype&amp;utm_medium=feed_atom&amp;utm_campaign=pianorium"></link><title>11 марта: возрождение &quot;Страстей по Матфею&quot;</title><published>2025-05-03T09:33:21.443Z</published><updated>2025-05-03T15:31:45.737Z</updated><summary type="html">В 1829 впервые после долгого перерыва публика услышала &quot;Страсти по Матфею&quot; Иоганна Себастьяна Баха. Концерт состоялся в Берлинской певческой академии, за дирижёрским пультом стоял двадцатилетний Феликс Мендельсон. В зале присутствовали поэт Генрих Гейне, философы Георг Вильгельм Гегель и Фридрих Шлейермахер.</summary><content type="html">
  &lt;p id=&quot;Q7cu&quot;&gt;В 1829 впервые после долгого перерыва публика услышала &amp;quot;&lt;em&gt;Страсти по Матфею&lt;/em&gt;&amp;quot; &lt;strong&gt;Иоганна Себастьяна Баха&lt;/strong&gt;. Концерт состоялся в Берлинской певческой академии, за дирижёрским пультом стоял двадцатилетний Ф&lt;strong&gt;еликс Мендельсон&lt;/strong&gt;. В зале присутствовали поэт &lt;strong&gt;Генрих Гейне&lt;/strong&gt;, философы &lt;strong&gt;Георг Вильгельм Гегель&lt;/strong&gt; и &lt;strong&gt;Фридрих Шлейермахер&lt;/strong&gt;.&lt;/p&gt;
  &lt;p id=&quot;8XWj&quot;&gt;За четыре года до этого концерта бабушка молодого музыканта &lt;strong&gt;Белла Саломон&lt;/strong&gt; подарила ему копию рукописи этого (к тому времени почти забытого) шедевра.&lt;/p&gt;
  &lt;p id=&quot;QFya&quot;&gt;Со смерти Баха &lt;strong&gt;в 1750&lt;/strong&gt; &lt;strong&gt;году&lt;/strong&gt; музыкальный язык неоднократно и разительно менялся, и баховские сочинения, хотя и восхищали профессиональных музыкантов, и служили для них серьёзной &amp;quot;школой&amp;quot;, для представления широкой публике считались неподходящими.&lt;/p&gt;
  &lt;p id=&quot;IchD&quot;&gt;&amp;quot;Страсти&amp;quot; после смерти Баха не исполнялись, да и за пределами &lt;strong&gt;Лейпцига&lt;/strong&gt; (в котором Бах долгое время жил и работал) никогда не звучали.&lt;/p&gt;
  &lt;p id=&quot;fYHN&quot;&gt;Учитель Мендельсона &lt;strong&gt;Карл Цельтер&lt;/strong&gt; воспитывал ученика на сочинениях Баха, но был обеспокоен идеей публичного исполнения произведения &amp;quot;устаревшего&amp;quot; стиля, да ещё и такого масштабного! Не случится ли провала?&lt;/p&gt;
  &lt;p id=&quot;7GwA&quot;&gt;Мендельсон сократил &amp;quot;Страсти&amp;quot; для берлинской премьеры. Некоторые исторические инструменты пришлось заменить более новыми.&lt;/p&gt;
  &lt;p id=&quot;WdO3&quot;&gt;Несмотря на все опасения, успех этого концерта стал источником возрождения широкого интереса и к музыке Баха, и, в дальнейшем, ко всей &amp;quot;доклассической&amp;quot; музыке.&lt;/p&gt;
  &lt;p id=&quot;sOcQ&quot;&gt;Триумф подарил юному Мендельсону всеобщее признание. &amp;quot;Страсти&amp;quot; пришлось повторить ещё дважды. Цельтер дирижировал в третьем концерте.&lt;/p&gt;

</content></entry><entry><id>pianorium:olF3wvhTsV6</id><link rel="alternate" type="text/html" href="https://teletype.in/@pianorium/olF3wvhTsV6?utm_source=teletype&amp;utm_medium=feed_atom&amp;utm_campaign=pianorium"></link><title>Passion</title><published>2025-05-03T07:03:26.007Z</published><updated>2025-05-03T15:32:42.168Z</updated><summary type="html">“Passion” - (from lat. Passio - suffering) is a musical and dramatic work for singers - soloists and choirs (or several choirs) and orchestra.</summary><content type="html">
  &lt;p id=&quot;x9YV&quot;&gt;“Passion” - (from lat. passio - suffering) is a musical and dramatic work for singers - soloists and choirs (or several choirs) and orchestra.&lt;/p&gt;
  &lt;p id=&quot;HDgN&quot;&gt;The literary basis of &amp;quot;Passion&amp;quot; is the text of the Gospel (usually from Matthew, John, Luke or Mark), which tells about the suffering and death of Jesus Christ.&lt;/p&gt;
  &lt;p id=&quot;MKM1&quot;&gt;Actors: * The evangelist is a storyteller (tenor), setting out first -person events. * Jesus - a separate batch, often performed by bass. * Other characters - Apostle Peter, Pilate, Crowd, etc. * Choir - can personify the people.&lt;/p&gt;
  &lt;p id=&quot;9Bv0&quot;&gt;&amp;quot;Passions&amp;quot; are performed by concert or in the church.&lt;/p&gt;

</content></entry><entry><id>pianorium:MXOPEQaND1H</id><link rel="alternate" type="text/html" href="https://teletype.in/@pianorium/MXOPEQaND1H?utm_source=teletype&amp;utm_medium=feed_atom&amp;utm_campaign=pianorium"></link><title>May 6 - Premiere of the last, fifth piano concerto by Camille Saint-Saëns</title><published>2025-05-04T05:14:27.010Z</published><updated>2025-05-04T05:14:27.010Z</updated><summary type="html">Camille Saint-Saëns composed his last piano concerto No. 5 while in Egypt in the winter of 1895-1896. Later, the concerto was called &quot;Egyptian&quot; due to the place where it was written - the city of Luxor, once the residence of the pharaohs and the capital of all of Ancient Egypt.</summary><content type="html">
  &lt;p id=&quot;PMem&quot;&gt;Camille Saint-Saëns composed his last piano concerto No. 5 while in Egypt in the winter of 1895-1896. Later, the concerto was called &amp;quot;Egyptian&amp;quot; due to the place where it was written - the city of Luxor, once the residence of the pharaohs and the capital of all of Ancient Egypt.&lt;/p&gt;
  &lt;p id=&quot;s0YT&quot;&gt;The concerto was published in 1896 with a dedication to the pianist Louis Dimmer (1843 - 1919), who performed it several times. But at the premiere to mark the 50th anniversary of the composer&amp;#x27;s debut at the Salle Pleyel in Paris, Saint-Saëns himself was at the piano.&lt;/p&gt;
  &lt;p id=&quot;0nU2&quot;&gt;According to the author, the work recreated both a sea voyage and the fairy-tale world of the East. Saint-Saëns states that he heard the main theme of the second movement, the &amp;quot;Nubian love song&amp;quot;, from boatmen on the Nile and wrote it down on his sleeve. At the end of the second movement, frogs and the chirping of Nile crickets can be heard.&lt;/p&gt;

</content></entry><entry><id>pianorium:0H6FzYLPhAe</id><link rel="alternate" type="text/html" href="https://teletype.in/@pianorium/0H6FzYLPhAe?utm_source=teletype&amp;utm_medium=feed_atom&amp;utm_campaign=pianorium"></link><title>May 5, 1891 - Carnegie Hall officially opened</title><published>2025-05-04T04:53:33.701Z</published><updated>2025-05-04T04:53:33.701Z</updated><summary type="html">Carnegie Hall became the second largest concert hall in New York after the Metropolitan Opera. The hall was named after the American steel industrialist, multimillionaire and philanthropist Andrew Carnegie.</summary><content type="html">
  &lt;p id=&quot;1tei&quot;&gt;Carnegie Hall became the second largest concert hall in New York after the Metropolitan Opera. The hall was named after the American steel industrialist, multimillionaire and philanthropist Andrew Carnegie.&lt;/p&gt;
  &lt;p id=&quot;721J&quot;&gt;At the opening concert, the orchestra played under the baton of Walter Damrosch (American conductor) and Pyotr Tchaikovsky.&lt;/p&gt;
  &lt;p id=&quot;OhKf&quot;&gt;Seeing how many people crowded the upper tiers, the architect of the hall, William Tuthill, left the auditorium right during the performance to double-check his drawings. He was not sure that the supporting columns would withstand the weight of the crowd, but, fortunately, all the calculations turned out to be correct.&lt;/p&gt;
  &lt;p id=&quot;z4Wd&quot;&gt;Tchaikovsky described Carnegie Hall well, calling the auditorium &amp;quot;extraordinarily impressive and majestic&amp;quot; when it was &amp;quot;illuminated and filled with the public.&amp;quot;&lt;/p&gt;

</content></entry><entry><id>pianorium:CmfSQNxhp1p</id><link rel="alternate" type="text/html" href="https://teletype.in/@pianorium/CmfSQNxhp1p?utm_source=teletype&amp;utm_medium=feed_atom&amp;utm_campaign=pianorium"></link><title>May 4: The first Russian ballet school</title><published>2025-05-04T04:14:04.359Z</published><updated>2025-05-04T04:14:04.359Z</updated><summary type="html">On May 4, 1738, the Russian Empress Anna Ioannovna founded the first &quot;Her Imperial Majesty's Dance School&quot; in the Russian Empire in St. Petersburg. The initiator of its creation was the French dance master Jean-Baptiste Landé. In specially equipped rooms of the Winter Palace, he began training twelve Russian boys and girls.</summary><content type="html">
  &lt;p id=&quot;UDDz&quot;&gt;On May 4, 1738, the Russian Empress Anna Ioannovna founded the first &amp;quot;Her Imperial Majesty&amp;#x27;s Dance School&amp;quot; in the Russian Empire in St. Petersburg. The initiator of its creation was the French dance master Jean-Baptiste Landé. In specially equipped rooms of the Winter Palace, he began training twelve Russian boys and girls.&lt;br /&gt;&lt;/p&gt;
  &lt;p id=&quot;KfFz&quot;&gt;Today, the first dance school in Russia is named after the ballet dancer, choreographer, teacher and founder of ballet theory Agrippina Yakovlevna Vaganova.&lt;/p&gt;

</content></entry><entry><id>pianorium:2D7LfQFf98I</id><link rel="alternate" type="text/html" href="https://teletype.in/@pianorium/2D7LfQFf98I?utm_source=teletype&amp;utm_medium=feed_atom&amp;utm_campaign=pianorium"></link><title>May 3: Shelomo premiere</title><published>2025-05-04T04:10:55.262Z</published><updated>2025-05-04T04:10:55.262Z</updated><summary type="html">On May 3, 1917, the premiere of Ernest Bloch's work &quot;Schelomo: Rhapsodie Hébraïque for Violoncello and Orchestra &quot; took place at Carnegie Hall in New York.</summary><content type="html">
  &lt;p id=&quot;EihG&quot;&gt;On May 3, 1917, the premiere of Ernest Bloch&amp;#x27;s work &amp;quot;Schelomo: Rhapsodie Hébraïque for Violoncello and Orchestra &amp;quot; took place at Carnegie Hall in New York.&lt;/p&gt;
  &lt;p id=&quot;f3WP&quot;&gt;Shelomo is the Hebrew name of King Solomon. The voice of Shelomo is the cello. When talking about this voice, the words of critic Guido Gatti are usually quoted: &amp;quot;The cello, with its considerable breadth of phrasing, sometimes melodic, sometimes reaching the heights of lyricism, sometimes declaiming, with a dramatic play of shadow and light, is the embodiment of Solomon in all his glory. The soloist&amp;#x27;s part, more vocal than instrumental, seems to be a musical statement deeply connected with Talmudic prose.&amp;quot;&lt;/p&gt;
  &lt;p id=&quot;oKwX&quot;&gt;Bloch dedicated this work to the remarkable cellist, Alexander Mikhailovich Barzhansky, a native of the Russian Empire. The composer not only admired his performing art, but also found a friend in him during the difficult years of World War I.&lt;/p&gt;
  &lt;p id=&quot;YkyJ&quot;&gt;It is curious that Barzhansky not only played in chamber concerts with excellent pianists (for example, with Artur Schnabel), but also often played music with amateurs - Albert Einstein and Elizabeth of Bavaria, Queen of Belgium.&lt;/p&gt;

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