Classical Works on Circassian Themes: Sergei Prokofiev, String - TopicsExpress



          

Classical Works on Circassian Themes: Sergei Prokofiev, String Quartet №2 in F Major, Op. 92 (On Kabardian Themes), 1941 Emerson String Quartet, Eugeniy Drucker (violin) Circassian folk music had a considerable influence on Russian and Soviet composers in the 20th century, and they in turn played a significant role in the development of Circassian classical music in the second half of the century. Despite the untold hardships borne by the Circassians in the Northwest Caucasus during World War II, it proved to be a great boon for the development of Circassian classical music. In the summer of 1941, the Soviet Government decided to transfer some of its best musicians, actors, artists and professors from Moscow to the relative safety of Kabarda (Eastern Circassia). The musicians included Sergei Prokofiev, Nikolai Ya. Myaskovsky, Vasily V. Nechaev, Anatoly N. Aleksandrov, and many others. It was there and then that Prokofiev (1891-1953) got in touch with, and became enamoured with the folk music of the Circassians. According to him, Kabardian dances and songs are a goldmine of musical material. Prokofievs sojourn in Kabarda proved to be very productive, composing his String Quartet №2 for two violins, viola and cello in F Major Op. 92 (On Kabardian Themes), in Nalchik in about five weeks in 1941. His aim was to achieve a combination of virtually untouched folk material and the most classical of classical forms, the string quartet. The three movements were based on actual folk songs and dances of the Kabardians (Eastern Circassians), with the original harmonies and rhythms, and without musical adornments. In spite of running foul of the official critics, the work proved an immediate success when it was premiered by the famous Beethoven Quartet in Moscow on 5 September 1941. [Prokofiev also wrote the song The Son of Kabarda in 1941]. The first movement (Allegro sostenuto) was based on an ancient wij dance (Udzh Starikov; Wijizch [Уджыжь]), heard at the beginning and on the song Sosriqwe, in which three players create an accordion-like accompaniment to the song, sung by the violin. The second movement (Adagio) was based on a Karachai-Balkar love song, Synilyaklik Zhir [Сюймеклик джыр, Love Song], sung by the cello in a high voice. The middle section, based on the folk dance Yislhemey, is in imitation of the sound of the Circassian fiddle (shichepshine; шыкIэпшынэ). The movement ends with a brief return of the opening song. The third movement (Allegro) was based on a traditional mountain melody known as Getegezhev Ogurbi (Jeteghezchxe Eghwrbiy; «Джэтэгъэжьхэ Iэгъурбий»), alternating with two lyrical themes and a reminiscence of the first movement. Jeteghezchxe Eghwrbiy yi Ghibze (The Elegy of Eghwrbiy Jeteghezch) is a well-known Kabardian lament. Three versions of the dirge (words and music sheets) are found in V. H. Bereghwn and Z. P. Qardenghwsch (compilers), Adige Weredxemre Pshinalhexemre, Yeschane Txilh. Narodnie pesni i instrumentalnie naigrishi adigov, tom 3 [Circassian Songs and Instrumental Folk-Tunes, Vol. 3, Parts 1 and 2], Moscow: All-Union Book Publishing House Soviet Composer, 1990, pp 114-20, 120-5, 425-8. Listen to a version of the keen sung by Vladimir Bereghwn (including words in Circassian and English): youtube/watch?v=jr3QsAej7Fo At the time, the president of the Art Directorate in Kabarda was Hetu Teimirqan (Temirkanov), a visionary who considered the sojourn of Russian composers in his country as the spur needed to set Circassian music on the road to glory. He commissioned a work from Prokofiev, who was sceptical about the ability of the locals to appreciate his work. Hetu replied: Write what you feel. If we do not understand it at present, we will learn to cherish it in future. His son Yuri met Prokofiev during the great composers numerous visits to his fathers house. These encounters must have left an indelible mark on the young child, who went on to become one of the greatest conductors of the latter part of the 20th century, and beyond. Text prepared by Amjad M. Jaimoukha Produced by Sanjalay Jaimoukha youtube/watch?v=4tRqY6OZZGw
Posted on: Sun, 02 Nov 2014 13:16:46 +0000

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