SKU: RM.CD05419
ISBN 9790231054194.
SKU: HL.48025367
UPC: 196288194286.
Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the “École de Parisâ€. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the “Association of Young Polish Musiciansâ€, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de'lÂ’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak's enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year.
SKU: HL.48025368
UPC: 196288194293.
Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the “École de Parisâ€. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the “Association of Young Polish Musiciansâ€, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de lÂ’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak's enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year.
SKU: BR.BES-3089
ISBN 9790004610022. 0 x 0 inches.
Duration: full eveningText by the composer after Alexander Pushkins Dramatic Chronic of Tsars Boris and Grishka Otrepiev and Nikolai Karamsins History of the Russian EmpireTranslation: German (M. Hube), Engl. (D. Lloyd-Jones) Place and time: Moscow and environment, Court of the Novodevichy Monastery, Tshudov Monastery, Roadside Inn near the Lithuanian frontier, Tsar's Chamber in Kremlin, Castle of Sandomir, Kromy Forest, 1598-1605Characters: Boris Godunov (baritone) - Feodor and Xenia, his Children (mezzo-soprano, soprano) - Wet Nurse Xenias (alto) - Prince Wassily Ivanovitch Shuisky (tenor) - Andrej Schtschelkalov, Secret Scribe (baritone) - Pimen, Chronic Scribe (bass) - Grigory Otrepiev, later Dmitry (tenor) - Marina Mnischek, Wojewoden von Sandomir's Daughter (mezzo-soprano) - Rangoni, Secret Jew (bass) - Varlaam and Missail, escaped Monks (bass, tenor) -Roadside Inn Landlady (mezzo-soprano) - A Simpleton (tenor) - Nikititsh, Church Advocate (bass) - a Boyar (tenor) - Boyar Chrushtschov (tenor) - Mitjucha, Farmer (baritone) - Lowitzki and Tschernjakowski, Jesuits (basses) The Original version of 1868/69 consists of seven scenes in one prologue and three acts: 1. Courtyard of the Novodevichy monastery - 2. Square in the Kremlin. Coronation scene. - 3. Pimen's cell in the Chudov monastery - 4. Inn scene - 5. A room in the Czar's apartments in the Kremlin - 6. Outside St. Basil's Cathedral - 7. Council of Boyars. Death of Boris.When the work was rejected by St. Petersburg's Mariinsky Theater Mussorgsky followed the advice of friends and revised the opera. In the Final version of 1871/72 he expanded the fifth scene scrapped the sixth and added three new scenes so that the opera now consisted of nine scenes in one prologue and four acts:1.- 4. see 1868/69 - 5. A room in the Czar's apartments in the Kremlin - 6. Marina's boudoir in Sandomir - 7. Palace park in Sandomir - 8. Council of Boyars. Death of Boris - 9. In the forest of Kromy (Revolution scene)The score published under the supervision of Pavel Lamm in the Complete Edition (1928) and the piano reduction (1931) contain the parts of both versions transmitted in score as well as in the piano reduction all the changes made by Mussorgsky in his piano reduction of 1874. The performance material can thus be used for a production of either the original version or the final version according to need.
