wimpel69
02-10-2013, 01:25 PM
The sharing period on these albums has ended. No re-up of my rip, please.
And no further requests.
Alexander Tcherepnin (1899-977) was a Russian-born composer, pianist and conductor known for his cosmopolitan style
that included influences from France and the Far East. Tcherepnin's father, Nikolay Tcherepnin, was an important
composer and conductor, and it was his influence and teaching that formed Alexander's early training. In 1921
Tcherepnin's family fled the aftermath of the Bolshevik revolution, and the young composer began his career in
their adopted home of Paris. From the beginning he favored new and experimental techniques, and during the
1920s he fomulated his own 9-tone scale (now called the Tcherepnin scale), consisting of three overlapping
major and minor tetrachords; this allowed for the simultaneous sounding of major and minor sonorities, which
the composer found particularly satisfying. He also developed a new form of counterpoint -- called "interpoint" -
- which allows for the combination of several self-contained contrapuntal structures. These musical devices
were not so much abstract concepts as attempts on the part of the emerging composer to codify his very
instinctive and individual approaches to sound and rhythm. These tendencies had already been expressed in
early works, such as the bitonal Pi�ces sans titres, Op. 7, from 1913.
From 1934 through 1937, he toured the Far East, using Tokyo, Shanghai, and Peking alternately as bases of
operation; he would have considerable influence as a teacher of both Japanese and Chinese composers of the
period. He also met his wife, the pianist Lee Hsien Ming while in China. The newly married couple returned to
Paris in 1938, but the turmoil of WWII put a stop to musical activities. Immediately following the war,
however, he resumed his creative output, eventually relocating to Chicago in 1950, and finally settling in
New York in 1964.
Although Tcherepnin's style was Russian at heart, it lacked much of the Romantic melancholy and overt
nationalism seen in other Russian-born composers. Instead, his earlier works are characterized by a French
leanness and clarity and an emphasis on the clean articulation of form. Some, such as in the
Second Piano Concerto (1923), bear a similarity to the works of Prokofiev in their motoric rhythms.
Tcherepnin himself considered his style to be "Eurasian." Notable works include the Piano Concerto 4 (1947),
the Cinq �tudes de concert and his opera The Farmer and the Nymph (1952) -- all of which have a
distinctly oriental sound -- and the Fifth Piano Concerto (1963) and Serenade for Strings (1964), both
of which suggest aggressive exploration of new concepts at the end of his life. Tcherepnin produced a
wide variety of works in every genre, eventually even incorporating electronic elements in his radio score
The Story of Ivan the Fool.
In addition to the Symphonies and Piano Concertos, this collection also includes:
Festmusik, op.45a
Symphonic March, op.48
Magna Mater
Symphonic Prayer
Also as a bonus, the upload features an alternative recording of Piano Concertos Nos 2, 4 & 6
with Murray McLachlan and the Chetham's Symphony Orchestra under Julian Clayton,
plus the Marco Polo recording of Symphony No.4 and Suite for Orchestra and a set of Russian Dances,
all under the baton of Maestra Wing Sie-Yip, conducting the Slovak State Philharmonic Orchestra.
Enjoy! Don't share! Buy the originals! :)
Music Composed by Alexander Tcherepnin
Played by the Singapore Symphony Orchestra
With Noriko Ogawa (piano)
Conducted by Lan Shui
"Swedish label BIS has undertaken a number of extended surveys of certain composers in need of attention,
such as Jean Sibelius, Kalevi Aho, Nikos Skalkottas, and Alfred Schnittke. One of its most exciting projects,
a decade in the making, is a cycle of the major orchestral works of cosmopolitan Russian Alexander
Tcherepnin with the Singapore Symphony under Lan Shui, featuring pianist Noriko Ogawa. The most
celebrated member of a family of important, multinational musicians, Tcherepnin started out somewhere
between late romanticism and neo-classicism, then played a key role in the establishment of concert
music in the Far East in the 1930s, finally settling in the United States, where his industriousness was
welcomed but not celebrated in a particularly extraordinary way. Tcherepnin's music was mostly
already forgotten by the time he died in 1977. With the groundswell of interest in non-western
concert music after the turn of the twentieth century, the time was right for Tcherepnin to make
a comeback.
This box contains Tcherepnin's six piano concertos, dating from 1918 to 1965, and his
four symphonies, dating from 1927 to 1959, plus the Festmusik, Op. 45a (1930), and several shorter
orchestral works spanning the same basic time frame as the symphonies. Noriko Ogawa is not kept
idle outside of the piano concertos, as the symphonies often contain significant piano parts;
Tcherepnin was not a subscriber to the purist notion that the piano should remain absent in symphonic
texture. Naturally it is the works of the 1940s and 1950s -- those written in the wake of Tcherepnin's
experiences in the Orient -- that grab one's attention right off the bat, with their admixture of
ingratiating Asian themes, colorful orchestration, and carefully modulated modernist elements.
In this respect the Piano Concerto No. 4, subtitled "Fantaisie" (1947), is a standout, with
Tcherepnin sounding almost like an Asian Gershwin; Ogawa particularly shines in this work. However,
the earlier modernist pieces are equally fascinating with their clipped, French neo-classicism spiced
with the language of Prokofiev, and this is an idiom he returns to in the latest work included, the
Piano Concerto No. 6 (1965).
The one major work that kind of doesn't fit the mold is the earliest entry, the Piano Concerto No. 1
(1918-1919). In the mold of the classic Russian romantic piano concerto, its driving, motoric opening
is almost reminiscent of Philip Glass and its modal harmonic preferences still set it apart from the
better known piano concertos of Rachmaninoff and Rimsky-Korsakov, whose one effort in the genre
this resembles the most in a formal sense.
The performances with Lan Shui and Singapore are all quite dedicated and spontaneous and they
crackle with the urgent excitement of discovery; however, they are also refined and are beautifully
recorded by BIS. Tcherepnin's orchestral music is a veritable Pandora's Box of treasures that easily
make the case that this key twentieth century composer was rather unnecessarily and wrongly swept
under the rug, a baby thrown out with the bathwater. Anyone who is a fan of Noriko Ogawa or of
Russian music or of pioneering efforts in East meets West type fusion -- any number of relevant things,
really, in regard to truly great music of the twentieth century -- this is a set you will cherish."
All Music
The sharing period on these albums has ended. No re-up of my rip, please.
And no further requests.
And no further requests.
Alexander Tcherepnin (1899-977) was a Russian-born composer, pianist and conductor known for his cosmopolitan style
that included influences from France and the Far East. Tcherepnin's father, Nikolay Tcherepnin, was an important
composer and conductor, and it was his influence and teaching that formed Alexander's early training. In 1921
Tcherepnin's family fled the aftermath of the Bolshevik revolution, and the young composer began his career in
their adopted home of Paris. From the beginning he favored new and experimental techniques, and during the
1920s he fomulated his own 9-tone scale (now called the Tcherepnin scale), consisting of three overlapping
major and minor tetrachords; this allowed for the simultaneous sounding of major and minor sonorities, which
the composer found particularly satisfying. He also developed a new form of counterpoint -- called "interpoint" -
- which allows for the combination of several self-contained contrapuntal structures. These musical devices
were not so much abstract concepts as attempts on the part of the emerging composer to codify his very
instinctive and individual approaches to sound and rhythm. These tendencies had already been expressed in
early works, such as the bitonal Pi�ces sans titres, Op. 7, from 1913.
From 1934 through 1937, he toured the Far East, using Tokyo, Shanghai, and Peking alternately as bases of
operation; he would have considerable influence as a teacher of both Japanese and Chinese composers of the
period. He also met his wife, the pianist Lee Hsien Ming while in China. The newly married couple returned to
Paris in 1938, but the turmoil of WWII put a stop to musical activities. Immediately following the war,
however, he resumed his creative output, eventually relocating to Chicago in 1950, and finally settling in
New York in 1964.
Although Tcherepnin's style was Russian at heart, it lacked much of the Romantic melancholy and overt
nationalism seen in other Russian-born composers. Instead, his earlier works are characterized by a French
leanness and clarity and an emphasis on the clean articulation of form. Some, such as in the
Second Piano Concerto (1923), bear a similarity to the works of Prokofiev in their motoric rhythms.
Tcherepnin himself considered his style to be "Eurasian." Notable works include the Piano Concerto 4 (1947),
the Cinq �tudes de concert and his opera The Farmer and the Nymph (1952) -- all of which have a
distinctly oriental sound -- and the Fifth Piano Concerto (1963) and Serenade for Strings (1964), both
of which suggest aggressive exploration of new concepts at the end of his life. Tcherepnin produced a
wide variety of works in every genre, eventually even incorporating electronic elements in his radio score
The Story of Ivan the Fool.
In addition to the Symphonies and Piano Concertos, this collection also includes:
Festmusik, op.45a
Symphonic March, op.48
Magna Mater
Symphonic Prayer
Also as a bonus, the upload features an alternative recording of Piano Concertos Nos 2, 4 & 6
with Murray McLachlan and the Chetham's Symphony Orchestra under Julian Clayton,
plus the Marco Polo recording of Symphony No.4 and Suite for Orchestra and a set of Russian Dances,
all under the baton of Maestra Wing Sie-Yip, conducting the Slovak State Philharmonic Orchestra.
Enjoy! Don't share! Buy the originals! :)
Music Composed by Alexander Tcherepnin
Played by the Singapore Symphony Orchestra
With Noriko Ogawa (piano)
Conducted by Lan Shui
"Swedish label BIS has undertaken a number of extended surveys of certain composers in need of attention,
such as Jean Sibelius, Kalevi Aho, Nikos Skalkottas, and Alfred Schnittke. One of its most exciting projects,
a decade in the making, is a cycle of the major orchestral works of cosmopolitan Russian Alexander
Tcherepnin with the Singapore Symphony under Lan Shui, featuring pianist Noriko Ogawa. The most
celebrated member of a family of important, multinational musicians, Tcherepnin started out somewhere
between late romanticism and neo-classicism, then played a key role in the establishment of concert
music in the Far East in the 1930s, finally settling in the United States, where his industriousness was
welcomed but not celebrated in a particularly extraordinary way. Tcherepnin's music was mostly
already forgotten by the time he died in 1977. With the groundswell of interest in non-western
concert music after the turn of the twentieth century, the time was right for Tcherepnin to make
a comeback.
This box contains Tcherepnin's six piano concertos, dating from 1918 to 1965, and his
four symphonies, dating from 1927 to 1959, plus the Festmusik, Op. 45a (1930), and several shorter
orchestral works spanning the same basic time frame as the symphonies. Noriko Ogawa is not kept
idle outside of the piano concertos, as the symphonies often contain significant piano parts;
Tcherepnin was not a subscriber to the purist notion that the piano should remain absent in symphonic
texture. Naturally it is the works of the 1940s and 1950s -- those written in the wake of Tcherepnin's
experiences in the Orient -- that grab one's attention right off the bat, with their admixture of
ingratiating Asian themes, colorful orchestration, and carefully modulated modernist elements.
In this respect the Piano Concerto No. 4, subtitled "Fantaisie" (1947), is a standout, with
Tcherepnin sounding almost like an Asian Gershwin; Ogawa particularly shines in this work. However,
the earlier modernist pieces are equally fascinating with their clipped, French neo-classicism spiced
with the language of Prokofiev, and this is an idiom he returns to in the latest work included, the
Piano Concerto No. 6 (1965).
The one major work that kind of doesn't fit the mold is the earliest entry, the Piano Concerto No. 1
(1918-1919). In the mold of the classic Russian romantic piano concerto, its driving, motoric opening
is almost reminiscent of Philip Glass and its modal harmonic preferences still set it apart from the
better known piano concertos of Rachmaninoff and Rimsky-Korsakov, whose one effort in the genre
this resembles the most in a formal sense.
The performances with Lan Shui and Singapore are all quite dedicated and spontaneous and they
crackle with the urgent excitement of discovery; however, they are also refined and are beautifully
recorded by BIS. Tcherepnin's orchestral music is a veritable Pandora's Box of treasures that easily
make the case that this key twentieth century composer was rather unnecessarily and wrongly swept
under the rug, a baby thrown out with the bathwater. Anyone who is a fan of Noriko Ogawa or of
Russian music or of pioneering efforts in East meets West type fusion -- any number of relevant things,
really, in regard to truly great music of the twentieth century -- this is a set you will cherish."
All Music
The sharing period on these albums has ended. No re-up of my rip, please.
And no further requests.
