basner veniamin (10 Ergebnisse)

Zustand: new. Pages: 32 Language: Russian. Basner appeals to the genre of quartet in the very beginning of his creative way. He generates his Quartet No. 1, op. 1 (1948) as the composition of one movement, marked with intensive development, when the music resembles the inner monologue, just unrestrained random utterance. Its imaginative sphere is defined as the purity of aspirations. Basner adheres to the structure, which may be defined as the principle of thematic concentrated elaboration, peculiar for D. D. Shostokovich, whom he considered to be his Teacher. This principle is distinct for the succession of musical "events". Therefore the main features of the quartet, such as laconic thinking and utmost dramatic expression, should have found their evolution in the composer's chamber-instrumental creation. 9790660044964.

Zustand: new. Pages: 8 Language: Russian. Serija s takim nazvaniem ne trebuet osobogo predstavlenija. Etot proekt stal chrezvychajno populjarnym za vesma korotkoe vremja. I neudivitelno: v kazhdom malenkom sbornike soderzhitsja "kvintessentsija" tvorchestva kazhdogo kompozitora ili ispolnitelja. Soderzhanie: S chego nachinaetsja Rodina? Iz kinofilma "Schit i mech" Na bezymjannoj vysote. Iz kinofilma "Tishina" Romans. Iz telefilma "Dni Turbinykh" 9790660041536.

Zustand: new. Pages: 20 Language: Russian, English. This is the violin pieces Poem and Scherzo (1951), where the brilliant violinist Basner reveals wonderful knowledge of the instrument and its virtuoso abilities. The Poem is lyrical and pathetic, accepted at one breath. The composition is opened by the brief introduction, stained in stern contemplative hints. Then the palpitating melody appears performed by the violin on the ground of piano triplets. The elaborative section outbursts passion and fever, while the growing wave leads to apex. The Poem is completed on weary descending intonations of the theme that seems to have exhausted its energy, thus sounding peaceful and obedient. The Scherzo reveals concealed features of the composer's talent. Here the sounding outbreaks dominate as impetuous unbridled, even boorish force casting the moods of Prokofiev's characters in this genre. This is felt also through the melody of the middle episode, where lucid courageous handsome lyrical temper dominates. 9790660045886.

Zustand: new. Pages: 28 Language: Russian, English. Narodnyj artist Rossii, laureat Gosudarstvennoj premii Veniamin Efimovich Basner (1925-1996) - vydajuschijsja kompozitor, che tvorchestvo odnoj iz jarkikh stranits voshlo v istoriju otechestvennoj muzykalnoj kultury. 13 proizvedenij dlja muzykalnogo teatra, 3 simfonii, 2 instrumentalnykh kontserta, simfonicheskie sjuity, pjat kvartetov, vokalnye tsikly, muzyka k 100 kinofilmam, bolee 300 pesen - vot daleko ne polnyj perechen ego sochinenij, uspeshno ispolnjavshikhsja na rodine i za rubezhom. Skripichnaja sonata pamjati skripacha Mikhaila Vajmana byla napisana V. Basnerom v 1982 godu. V etom sochinenii zvuchit skorb nevozvratimoj poteri (so studencheskikh let V. Basnera i M. Vajmana svjazyvala ogromnaja chelovecheskaja i tvorcheskaja druzhba). Premera skripichnoj sonaty sostojalas v 1983 godu v Leningrade v ispolnenii B. Gutnikova i E. Zhokhovoj. Izdanie prednaznachaetsja dlja kontsertirujuschikh ispolnitelej, studentov konservatorij i muzykalnykh uchilisch 9790660009642.

Zustand: new. Pages: 144 Language: Russian. Veniaminu Basneru bylo shestnadtsat let, kogda nachalas Velikaja Otechestvennaja vojna. On zhil v Jaroslavle, zanimalsja v muzykalnom uchilische, a v 1943 godu ego prizvali v armiju i zachislili v Leningradskoe artillerijskoe uchilische, evakuirovannoe v Kostromu. Uznav o nezaurjadnykh muzykalnykh sposobnostjakh kursanta, general perevel ego v muzykalnyj vzvod pri Voenno-transportnoj akademii, kotoraja v kontse vojny vozvratilas domoj. Tak Basner okazalsja v Leningrade. Tam on srazu zhe postupaet v konservatoriju, gde zanimaetsja po klassu skripki, rabotaet v estradnom orkestre Radiokomiteta i s uvlecheniem otkryvaet dlja sebja neobjatnyj mir muzyki. Projavivshijsja esche v detstve interes k kompozitsii stanovitsja nastojchivoj potrebnostju. Dalnejshuju sudbu opredelila vstrecha s D. D. Shostakovichem, chi sovety pomogli bystromu stanovleniju Basnera kak kompozitora-professionala, a vskore otnoshenija s velikim muzykantom pererosli v lichnuju druzhbu, dlivshujusja do kontsa zhizni Shostakovicha. Tvorcheskoe nasledie Basnera porazhaet shirotoj khudozhestvennykh interesov. On postojanno perekljuchalsja v poljarnye obraznye i zhanrovye sfery. No tsentralnymi vsegda ostavalis temy, raskryvajuschie velichie dukha, vernost vysokim nravstvennym i grazhdanskim idealam. Poetomu sobytija Velikoj Otechestvennoj vojny, raspakhnuvshej serdtsa k podvigu, zhertvennosti, sostradaniju, osobenno chasto stanovjatsja osnovoj ego proizvedenij. Vtoraja simfonija ("Blokada"), gde ispolzovana melodija pesni "Leningradskij metronom", Poema ob osazhdennom Leningrade dlja simfonicheskogo orkestra, vokalno-simfonicheskij tsikl "Vechnyj ogon", simfonicheskie sjuity iz kinofilmov "Bessmertnyj garnizon", "Sudba cheloveka", Pjatyj kvartet, vkljuchivshij melodiju pesni "S chego nachinaetsja Rodina?.", - vot sochinenija krupnoj formy, v kotorykh voploschena voennaja tema. Obychno muzyku k kinofilmam Basner sochinjal bystro, i melodii pesen poroj rozhdalis srazu - takova priroda talanta i vysokogo professionalizma mastera. No sozdanie kazhdoj dlja nego bylo delom sokrovennym, ispovedalnym. Bolshinstvo pesen Basnera o vojne zvuchat kak vospominanija, otsjuda sderzhannyj, doveritelnyj ton povestvovanija, bez patetiki i povyshennykh strastej. Eto surovaja intonatsija cheloveka, perezhivshego gorech utrat i znajuschego tsenu pobedy. Pochti vse voennye pesni Basnera napisany v minornom ladu, kazalos by iznachalno sozdajuschem nastroenie grusti. Odnako v melodijakh est volevoj zarjad i chistyj svet nadezhdy ("S chego nachinaetsja Rodina?.", "Berezovyj sok", "Na vsju ostavshujusja zhizn"). Est u Basnera i ozornye, veselye pesni, khotja tozhe v minornykh tonalnostjakh. V nikh i junosheskij zador, i soldatskij jumor ("Makhnem ne gljadja", "Kak, skazhi, tebja zovut?"). Soderzhanie: S chego nachinaetsja Rodina? Iz kinofilma "Schit i mech". Slova M. Matusovskogo Berezovyj sok. Iz kinofilma "Mirovoj paren". Slova M. Matusovskogo Na bezymjannoj vysote. Iz kinofilma "Tishina". Slova M. Matusovskogo Zaveschanie. Iz kinofilma "Vladivostok. God 1918". Slova M. Matusovskogo Ot razluki do razluki. Iz kinofilma "Tishina". Slova M. Matusovskogo Maki. Slova G. Pozhenjana Leningradskij metronom. Iz kinofilma "Tishina". Slova M. Matusovskogo My - deti voennoj pory. Iz kinofilma "Voditel avtobusa". Slova M. Matusovskogo Ukhodili parni na vojnu. Iz kinofilma "Mat i machekha". Slova R. Kazakovoj A tuman na luga lozhitsja. Iz kinofilma "Front za liniej fronta". Slova M. Matusovskogo Orljata. Iz kinofilma "Krasnyj khleb". Aranzhirovka G. Firticha. Slova M. Dudina Ballada o frontovom kinooperatore. Iz kinofilma "Reportazh s linii ognja". Slova M. Matusovskogo Makhnem ne gljadja. Iz kinofilma "Schit i mech". Slova M. Matusovskogo Ja, rebjata, kazhetsja, vljubilsja. Iz kinofilma "Front za liniej fronta". Slova M. Matusovskogo Gruzovichok-frontovichok. Iz kinofilma "Reportazh s linii ognja". Slova M. Matusovskogo Pogranichnaja zastava. Iz kinofilma "Ja sluzhu na gr.

Zustand: new. Pages: 146 Language: Russian. Liricheskie pesni, pesni o vojne, pesni k kinofilmam - ikh znajut vse, zhivuschie v Rossii, chasto ne podozrevaja, kto javljaetsja avtorom znamenitykh melodij, i prinimaja ikh chasto za narodnye. Basner - eto tselaja epokha v eizni neskolkikh pokolenij, a tochnee - odno iz luchshikh, chto etoj epokhoj bylo sozdano. Soderzhanie: Beloj akatsii grozdja dushistye. Romans iz telefilma "Dni Turbinykh". Slova M. Matusovskogo Akh, kakie segodnja zarnitsy. Iz kinofilma "Oni byli akterami". Slova M. Matusovskogo Krestiki-noliki. Iz kinofilma "Oborona Sevastopolja". Slova M. Matusovskogo Kolybelnaja. Iz kinofilma "Chelovek rodilsja". Slova V. Popova Chistye rosy. Iz telefilma "Gorod nad golovoj". Slova M. Matusovskogo Prikhodjat i ukhodjat poezda. Iz telefilma "Gorod nad golovoj". Slova M. Matusovskogo Razmyshlenie. Iz kinofilma "Kontrolnaja po spetsialnosti". Slova M. Matusovskogo I snova vetry zimnie. Iz telefilma "Opasnyj povorot". Slova M. Matusovskogo Serebrjanye ruki. Slova A. Tarkovskogo Ja khotela b pozabyt. Iz kinofilma "Varvarin den". Slova M. Matusovskogo Vospominanie. Iz muzykalnoj komedii "Mezhdu nebom i zemlej". Slova V. Konstantinova i B. Ratsera Vesennjaja pesnja. Iz telefilma "Gorod nad golovoj". Slova M. Matusovskogo Sanochki. Slova M. Matusovskogo Ja - bedovaja. Iz kinofilma "Zachem alibi chestnomu cheloveku?" Slova M. Matusovskogo Kibitka. Iz kinofilma "Tsygan". Slova M. Matusovskogo Vot uzhe listva poslednjaja. Iz kinofilma "Tri protsenta riska". Slova M. Matusovskogo Odin na odin. Iz kinofilma "Tri protsenta riska". Slova M. Matusovskogo Byla sudba. Iz kinofilma "Fakty minuvshego dnja". Slova M. Matusovskogo Ranneju vesnoj. Iz kinofilma "Solntse svetit vsem". Slova M. Matusovskogo Staryj pljazh. Slova M. Matusovskogo Belyj tsvet, alyj tsvet. Iz kinofilma "Troe vyshli iz lesu". Slova V. Popova i M. Svetlova Ty i ja. Iz telefilma "Trevoga." Slova M. Matusovskogo Ja pomnju vsjo eto. Iz kinofilma "Voskresnyj papa". Slova M. Matusovskogo Ta reka, gde ty rodilsja. Iz kinofilma "Sled na zemle". Slova M. Matusovskogo Ptitsy vozvraschajutsja domoj. Iz kinofilma "Vozvraschenie k zhizni". Slova M. Matusovskogo Parizhskij sharmanschik. Slova M. Matusovskogo Nostalgija. Iz kinofilma "Neizvestnye stranitsy iz zhizni razvedchika". Slova M. Matusovskogo Oreshnik. Iz kinofilma "Vremja i semja Konvej". Slova M. Matusovskogo Kolybelnaja Bramsa. Iz kinofilma "Vremja i semja Konvej". Slova M. Matusovskogo Pesnja o ryzhem schenke. Iz kinofilma "Uchitel penija". Slova A. Galicha Ne ischite landyshej. Iz kinofilma "Poslednij shans". Slova M. Matusovskogo 9790660001479.

Zustand: new. Pages: 28 Language: Russian, English. The Quartet No 4, op.18 (1969) stands afar from the third one, though being connected with the idea of succession. Its cycle of three movements is rather chamber, appealing to the sphere of mostly bosom sentiments, achieving their outburst and passionate apex. The combination of candid self-expression and psychological aptitude with impressive concentration of feelings and thoughts is uttered succinctly. The quartet is composed during a short time. The whole composing process lasted for less than a fortnight. The composer confessed, there was not any piece he had been creating so fast. The quartet is dedicated to the memory of Nina Basner, the composer's wife and friend. Although the three movements differ from each other by their imagination sphere, the whole opus seems to have been composed in a burst of inspiration, resembling the kind of integral and stirring poem, pierced with ardent deeply personal contemplation. The first movement, the sort of a prologue, evolves slowly, concentrating alarm and danger, precaution. The second movement turns the whole action into the margin of commemoration. Miraculous alternation is succeeded by the whole chain of scherzos episodes and the march. Then there follows the kind of dialogue between the violin and cello. The third movement is mostly animated in its finale, which is accepted as the top of its plot. Frightening sulky emotions are dominating here. The previous movements seem to be enlightened by its reverberated luminosity, reviving two vapoured movements. Dark and shadowy music, isn't it heard in this murky music? 9790660044995.

Zustand: new. Pages: 108 Language: Russian, English. The Concerto for violin and orchestra was completed in 1966, being dedicated to the violinist Mikhail Vaiman, its first performer. The Concerto continues the thread of the most dramatic opuses in Basner's creation, such as the symphony and the Third quartet. Those were the Great Patriotic War memories to evoke the Concerto's psychological sphere, especially aggravated by the composer's visit to Oswincim, the former concentration camp of the fascists prisoners. The composition does not have special literary programme, however, its construction is based on concealed dramatic action. This is the combat between the Kindness and the Evil, Cruelty and Tenderness leading to the manifested protest against the fascism and violence. The musical contours here are stern, severe and keen. The orchestral facture is woven of distinct bare lines' contradiction, timber independence and unyielding disposition, achieved by means of orchestration. E. g., the violin is absent in the score, emerging only as the solo instrument. The group of percussions is numerous and ample. Here it's worth to remember some graphic anti-militaristic posters by B. Prorokov, so as the drawings and painted works by the Kukryniks (society of artists Kupriyanov, Krylov, Sokolov). 9790660045213.

Zustand: new. Pages: 56 Language: Russian, English. Veniamin Yefimovich Basner (January 1, 1925, Yaroslavl - September 3, 1996, St.Petersburg) - the distinguished composer, People's Artist of Russia, recipient of the State Prize, whose creation has undoubtedly opened the new page in his Motherland's music history.Basner's resourceful sphere is really widespread, embracing diverse genres and imaginative areas. Among his compositions of academic genre there are thirteen opuses for music theatre, three symphonies, two instrumental concertos, symphonic suites, five quartets, vocal cycles, having enjoyed the popularity both in Russia and abroad. The composer's tribute to cinema and popular song genre is striking indeed, i. e. sound tracks to over one hundred films, more than three hundred hits, having caught fancy all over the world. The "Three Musketeers" by Veniamin Basner was firstly staged by the choreographer N. Boyarchikov at the Leningrad Academic Maly Opera and Ballet Theatre in the end of 1964. However, already before this dramatization, in 1962, the composer had selected separate scenes out of the ballet score and formed symphonic suite, which enjoyed its popularity as an independent creation on the concert stage. The suite includes sounding portraits of main personages, so as actions and dancing divertissement. Basner does not resort to any musical stylistic imitation of the age, the action takes place in. Nevertheless, he inculcates to the most contemporary score some single attributes of genre, intonation and rhythm inherent in the epoch depicted. Meanwhile Basner's main objective is the blend of romantic impetuosity and grotesque, lyric and buffoonery casting that unbridled joie de vivre of glorious Dumas' novel and noble ideological earnestness concluded in it. Contents: I. INTRODUCTION, FARANDOLE AND MUSKETEERS' MARCH II. SERENADE OF ARAMIS III. BOLERO AND GIGUE 9790660000755.

Zustand: new. Pages: 56 Language: Russian, English. The Concerto for violin and orchestra was completed in 1966, being dedicated to the violinist Mikhail Vaiman, its first performer. The Concerto continues the thread of the most dramatic opuses in Basner's creation, such as the symphony and the Third quartet. Those were the Great Patriotic War memories to evoke the Concerto's psychological sphere, especially aggravated by the composer's visit to O? wi? cim, the former concentration camp of the fascists prisoners. The composition does not have special literary programme, however, its construction is based on concealed dramatic action. This is the combat between the Kindness and the Evil, Cruelty and Tenderness leading to the manifested protest against the fascism and violence. The musical contours here are stern, severe and keen. The orchestral facture is woven of distinct bare lines' contradiction, timber independence and unyielding disposition, achieved by means of orchestration. E. g., the violin is absent in the score, emerging only as the solo instrument. The group of percussions is numerous and ample. Here it's worth to remember some graphic anti-militaristic posters by B. Prorokov, so as the drawings and painted works by the Kukryniks (society of artists Kupriyanov, Krylov, Sokolov). 9790660044919.