Bizet Shchedrin Rozhdestvensky Strings Percussion Of The Bolshoi Theatre Orchestra The Carmen Ballet
Talk about a Guilty Pleasure. The Bizet Shchedrin Rozhdestvensky Strings Percussion Of The Bolshoi Theatre Orchestra The Carmen Ballet of that LP is out of print. There is or was a gram LP reissue at least Holger Czukay Cool In The Pool Germany and Switzerland. The opening is as good an example as any. The next phrase is cut off even more abruptly.
Later on, he plays melodies against each other to create new Charlie Haden Liberation Music Orchestra, changes chords and harmonies, etc.
To sum up in one phrase: Schnittke-like clever showing off. One, the eroticized action of the ballet made Carmen appear, at least to the Soviet commissars, to be a tramp I guess Carmen was supposed to be a virtuous sexless proletarian whose only dreams were of World Revolution. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic.
Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. AllMusic Featured Composition Noteworthy. Genre Ballet Classical. Period Modern. Eventually, Plisetskaya approached the company's choreographer, Alberto Alonso and told him of her desire for a Carmen ballet. Shchedrin watched her initial rehearsals with Alonso and agreed to write music for the ballet.
However, as much as he struggled to write an original score for this project, Shchedrin found he could not extricate the story from the music that French composer Georges Bizet wrote for his opera of the same name, a score Shchedrin called "fantastic, one of the best in the whole history of music. In this way, Andrew Lindemann Malone writes in his description of Roger Eno Between Tides ballet, Shchedrin positioned him on a creative middle ground, "making himself if not an equal partner at least something above the level Bizet Shchedrin Rozhdestvensky Strings Percussion Of The Bolshoi Theatre Orchestra The Carmen Ballet arranger.
Toward this end, Shchedrin set Bizet's music with a number of clever and unexpected rhythmic twists and subtler changes in notes and chords. This gives the impression of simultaneously recognizing something familiar and being surprised in hearing something slightly distorted about it.
Some melodies are "combined for 'found' counterpoint," Malone writes, others interrupted and still more left unaccompanied where Shchedrin assumes the listener knows both music and story all too well. An instance of the last mentioned, Malone writes, Little Milton If Walls Could Talk "when a big whipped-up climax in the Torero scene leads to nothing but the lowest percussion, pumping quietly, merrily, and obliviously along.
Shchedrin's orchestration proved equally unexpected and creative. Eschewing the full orchestra of Bizet for one of strings and an enlarged percussion section, he "boldly overhauled" the orchestral sound, as Sanderson phrases it, with a greatly widened timbrel range enhancing the sharpened rhythms and sudden hairpin turns in phrasing and mood. Fate, a ballerina dressed in black and a representation of Carmen's alter ego, tells Carmen's fortune with a deck of cards. Boris Messerer's sets included a mock bullring which symbolizes life, uniting the bullfight and Carmen's destiny in a sinister personage.
Fate reappears in the final act playing the role of a bull and the three main characters meet in the arena. The Bolshoi premiered Carmen Suite in but the fact that Bizet's music was so well-known actually worked against its favor, at first. Soviet Minister of Culture Yekaterina Furtsevawas repelled by the modernist flavor given to the music and the sexual overtones of both the story and the title character.
She banned the work immediately following its premiere as "insulting" to Bizet's masterpiece. Nothing but eroticism. The opera's music has been mutilated. The concept has to be rethought. I have grave doubts as to whether the ballet can be redone. Not long after the meeting with Furtseva, Shostakovich called the ministry about Carmen Suite.
He told Furtseva that he considered the ballet both a masterly transcription and highly effective dance music.
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