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Gavriil Popov (1904-1972) (Russia) Symphony No. 2 « Motherland » (1943) Dir : Alexander Titov 1- Introduction (Andante con moto e molto espressivo) (7.47) 2- Presto giocoso (7.39) 3- Largo (13.08) 4- Finale (Presto) (6.44) LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2, COLLECTIONCB3, COLLECTIONCB4 and IDEAL "DISCOTHEQUE" OF MORE THAN 1,400 ORCHESTRAL WORKS OF FEELINGS : 🤍
Yuri Favorin - Piano Invention 00:00 Choir 03:40 Lied 08:58 Fuga 12:49 Gavriil Popov (1904-1972) - was a Soviet Russian Composer. Popov studied at the Leningrad Conservatory from 1922 until 1930 with Leonid Vladimirovich Nikolayev, Vladimir Shcherbachov, and Maximilian Steinberg. He was considered to have the raw talent of his contemporary Dmitri Shostakovich; his early works, in particular the Septet (or Chamber Symphony) for flute, trumpet, clarinet, bassoon, violin, cello and bass, and his Symphony No. 1 (Op. 7, banned immediately after its premiere in 1935 and not publicly heard again in his lifetime), are impressively powerful and forward-looking. Not surprisingly, he ran afoul of the authorities in 1936 and began writing in a more conservative idiom in order to avoid charges of formalism. Despite his alcoholism, Popov produced many works for orchestra, including six completed symphonies and several film scores. Symphony No.1 - 🤍 Please support me with a little recognition/alms for this channel that you love (i love it too). Feel free to toss a message at my email : fyrexia🤍gmail.com ; if you need any score. I am here to share, not hiding anything (unless private, and it is most likely not in my channel). Please support - 🤍 There is no copyright infringement intended. If you wish your recording to be removed, it can be done, please just leave me an email, which can be found at the channel's about section.
USSR Radio Symphony Orchestra conducted by Edvard Chivzhel I - Maestoso cantando - Largo cantabile - Allegro vivace: 0:00 The sixth symphony by Gavriil Popov was composed in 1969, written in a single movement composed of three sections that merge together. A symphony that shows us the impressive compositional technique of its author. The first section, maestoso cantando, begins with an epic theme interpreted in unison by the horns. Then the motive is taken by the trombones, with the horns in counterpoint. The tempo is animated with the entrance of the trumpets, taking the aspect of a march. A silence interrupts the development. A lively allegro begins accompanied by the sound of the bells, as if to make sense of the word festive. It continues with fragments of great sound virtuosity, until the moment when the clarinet interprets the second theme of pastoral characteristics. It continues with a special development section, in a mix style between Bartok and Mahler. The wood repeats the main theme in marching rhythm, which is then taken by the orchestra in the form of variations. The music is appeased, without having a re-exposure section, passing without pause to the next part. The second section, largo cantabile, presents the melody of the aperture played by the muted strings. A second more passionate theme, also derived from the first part appears in the central section, also interpreted by the solo strings. The two themes go to a development section, which ends with a theme played by the horns. The last section, allegro vivace, links directly to the previous one in the form of a fugue that uses familiar motives. A slower section transports us to an atmosphere that reminds us of Stravinsky of Petrouchka. Then begins a broad elaborate rhapsody, from which the main theme emerges when least expected. The final section is very spectacular, starting with a sound wave riding on the main theme, which then passes to the metal, rising in a solemn way, accompanied by the sound of the bells in a festive way. An extensive coda ends in a radiant way, reserving the final surprise in the form of exclamation. A work of the last epoch of Popov, that using a style of easy understanding without renouncing his orchestrating skills, makes us meditate on the causes of an unjustified forgetfulness. Picture: Photograph of the Barmaley / Children's Khorovod Fountain during the battle of Stalingrad (1943) by the Russian-Jewish photographer Emmanuil Yevzerikhin. Sources from thsi spanish website on Popov symphonism: 🤍
DISCLAIMER: Please note that the pages from 12: 05 to 12: 51 are missing from the score Gavriil Popov - Symphony No. 1, Op. 7 (1929-1932) Performed by the London Symphony Orchestra Conducted by Leon Botstein Movement One: Allegro energico - 0:00 Movement Two: Largo con moto e molto cantabile - 23:44 Movement Three: Finale. Scherzo e coda. Prestissimo - 40:26 Source of Audio - 🤍
Интервью Дмитрия Гордона с первым демократически избранным мэром Москвы Гавриилом Поповым в двух частях. Часть 1. 2009 год. Больше о Гаврииле Попове: 🤍 Продолжение интервью: 🤍 Цитаты из интервью: * Садясь за руль, я не знал, взорвется моя машина от поворота ключа или нет * Решающую роль в том, что Беловежское соглашение было принято, сыграл, на мой взгляд, Кравчук, но если бы во время застолья Ельцин попросил у него Крым, тот отдал бы полуостров без разговоров (видео фрагмента: 🤍 * Брежнев не случайно называл Грбачева "овечий наш царь" Полная текстовая версия интервью: Часть 1: 🤍 Часть 2: 🤍 Часть 3: 🤍 Интервью с другими интересными гостями: Людмила Гурченко: 🤍 Александр Невзоров: 🤍 Подписывайтесь на официальный канал программы "В гостях у Дмитрия Гордона", чтобы не пропустить новые выпуски! 🤍 Смотрите программы Дмитрия Гордона, следите за новостями и читайте аналитику на общественно-политическом сайте "ГОРДОН": 🤍 Присоединяйтесь к нам в соцсетях! 🤍 🤍 🤍 "В гостях у Дмитрия Гордона" — авторская программа Дмитрия Гордона, которая с 2000 года выходит на украинском телевидении. Формат программы — беседы с выдающимися современниками: деятелями культуры, искусства, науки, спорта и политики. Это люди, которым есть что сказать о себе и об эпохе. В разные годы ее героями были Николай Амосов и Михаил Горбачев, Виктор Ющенко и Леонид Кравчук, Михаил Жванецкий и Евгений Евтушенко, Муслим Магомаев и Эдуард Шеварднадзе, Олег Блохин и Владислав Третьяк, Виктор Суворов и Виктор Шендерович, Михаил Саакашвили и Борис Березовский... Всего — около 600 знаменитостей. Чаще всего интервью выходят частями в нескольких программах. Друзья, мы рады комментариям и дискуссии, но нецензурная лексика будет удаляться, а злостные нарушители — баниться.
Tokyo Symphony Orchestra conducted by Norichika Iimori. I - Combat and failure. Allegro energico: 0:00 II - Humanity. Largo con moto e molto cantabile: 21:13 III - The energy, the will and joy of one who is victorious after hard work. Presto: 36:17 Popov's Symphony No.1 was slowly composed between 1928-34. He presented it to a composition competition to celebrate the 15th anniversary of the October revolution, organized by the Bolshoi Theater in Moscow and the Pravda newspaper. The deliberation was slow, not knowing the final results until October 14, 1933. The first prize was declared desert. The second prize was shared between Popov, Shaporin and Shebalin. The work received both strong praise and criticism. Popov revised it in 1934. Before the piece was performed, B. Obnorsky, head of the Office of the Control of Cultural Events of the Repertory in Leningrad, gave a decree banning the performance of the piece, writing that: "Popov's work reflects the ideology of the enemy classes of the proletariat... The author has failed to emphasize the optimistic essence of the change in the conception of the Soviet intelligentsia... our organization of composers has not been vigilant enough, accepting work whose ideology is foreign to us. The political consequences must be drawn immediately. In our country one has all the possibilities for the re-education of the rearguard composers..." However, the main committee of the repertoire rejected the ban. Fritz Stiedry, who had recently become the principal conductor of the Leningrad Philharmonic Orchestra, took an interest in the piece, and decided to perform it. The piece was premiered on March 22, 1935, under Fritz Stiedry's baton. Dmitri Shostakovich, Ivan Sollertinsky, Boris Arapov, and Yuri Kochurov were in attendance. The piece recieved a lukewarm reception from the reception at its premiere. Popov's original music was at odds with the demands of the Communist Party. The next day, the piece was banned. In fact, the symphony became the first orchestral piece to be banned by the Soviet regime. Admirers of the piece, including Shostakovich, Meyerhold, Asafiev, and Golovanov wrote letters to protest this decision. The ban was successfully appealed, however the piece was never performed again in Popov's lifetime. It woudln't be performed again until 1989, for an Olympia recording. The first movement is written in a large sonata form. It begins with an orchestral shout. The main theme consist of a turbulent and acid fugue, with dissonant marcial elements. After a violent climax, the second theme is presented as a dark passacaglia, which culminates in a bitonal climax, with the tonalities crashing against each other. The development begins with pizzicatos from the basses., tense and full of a complex contrapuntal writting and use of polyrhythms. After a large and tense crescendo, a bitter and aggressive climax is reached. The recapitulation is inverted, starting with the second theme reexposed in a varied way, after a pause, the main theme follows. It concludes with a pessimistic quiet coda, interrupted by numerous silences. The second movement is a slow rondo, formed by three themes. The main theme is lirically emotional, presented by the clarinet over the pizzicato of the strings. The development of theme uses fugue techniques. The second theme is very expressive, presented by the strings, full of a sense of tragedy. The third theme is darkly active, introduced again by the strings, which leads to a massive, violent climax. This violence is answered by a hopeful motif that grews lyrically. The main theme is recapitulated in a solo from the violin, followed by the bassoon. The music ends with a resignated coda. The last movement consist of a scherzo and a large coda. It opens with a monotonous rhythm (evoking the sounds of industrial machines), which leads to a forceful and agressive theme, supported by accentuated syncopated rhythmic pulsations. A military march appears in a distorted way. The trio consist of a delirant section which grows until taking us to a parodic march. Elements of the previous movements appear, leading to the final section. The coda begins with a deformed, schizophrenic march. A powerful counter-theme appears on the brass over a dense percussive texture. A victorious joy permeates the atmosphere with the ringing of the bells, which lead us to a final ecstasy in C major. Popov dedicated the work to his father, worker and activist of the proletarian culture front: in charge of the education of the young workers. It expresses the struggle and the failure, the humanity, the energy, the will and the joy of the assiduous victor. It should not be understood as a defense of communism but with a global character, as a general struggle of man for existence. Picture: "Melancholia" (1890-1894) by the Polish painter Jacek Malczewski. Source: 🤍
Gavriil Popov (1904-1972): Sinfonia da camera (Settimino) op.2 (1926/1927) - Natalia Danilina, flauto; Oleg Tchastikov, clarinetto; Andrei Simonov, fagotto; Mikhail Druzhinin, tromba; Natalia Malkova, violino; Julia Molchanova, violoncello; Lyudmila Khoteeva, contrabbasso - I. Moderato cantabile II. Scherzo. Allegro [6:31] III. Largo [14:39] IV. Finale. Allegro energico [24:21] - cover image from 🤍 The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Symphonic aria for cello and string orchestra, op. 43 (1945) by Gavriil Nikolaevich Popov Dmitry Krychov, cello St. Petersburg State Academic Symphony Orchestra Alexander Titov, conductor
Новый выпуск программы о настоящих личностях, их судьбах, поступках и взглядах на жизнь. В студии экономист, политик, первый мэр Москвы Гавриил Попов. Эфир в субботу 19 декабря в 18 часов 05 минут Ведущий - Леонид Велехов.
USSR State Symphony Orchestra conducted by Gurgen Karapetian I - Pastorale. Allegro poetico e molto cantando: 0:00 II - Storm. Allegro agitato - Largo poetico: 9:39 III - Struggle: Fugue. Allegro energico - Maestoso: 19:02 IV - Hopes. Largo appasionato - Appasionato cantabile: 28:45 V - Pastorale. Adagio poetico e molto cantabile - Coda. Largo maestoso e festivo: 38:27 The fifth symphony of Gavriil Popov was composed in 1956 according to the data of the Muzycalnaya Entsiklopediya. This year marks the beginning of de-Stalinization, but things slowly changed. For this reason it was not premiered until 1963, performed by the Moscow orchestra. The first movement, pastorale, after an arpeggio of the orchestra, the oboe presents a theme reminiscent of Mussorgsky. The theme is taken by the other instruments of the orchestra in a fugue form. Then it is presented as a pastoral painting in the style of Mahler. The second movement, storm, continues without pause. The atmosphere is thinned giving way to the explosions of the storm, in a style already inherited from Beethoven. But it changes when calm arrives, presenting a rarefied environment full of nervous tension. The third movement, struggle, presents us with a double fugue based on a vigorous and rhythmic theme. A music of great dramatic strength. The fourth movement, hopes, continues without interruption. Corresponds to the slow movement of the work, presenting a passionate theme very expressive. It ends with a solemn coda that reminds us of the Respighi of the Roman Holidays. The last movement, pastorale, also interpreted without interruption, returns to the character of the beginning of the work, with the theme presented by the oboe. It uses part of the initial movement material. After a more dramatic development, it leads us to the final part of the work in a dreamy environment, returning the pastoral theme. The work uses a very conservative musical language but Popov does not do without its individual style, making a superb orchestration of it. Picture: "Lake. Russia" (1900) by the Russian-Jewish painter Isaac Levitan. Sources from this spanish website on Popov symphonism: 🤍
Монолог бывшего мэра Москвы, доктора экономических наук, профессора Гавриила Попова. Выводы делайте сами #интеллектуальнаясобственность
Интервью Дмитрия Гордона с первым демократически избранным мэром Москвы Гавриилом Поповым в двух частях. Часть 2. 2009 год. Больше о Гаврииле Попове: 🤍 Первая часть интервью: 🤍 Цитаты из интервью: * Михаил Сергеевич и Борис Николаевич – это месть русского крестьянства за то, что сделала с ним советская власть * Думаю, Собчака устранили. он был не нужен и даже более того – опасен (видео фрагмента: 🤍 * Ну нельзя получать зарплату в пять тысяч долларов, а распоряжаться миллиардами – это противоречит человеческой природе Полная текстовая версия интервью: Часть 1: 🤍 Часть 2: 🤍 Часть 3: 🤍 Интервью с другими интересными гостями: Валерий Леонтьев: 🤍 Тамара Синявская: 🤍 Подписывайтесь на официальный канал программы "В гостях у Дмитрия Гордона", чтобы не пропустить новые выпуски! 🤍 Смотрите программы Дмитрия Гордона, следите за новостями и читайте аналитику на общественно-политическом сайте "ГОРДОН": 🤍 Присоединяйтесь к нам в соцсетях! 🤍 🤍 🤍 "В гостях у Дмитрия Гордона" — авторская программа Дмитрия Гордона, которая с 2000 года выходит на украинском телевидении. Формат программы — беседы с выдающимися современниками: деятелями культуры, искусства, науки, спорта и политики. Это люди, которым есть что сказать о себе и об эпохе. В разные годы ее героями были Николай Амосов и Михаил Горбачев, Виктор Ющенко и Леонид Кравчук, Михаил Жванецкий и Евгений Евтушенко, Муслим Магомаев и Эдуард Шеварднадзе, Олег Блохин и Владислав Третьяк, Виктор Суворов и Виктор Шендерович, Михаил Саакашвили и Борис Березовский... Всего — около 600 знаменитостей. Чаще всего интервью выходят частями в нескольких программах. Друзья, мы рады комментариям и дискуссии, но нецензурная лексика будет удаляться, а злостные нарушители — баниться.
Performers: Mikhail Dubov
1. Allegro energico 2. Largo con moto e molto cantabile 3. Finale: Scherzo e Coda. Prestissimo Moscow State Symphony Orchestra / Gennady Provatorov Images by Pavel Filonov: 1. Composition (a Raid) 2. Countenances (Faces on an Icon) 3. The Narva Gates
«Платформа» Андрея Караулова» 🤍 Официальный Яндекс.Дзен Андрея Караулова 🤍 Новый Яндекс.Дзен «Неизвестная Россия» 🤍 Электронную версию, 13-го, наиболее полного издания, исторического романа Андрея Караулова «Русский ад», в пяти томах, и аудиоверсию книги можно купить в онлайн-магазине на «Платформе» Андрея Караулова: 🤍 Больше новостей на нашем интернет портале, заходите и читайте 🤍 А также подписывайтесь на наши аккаунты в соцсетях: Telegram: 🤍 Вконтакте: 🤍 Одноклассники: 🤍 RuTube: 🤍 TikTok: 🤍 Twitter: 🤍 LiveJournal: 🤍
0:00 Allegro energico 23:44 Largo con moto e molto cantabile 40:27 Finale: Scherzo e Coda. Prestissimo
1. Invention 2. Choir 3. Lied 4. Fuga The piece was performed by Mikhail Bozylev as part of the programme of rare-played composers in the Royal Conservatoire of Scotland, 20.09.2019.
St. Petersburg State Academic Capella Symphony Orchestra conducted by Alexander Titov I - Intrada. Andante maestoso e molto espressivo - Risoluto con fuoco - Coda. Risoluto maestoso - Molto cantabile - Tempo I: 0:00 II - Allegro con fuoco, quasi presto - Largo appasionato - Quasi recitativo appasionato - Andante doloroso e sempre inquieto - Tempo I: Presto feroce - Allegro con fuoco e molto cantabile appasionato: 7:12 III - Scherzo. Prestissimo - Leggiero giocoso - Tempo I e molto risoluto - Giocoso con brio - Cantabile, flautando, dolce: 18:58 IV - Largo espressivo, molto cantabile e sempre con moto - Risoluto, quasi marcia marciale - Cantabile energico e sempre con moto - Risoluto con ira e molto agitato - Largo ma con moto: 25:25 V - Presto impetuoso - Molto cantabile - Presto energico e maestoso - Risoluto luminoso - Tempo I: 45:48 The third symphony of Gavriil Popov was composed between 1939 and 1946. It premiered in Moscow on January 31, 1947 and then was presented in Leningrad on March 9 of the same year. It is composed for an extended string orchestra. A challenge for the presentation of a heroic work. Called by an orchestra conductor as the "Spanish" for the use of Hispanic themes and for the origin of the work: In the month of May of 1939, Popov had written the soundtrack of a film entitled "Spain". It was a report made during the Spanish Civil War, describing the tragedy of the nation. The music was so successful that Popov made a suite entitled "Spain" Op.28, consisting of seven symphonic fragments. According to the diary written by the composer, on September 17, 1939, he intends to perform a Concerto grosso based on the fragments for strings of his work "Spain". The first movement ends in the month of October, but then leaves the work. In the month of September 1944 he continued, finishing the score on September 21, 1946. Then he changed the name to Symphony No. 3 "Heroic" and dedicating it to his friend Shostakovich. The first movement begins with a solemn theme reflecting the heroism that will be the basis of the symphony. It is combined with a more nervous secondary theme. Dragged by the violins the theme grows to its fullest expression, then return to the calm with which the coda ends. The second movement presents a lively theme in which we can see the popular twists of the Castilian jota, one of the reasons for being known as the Spanish symphony. In the central part we find a requiem for the fallen heroes based on the Basque folk song, Argizagi ederra (the beautiful moon). The theme is presented by the violas in their low register. Then the complete strings are added. It continues with a brief development in a dramatic way to return to the initial theme. The third movement corresponds to the scherzo of the work. It is written in the form of a rondo and is based on the themes of three dances. Among them are a contrapás, a typical Catalan dance and a Castilian tune, which alternate. The fourth movement begins with a dense sad melody in the cellos and double basses. When the violas and violins join, it acquires amplitude, increasing its drama. It is the longest movement, constituting the dramatic core of the work. It develops through increasingly intense sound waves until it reaches its peak. The last movement presents us with the triumphal end of the work. The two themes of the first movement reappear. The second theme appears first, followed by a motif in the form of a march announcing the victory. The main theme of the work, that of heroism, is emphasized. The initial theme is taken by the entire orchestra in the coda as a symbol of courage. The premiere of the work was a success but for reasons unknown, their discussion at the meeting for the Stalin Awards was postponed to 1947. The events that took place in 1948 for the performance of Vano Muradelli's opera, condemned the most important Soviet composers. Popov was criticized as an anti-nationalist formalist in need of a reconversion of his style. Picture: "The Third of May 1808" (1814) by the Spanish painter Francisco de Goya. Sources from this spanish website on Popov symphonism: 🤍
OUT NOW! World Premiere Recording - Gavriil Popov : ”Quartet-Symphony” 1951 Listen, Download & Buy here: on Spotify⬇️ 🤍 on Amazon⬇️ 🤍 CD ⬇️ 🤍 Gavriil Popov One of the greatest of the forgotten composers is without any doubt Gavriil Popov, a wunderkind of the early Soviet music, whose 1st symphony was ardently expected as a first great monument of communist musical art, only to be rejected and banned as pessimist-anti-Soviet after its premiere in 1935. It was a precedent that frightened Shostakovich so much that he called off the first performance of his 4th symphony. The protocol of the political committee’s session concerning Popov’s First has been made public and gives an even more absurd and macabre impression than Shostakovich’s later satire Antiformalist Rayok. Popov’s tragic First, a kind of invocation of a cathartic destructive diluvium may be seen as a link between Mahler and Shostakovich. Its artistic merits are in no way inferior to the music of these two Olympians. It was rediscovered in the 1990s and was even recorded three times, after which it fell again into oblivion despite the enthusiasm of many music lovers. Popov’s grandiose Fifth may be described as a wonderful world of nature without human beings. It has never been publicly performed, as has his shockingly disconcerting Sixth. The Quartet Symphony originated close to the Fifth and is related to it in its esthetics and language. It is incomprehensible that a work which doubtlessly belongs among the most ambitious, versatile and monumental creations of string quartet literature, had to wait over 70 years for its first recording after its premiere in 1951. It is a work that makes the traditional sound so fresh, like newborn – ultramodern, and which unites the heroic with intimate lyricism to create an unprecedented, magical synthesis. It is a breathtaking, powerful manifestation of the Russian spirit, enriched by a futuristic experience, and free of the Soviet expressionism with its obligatory struggle of the Good with the Evil. In this recording, the Quartet Berlin-Tokyo proves not only its extraordinary proficiency and musical finesse, but also its admirable courage to devote themselves to a composition which, on the one hand is at a peak of technical mastery, and which on the other hand for which hardly anybody has shown any interest up until now. I want to express my admiration and gratitude to the four musicians who gave me the pleasure to hear this music – a pleasure which I would love so much to share with many people… Boris Yoffe / Composer
Performer: Yuri Favorin
Gavriil Popov - Symphony No. 1 Op. 7 I Allegro energico II Largo con moto e molto cantabile - 21:08 III Finale. Scherzo e coda - 33:39 Moscow State Symphony Orchestra Gennady Provatorov, conductor
Gavriil Popov (1904-1972): Sinfonia n. 1 op. 7 (1928/1935) - St. Petersburg State Academic Symphony Orchestra diretta da Alexander Titov - I. Allegro energico II. Largo 20:10 III. Presto 33:39 Cover by (?) Boozy Artwork of Bevshots Microscopic Alcohol The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
St. Petersburg State Academic Symphony Orchestra conducted by Alexander Titov. Dmitri Khrychov as the cellist. I - Largo: 0:00 Popov's Symphonic Aria was finished in May 1of 1945, having put aside his third symphony in the process. It was dedicated to the memory of his close friend the writer Alexey Tolstoy, with whom he wanted to compose an opera. It was premiered in Moscow on December 19 of 1946, performed by USSR State Orchestra conducted by Alexander Gauk, along with Svyatoslav Knushevitsky as the cello soloist. The piece was originally conceived as part of a soundtrack for the 1936 film "Bezhin Meadow", directed by the famous Sergei Einsestein. However, the proyect never came to fruition, as it was heavily critiziced by the communist party before it was finished. It told the story of a young farm boy, whose father attempts to betray the government for political reasons by sabotaging the year's harvest, and the son's efforts to stop his own father to protect the Soviet state, culminating in the boy's murder and a social uprising. The work is structured in ternary form. It opens with a dark and sombre introduction, followed by the cello introducing an expressive and melancholic main theme. A passionate and emotional climax is reached, similar to the more dramatic moments of Symphony No.3. The middle section opens with a more melodic but still expressive second theme, with a certain Spanish air. This material is then extensively developed in a contrapuntal manner, the music becoming increasingly chromatic and dense. A dissonant climax is reached, soon turning bitter. The main theme is then recapitulated in its original form. After so much pathos, a peaceful coda ends the whole work. Picture: "Ecce Homo" (1620) by the Spanish-Italian painter José de Ribera. Musical analysis written by myself. Unfortunately the score is not available.
St. Petersburg State Academic Capella Symphony Orchestra conducted by Alexander Titov I - Andante con moto e molto espressivo: 0:00 II - Scherzo. Presto giocoso: 7:52 III - Largo: 15:36 IV - Finale. Presto inquieto: 28:49 The second symphony of Gavriil Popov was composed in 1943, a time when the Soviet Union was in struggle for its freedom against German Nazism. It is a work of patriotic nature. Many of the themes come from the written score for the Friedrich Ermler film "She defends her Motherland". It uses many Russian folk forms. The first movement is interpreted by the strings. The basses begin a theme of Russian character that develops in a fugue way. The theme progressively intensifies, reaching a passionate climax accompanied by timbpany. Then it goes back to the initial part. The second movement is the scherzo of the work. A happy music that reminds us of the Stravinsky of some Petrouchka scene. The part corresponding to the trio is of a delicate lyricism. Then the animation of the first part resumes. The third movement presents us with a broad theme of sad character, played by the bass strings accompanied by the pizzicatos of the basses. A contrasting motif appears while the main melody is gaining intensity. The theme accelerates until it reaches its peak. Suddenly everything changes slowly returning to its initial character. It is a movement in the shape of an arch. The last movement begins with the strings interpreting a disturbing theme. A rhythmic theme is imposed in the midst of various polyrhythms. A section in the form of a fugue is initiated by the strings to which the wind is then added. An abrupt silence interrupts it. The main theme of the initial movement is interpreted in a solemn way, which in its final part modulates changing tone to end in a radiant way. It is a work with a character very different from its previous symphony. Based on elements of Russian folklore and containing less modernisms. His defense of the country during difficult times and its easy comprehension for the general public made it worthy of the Stalin Prize in 1946. Picture: Propaganda poster "The Motherland Calls!" (1941) by Irakli Moiseevich Toidze. Sources from this spanish website on Popov symphonism: 🤍
Фрагмент программы "В гостях у Дмитрия Гордона" с первым демократически избранным мэром Москвы Гавриилом Поповым. 2009 год. Больше о Гаврииле Попове: 🤍 Полная видеоверсия интервью: 🤍 Полная текстовая версия интервью: Часть 1: 🤍 Часть 2: 🤍 Часть 3: 🤍 Интервью с другими интересными гостями: Андрей Дементьев: 🤍 Борис Гребенщиков: 🤍 Подписывайтесь на официальный канал программы "В гостях у Дмитрия Гордона", чтобы не пропустить новые выпуски! 🤍 Смотрите программы Дмитрия Гордона, следите за новостями и читайте аналитику на общественно-политическом сайте "ГОРДОН": 🤍 Присоединяйтесь к нам в соцсетях! 🤍 🤍 🤍 "В гостях у Дмитрия Гордона" — авторская программа Дмитрия Гордона, которая с 2000 года выходит на украинском телевидении. Формат программы — беседы с выдающимися современниками: деятелями культуры, искусства, науки, спорта и политики. Это люди, которым есть что сказать о себе и об эпохе. В разные годы ее героями были Николай Амосов и Михаил Горбачев, Виктор Ющенко и Леонид Кравчук, Михаил Жванецкий и Евгений Евтушенко, Муслим Магомаев и Эдуард Шеварднадзе, Олег Блохин и Владислав Третьяк, Виктор Суворов и Виктор Шендерович, Михаил Саакашвили и Борис Березовский... Всего — около 600 знаменитостей. Чаще всего интервью выходят частями в нескольких программах. Друзья, мы рады комментариям и дискуссии, но нецензурная лексика будет удаляться, а злостные нарушители — баниться.
Лекция Попова Гавриила Харитоновича
Гавриил Попов, бывший мэр Москвы, доктор экономических наук, профессор о главных проблемах России и роли общества в развитии страны. Выводы делайте сами. #Аналитика #Патриотизм #Прогноз
St. Petersburg State Academic Symphony Orchestra conducted by Alexander Titov. I - Menace theme: 0:00 II - Breakthrough: 2:24 III - Minutka's Death: 3:55 IV - Silence: 8:01 V - German Offensive: 10:42 VI - Klaus Taken Prisoner: 14:16 VII - Russian Offensive : 14:35 Popov's music for the film "The Turning Point" was composed in 1945. The film, directed by Fridrikh Ermler and released after the Russian victory over the Germans in WWII, the film stresses the role of the officer staff during the Battle of Stalingrad As the title suggest, the battle of Stalingrad was the turning point in which the Soviet Union went from catastrophic loses to triumphant victories. Popov had already collaborated with the director, having written the soundtrack of the film "She Defends the Moherland" of 1943, from which he extracted material for his second symphony. In a similar manner, the composer made a suite out of some numbers from the soundtrack. The first movement opens with a sinuous, menacing bass line. It grows more intense but doesn't fully resolve, instead dissolving in the silence after a diminuendo. The second movement begins with a simple motive in the string basses, which is briefly developed. The third movement opens with funeral theme, bleakly exposed. After a brief eerie section, the funeral theme is solemnly recapitulated by strings. An uplifting coda ends the movement. The fourth movement begins with the opening sinuous motive, transformed in an expecting and undecided manner. A lyrical solo of the flute offers us some consolation in this desolate landscape. The coda ends the movemet coldly. The fifth movement opens with a menacing march theme, representing the German offesinve through Stalingrad. The music culminates in a wild and dissonant climax, followed by several outbursts before finally dying down. The sixth movement consist of a brief but powerful march. The seventh movement opens with a bright and majestic main theme, representing the victory of the Soviet Army over the German troops. A triumphal coda ends the suite. You can see the film, with English subtitles, following this link: 🤍 Picture: "The New Order" (1972) by the Russian painter A. I. Vovk. Unfortunately the score is not available.
0:00 Expression 3:10 Melody
Совершенно секретно - XXI век с Л.Велеховым. "Генерал Власов и его борьба". В студии Г. Попов. Эфир от 08.10.2009
Уже довольно долгое время нахожусь под впечатлением от Первой симфонии Гавриила Попова (как-то она раньше прошла мимо меня), несколько раз её переслушал. Считаю теперь, что это одна из сильнейших и самых захватывающих симфоний ХХ века. Музыка вторгается в тебя и пробирает. Какая фантазия, какое мастерство и владение оркестровым письмом! Не зря Шостакович высоко об этой симфонии отзывался, и даже несколько попал под её влияние: массивная оркестровка 4-й симфонии Шостаковича и аккомпанементная ритмическая фигура трёхдольного начала второй части у Попова, перекликающаяся со второй частью 4-го квартета Шостаковича - тому свидетельства. Эта симфония - потрясающая музыка. Она воистину ПОТРЯСАЕТ! Многострадальная Первая симфония Гавриила Николаевича Попова (1928) - оригинальный образец конструктивизма в 1932 году была отмечена и Главной премией на Всесоюзном конкурсе в честь 15-летия революции, а в 1935 году признана идеологически опасной и даже вредной для здоровья, ибо (цитирую): "Вакханальное звучание оркестра болезненно воздействовало на психику здорового советского слушателя”. Гавриил Николаевич Попов (1904-1974), заслуженный деятель искусств РСФСР (1947), лауреат Сталинской премии второй степени. Композитор написал свыше сотни сочинений, включая 6 симфоний. Сочинил музыку для знаменитого кинофильма «Чапаев» и многих других фильмов. Симфония № 1, соч. 7 (1928-1935): 1. Allegro energico (0:00) 2. Largo con moto e molto cantabile (23:44) 3. Финал. Scherzo e coda (40:26) Лондонский симфонический оркестр под управлением Леона Ботштейна.
Фрагмент программы "В гостях у Дмитрия Гордона" с первым демократически избранным мэром Москвы Гавриилом Поповым. 2009 год. Больше о Гаврииле Попове: 🤍 Полная видеоверсия интервью: 🤍 Полная текстовая версия интервью: Часть 1: 🤍 Часть 2: 🤍 Часть 3: 🤍 Интервью с другими интересными гостями: Владимир Горбулин: 🤍 Олег Непомнящий: 🤍 Подписывайтесь на официальный канал программы "В гостях у Дмитрия Гордона", чтобы не пропустить новые выпуски! 🤍 Смотрите программы Дмитрия Гордона, следите за новостями и читайте аналитику на общественно-политическом сайте "ГОРДОН": 🤍 Присоединяйтесь к нам в соцсетях! 🤍 🤍 🤍 "В гостях у Дмитрия Гордона" — авторская программа Дмитрия Гордона, которая с 2000 года выходит на украинском телевидении. Формат программы — беседы с выдающимися современниками: деятелями культуры, искусства, науки, спорта и политики. Это люди, которым есть что сказать о себе и об эпохе. В разные годы ее героями были Николай Амосов и Михаил Горбачев, Виктор Ющенко и Леонид Кравчук, Михаил Жванецкий и Евгений Евтушенко, Муслим Магомаев и Эдуард Шеварднадзе, Олег Блохин и Владислав Третьяк, Виктор Суворов и Виктор Шендерович, Михаил Саакашвили и Борис Березовский... Всего — около 600 знаменитостей. Чаще всего интервью выходят частями в нескольких программах. Друзья, мы рады комментариям и дискуссии, но нецензурная лексика будет удаляться, а злостные нарушители — баниться.
A Soviet Composer Gavriil Nikolayevich Popov - The Red Cavalry Campaign. Советский композитор Гавриил Николаевич Попов - Поход красной конницы The painting by Soviet painter Kazimir Malevich - "Red cavalry" / картина Казимира Малевича "Скачет красная конница" 🤍 🤍 Контакты 🤍 Ссылка на видео 🤍 Поблагодарить - 🤍
Гавриил Попов – СЕПТЕТ (Камерная симфония) Пластинка фирмы "МЕЛОДИЯ" 1961 год. Дирижёр Наум Зайдель, Е. Шклянко - флейта, В. Соколов - кларнет, В. Попов -фагот , Л. Володин - труба, Л. Бруштейн - скрипка, М. Немеренецкий - виолончель, Л. Раков - контрабас.
London Symphony Orchestra conducted by Leon Botstein I - Combat and failure. Allegro energico: 0:00 II - Humanity. Largo con moto e molto cantabile: 23:40 III - The energy, the will and joy of one who is victorious after hard work. Presto: 40:17 Popov's Symphony No.1 was slowly composed between 1928-34. He presented it to a composition competition to celebrate the 15th anniversary of the October revolution, organized by the Bolshoi Theater in Moscow and the Pravda newspaper. The deliberation was slow, not knowing the final results until October 14, 1933. The first prize was declared desert. The second prize was shared between Popov, Shaporin and Shebalin. The work received both strong praise and criticism. Popov revised it in 1934. Before the piece was performed, B. Obnorsky, head of the Office of the Control of Cultural Events of the Repertory in Leningrad, gave a decree banning the performance of the piece, writing that: "Popov's work reflects the ideology of the enemy classes of the proletariat... The author has failed to emphasize the optimistic essence of the change in the conception of the Soviet intelligentsia... our organization of composers has not been vigilant enough, accepting work whose ideology is foreign to us. The political consequences must be drawn immediately. In our country one has all the possibilities for the re-education of the rearguard composers..." However, the main committee of the repertoire rejected the ban. Fritz Stiedry, who had recently become the principal conductor of the Leningrad Philharmonic Orchestra, took an interest in the piece, and decided to perform it. The piece was premiered on March 22, 1935, under Fritz Stiedry's baton. Dmitri Shostakovich, Ivan Sollertinsky, Boris Arapov, and Yuri Kochurov were in attendance. The piece recieved a lukewarm reception from the reception at its premiere. Popov's original music was at odds with the demands of the Communist Party. The next day, the piece was banned. In fact, the symphony became the first orchestral piece to be banned by the Soviet regime. Admirers of the piece, including Shostakovich, Meyerhold, Asafiev, and Golovanov wrote letters to protest this decision. The ban was successfully appealed, however the piece was never performed again in Popov's lifetime. It woudln't be performed again until 1989, for an Olympia recording. The first movement is written in a large sonata form. Itbegins with an orchestral shout. The main theme consist of a turbulent and acid fugue, with dissonant marcial elements. After a violent climax, the second theme is presented as a dark passacaglia, which culminates in a bitonal climax, with the tonalities crashing against each other. The development begins with pizzicatos from the basses. The development is tense and full of a complex contrapuntal writting and use of polyrhythms. After a large and tense crescendo, a bitter and aggressive climax is reached. The recapitulation is inverted, starting with the second theme reexposed in a varied way, after a pause, the main theme follows. It concludes with a pessimistic quiet coda, interrupted by numerous silences. The second movement is a slow rondo, formed by three themes. The main theme is lirically emotional, presented by the clarinet over the pizzicato of the strings. The development of theme uses fugue techniques. The second theme is very expressive, presented by the strings, full of a sense of tragedy. The third theme is darkly active, introduced again by the strings, which leads to a massive, violent climax. This violence is answered by a hopeful motif that grews lyrically. The main theme is recapitulated in a solo from the violin, followed by the bassoon. The music ends with a resignated coda. The last movement consist of a scherzo and a large coda. It opens with a monotonous rhythm (evoking the sounds of industrial machines), which leads to a forceful and agressive theme, supported by accentuated syncopated rhythmic pulsations. A military march appears in a distorted way. The trio consist of a delirant section which grows until taking us to a parodic march. Elements of the previous movements appear, leading to the final section. The coda begins with a deformed, schizophrenic march. A powerful counter-theme appears on the brass over a dense percussive texture. A victorious joy permeates the atmosphere with the ringing of the bells, which lead us to a final ecstasy in C major. Popov dedicated the work to his father, worker and activist of the proletarian culture front: in charge of the education of the young workers. It expresses the struggle and the failure, the humanity, the energy, the will and the joy of the assiduous victor. It should not be understood as a defense of communism but with a global character, as a general struggle of man for existence. Picture: New Planet (1921) by the Russian painter Konstantin Yuon Analysis partially written by myself, based on this source: 🤍
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![[Gavriil Popov] Zwei Klavierstücke Op.1 (Score-Video)](https://i.ytimg.com/vi/YzDUkNrL0NU/mqdefault.jpg "[Gavriil Popov] Zwei Klavierstücke Op.1 (Score-Video)")
![[Gavriil Popov] Grosse Klaviersuite Op.6 (Score-Video)](https://i.ytimg.com/vi/dWuZxC57lwE/mqdefault.jpg "[Gavriil Popov] Grosse Klaviersuite Op.6 (Score-Video)")
