Knaifel Alexander (17 results)

Condition: new. Pages: 8 Language: Russian. Alexander Knaifel (born 1943) is one of the most eminent modern composers. A "Petersburger by nationality", he was educated at the Special Musical School of the Leningrad Conservatory (1950 1961), the Moscow (1961 1963) and Leningrad (1963 1967) Conservatories. He lists Mstislav Rostropovich, the poet Sergei Vakulenko and the Surozh metropolitan Antonii amongst his teachers. In piece "A Fawn Again" the verbal text serves as a guide to the intonation on the piano in this case it is the English folk song, a children s favorite, on the twins Tweedledum and Tweedledee (Tik and Tak in Knaifel s version) from Carroll s Alice Through the Looking-Glass. 9790660050699.

Condition: new. Pages: 12 Language: Russian. Alexander Knaifel (born 1943) is one of the most eminent modern composers. A "Petersburger by nationality", he was educated at the Special Musical School of the Leningrad Conservatory (1950 1961), the Moscow (1961 1963) and Leningrad (1963 1967) Conservatories. He lists Mstislav Rostropovich, the poet Sergei Vakulenko and the Surozh metropolitan Antonii amongst his teachers. The musical content of the piexe suggests the image of night-time Petersburg as perceived by a sensitive child's soul. The tranquil, measured lulling rhythm and the tender coloring create an aura of an airy barcarolle. The author wrote the "Notturno" for three hands (the teacher and a beginner student) on one or two pianos, it may also be played by one more advanced young pianist. 9790660050569.

Condition: new. Pages: 8 Language: Russian, English. Alexander Knaifel (born 1943) is one of the most eminent modern composers. A "Petersburger by nationality", he was educated at the Special Musical School of the Leningrad Conservatory (1950 1961), the Moscow (1961 1963) and Leningrad (1963 1967) Conservatories. He lists Mstislav Rostropovich, the poet Sergei Vakulenko and the Surozh metropolitan Antonii amongst his teachers. 9790660050293.

Condition: new. Pages: 8 Language: Russian. Aleksandr Knajfel (r.1943) odin izveduschikh sovremennykh kompozitorov. Ego proizvedenija ispolnjajutsja na krupnejshikh mezhdunarodnykh festivaljakh v Evrope i Amerike. V 1992 godu sostojalsja pervyj monograficheskij festival ego muzyki vo Frankfurte-na-Majne. Pervym i edinstvennym iz rossijskikh muzykantov on byl udostoen mezhdunarodnoj premii DAAD. V 1995 godu Mstislav Rostropovich osuschestvil mirovuju premeru "Vosmoj glavy" (Canticum Canticorum) Aleksandra Knajfelja dlja khrama, khorov i violoncheli v Vashingtonskom Natsionalnom Sobore v prisutstvii mnogikh tysjach slushatelej. V vesjoloj fortepiannoj peske s vesjolym nazvaniem "Dvazhdy dva" slyshitsja bezzabotnoe dvizhenie vpripryzhku i gratsioznye reveransy starinnogo tantsa. Nazvanie otrazhaet i kharakter, i osobennosti struktury: ritm pervogo predlozhenija (sostojaschego iz dvukh skhozhikh trjokhtaktnykh fraz) neizmenno povtorjaetsja na protjazhenii pesy. Vsego takikh postroenij chetyre (dvazhdy dva!), i kazhdoe nachinaetsja s motiva iz dvukh parnykh chetvertej; pereklichka kadansov v taktakh 15 i 25 namechaet v forme dve fazy. Asimmetrichnaja struktura taktov po 2/4 i 3/4 i "nepredskazuemoe" garmonicheskoe dvizhenie nenavjazchivo ukazyvajut na mnimost vneshnej prostoty. 9790660050385.

Condition: new. Pages: 12 Language: Russian, English. Alexander Knaifel (born 1943) is one of the most eminent modern composers. A Petersburger by nationality , he was educated at the Special Musical School of the Leningrad Conservatory (1950 1961), the Moscow (1961 1963) and Leningrad (1963 1967) Conservatories. He lists Mstislav Rostropovich, the poet Sergei Vakulenko and the Surozh metropolitan Antonii amongst his teachers. 9790660050705.

Condition: new. Pages: 16 Language: Russian, English. Alexander Knaifel (born 1943) is one of the most eminent modern composers. A "Petersburger by nationality", he was educated at the Special Musical School of the Leningrad Conservatory (1950 1961), the Moscow (1961 1963) and Leningrad (1963 1967) Conservatories. He lists Mstislav Rostropovich, the poet Sergei Vakulenko and the Surozh metropolitan Antonii amongst his teachers. The composer explains: "I tried to sense childhood in the eluding-enticing, improbable and tragic era of Petrograd (1914 1924) in a chain of brief sketches for the handful of surviving musicians". Three such sketches from the phantasmagoria of the orchestra of twelve Petrograd Sparrows (1967) in transposition for piano make up this micro-cycle. 9790660050286.

Condition: new. Pages: 4 Language: Russian. COMMENTARY The lyrical piece A Fawn is based on the melody of an unpublished vocal composition (1962), which later was included in Alice in Wonderland (1994-2002). The melody in this laconic monophonic piece without words stands out as the sole means of expression. The name of the piece symbolizes an image of beauty, tremulousness and natural grace. The pure melody develops leisurely, acquiring dance-like features (revealing the rhythm of the mazurka). The nine-bar melodic line in the upper register (dolcissimo, legatissimo) is made up of four phrases, distinctively vertically placed according to the author s conceptual interpretation. The first phrase begins with a soulful D on the off-beat in duple time and continues with the conjunct motif. Further, from the third bar, the tonality of F-sharp minor and the triple time, the main time of the piece, are determined. The questioning punctuated motif completes the first line. The following, most intense phrase the VII natural scale tone environment (D F E D) leads to a lingering dominant C-sharp (Bars 6-7). The melodic tension gradually subsides in a descending chant, and the free figuration in the broken basic triad concludes the piece. Final peace comes after a pause, when against the background of the concluding F-sharp three pizzicato colorful echoes emerge in turn. The smooth and measured rhythm with the tranquil movement of crotchets and unhurried small beats quavers acquires an important role in the expressive execution of this lyrical piece. The tender melody of A Fawn has no dynamic crescendos or accents. The lingering intonation support tones D, A, C-sharp and the final F-sharp acquire significance. They should be picked out with a tenuto accent and additionally colored with the pedal (the initial D sounds better on a pedal already pressed down). The light and warm nature of the sound is achieved between pp p by the sensitive touch of singing finger tips, legatissimo by the precise delivery, the transition from one tone to another, without leaving the finger on the previous key (that is, without the involuntary formation of two- or three-voice texture). And finally, the versatile dynamic marking with intonation support on lengthy sounds and the phrasing given by the composer the conceptual linking and articulation of phrases will help to embody the bright image of a Fawn in the monophonic theme. 9790660050682.

Condition: new. Pages: 8 Language: Russian. ?OMMENTARY Marching and Dancing Two-Voice Textures are playful dance-like grotesque scenes, examples of playful polyphony . Their musical development is distinguished by the prominent themes and bright theatrical dramaturgy. The form of both pieces is tripartite, the outer sections are built on a contrast of energetic themes (roll-calls, confrontation of voices), with jocular episodes appearing in the middle sections, in which a paraphrase of Haydn melodies can be clearly discerned. 1. The Marching The piece is reminiscent of a military-scherzo vigorous march with tarantella accents (triplet motifs). The expressive nature is already set from the first bar in the harmonically sharp conjugation of the two declamatory themes quintuple and quadruple, which draws them into numerous polyphonic adventures. Further, the contrasting juxtapositions of themes and their elements, emphasized by sudden falls of dynamic and plays on tones acquire a major role. The themes change from one register to the next, are horizontally mixed with one another (in Bar 1 the second theme begins a crotchet later than the first, and vice versa in Bar 2), and the infinite canon technique is used (in the second theme, Bars 5-6). The development then becomes more free, it is crowned by the whirl of a complex passage, changing from one hand to the other (Bars 17-18), with persistent repetitions of the F of the second octave. This difficult fragment should be worked on slowly, matching up rhythmically support notes with a metric pulse, and then in the final tempo it should be played crescendo, identifying the struggle for accents in the left hand (the syncopated F in Bar 18 requires special attention). In the middle section (from Bar 24), by the B tone, like the peal of a distant bell, a child-like simple song is gradually felt in the spirit of Haydn s uncomplicated themes. It is mirrored in the gaily dissonant lower voice. For an instant the themes of the first section burst in noisily, like irreconcilable quarrelers, and suddenly the simple song reveals a new rhythmical aspect. Upon repetition, just as unexpectedly, it slips away, and out of the silence arises a concise dynamic recapitulation (from Bar 70) ff, an active movement in both voices. The themes are again horizontally mixed: the first theme begins disputed by the second (the left hand above the right!), then the other way round, and both chatter at the same time, as if trying to out-shout one another. Finally, on the melting E of the upper voice, the second theme seems to fade away, decomposing into motifs, sounds, and hardly audible, like an exhalation, the piece finishes with a scale-like flourish of the first theme. The execution of the piece assumes first and foremost the prominent pronunciation of both themes, which is achieved by the precise accenting of the fanfare elements, especially of the tertian cry of the first theme (C E). The tone coloring is non-pedal secco, only brief pedal accents may intensify the intonation supports (for example, E in Bars 8, 14, 15, 32, etc.). In the performance rhythm, together with the continuous intense pulse of crotchets, serving as the canvas of the changing meter, the role of pauses and caesuras, which mark the boundaries of the form and the emergence of new themes, is also important. In the Haydn middle section, the movement is constructed like a jocular alla breve. 2. The Dancing The piece seems like a fanciful exotic dance with a spear . It is constructed in a tripartite form, the first part of which forms a song form. The main image is created by the polyphonic combination of two thematic elements: in the left hand the jerky pecks , predominantly on the black keys, and in the right hand a scale-like sequence on the white keys, which gradually, after several attempts, reaches the melodic peak of B and with the support of the lower voice, sings and maintains the peak. In the middle of the first part, a contrasting more chant-like theme appears in the left hand (from Bar 9), however, it is replaced by grotesque jumps (unexpected changes of the thematic material, sharp dynamic drops, military accents) local recapitulation is prepared, a repetition of the black-white dance (from Bar 21, a little abbreviated). The middle part of the piece starts from Bar 29. Here the voices are true to themselves: the left hand finds, ostinato, its favorite fourth C-sharp G-sharp, and the right hand hammers out from the white keys a new melody. Unexpectedly in this continuous movement, a textbook Haydn theme starts to be revealed but not in a major key, but in a minor key, and in a tonality which contradicts the ostinato accompaniment. The recapitulation of the tripartite form is emphasized by the precise, classical da capo with a conclusion in the form of persistent cadencing, where the upper voice descends several times to the splited keynote dined with the assistanse of the lower voice. The piece is crowned by a military quintuple call the voices have come to an agreement for the first time! The performance challenges in this piece as the same as in the previous piece, but with a new degree of expression. The main sonority is f, the tone coloring secco, with separate pedal spots . The unflinching metric pulse becomes an organizing start in the whimsical change of times and in the constant rhythmical stops. Despite all the angularity and eccentricity of this music, it should still have a sense of dance-like plasticity. 9790660050064.

Condition: new. Pages: 8 Language: Russian, English. COMMENTARY The tremulous sound coloring of the piece is created by the register, uncommonly high for the melody, and the continuous, single pedal. The transparent-sonorous sound quality is achieved by the softly-disjointed non legato in a pp-ppp diapason, the sensitive touch of the fingers, as if interlocking onto each key. The expression of the melody, filled with child-like intonations, is enriched by the almost continuous gentle chime of small metal bells (left-hand part) which may be a chain of Eastern bells, or of fishing or toy bells, but undoubtedly metal and sonorous high-pitch bells. Their tremor, emerging as if from the trembling resulting from the breaking of the (New Year) fir tree toy, is perpetually maintained, like the light from a burning candle. The bells also ring solo, pre-echoing the melody, in dialogs with its pauses and silence, and concluding the piece. The verbal text serves as a guide to expressive intonation, as if it had actually been spoken. Two phases can be provisionally noted in the piece. In the first, in the unhurried duple movement, from the D arises a prayer motif, which becomes the melodic grain of the entire piece. Rhythmical changes of motifs with a strong beat and conceptual pauses (up to an entire bar!) add special speech expression to the melody. After the bells solo the melody sounds more narrative, chant-like and leads to a relative conclusion on the G sound. The questioning and response-soothing nature of these phrases may be picked out, rounding and softening their endings, like speech intonation. In the second phase of the piece, the melodic development gradually becomes agitated. The key episode, with a profound quartal step, followed by a transfigured peace. The unexpectedly modulatory conclusive phrase, which ends Nativity with hope and faith, sounds equally transfigured. The meaningful piano pronunciation of speech intonations, listening in to the constant counterpoint of the melody and the chime of the bells will help to express a warmth of expression, maintaining a general discreetly concentrated tone. 9790660050927.

Condition: new. Pages: 16 Language: Russian, English. Alexander Knaifel (born 1943) is one of the most eminent modern composers. A Petersburger by nationality , he was educated at the Special Musical School of the Leningrad Conservatory (1950 1961), the Moscow (1961 1963) and Leningrad (1963 1967) Conservatories. He lists Mstislav Rostropovich, the poet Sergei Vakulenko and the Surozh metropolitan Antonii amongst his teachers. 9790706407708.

Condition: new. Pages: 8 Language: Russian, English. Alexander Knaifel (born 1943) is one of the most eminent modern composers. A Petersburger by nationality , he was educated at the Special Musical School of the Leningrad Conservatory (1950-1961), the Moscow (1961-1963) and Leningrad (1963-1967) Conservatories. He lists Mstislav Rostropovich, the poet Sergei Vakulenko and the Surozh metropolitan Antonii amongst his teachers. 9785061577609.

Folio (21 x 30cm). 18 pages. Wrappers, slightly rubbed and worn. Internally VG.

Condition: New. New copy. Folio (23 x 31cm). 14 pages. Wrappers.

Condition: New. New copy, but shelf worn. Folio (21 x 30cm). 18 pages. Wrappers.

Condition: new. Pages: 192 Language: Russian, English. "Kniga besed, intervju, myslej ob iskusstve i o ego tvortsakh (v muzyke, poezii, teatre, kino) odnogo iz vydajuschikhsja kompozitorov nashego vremeni Aleksandre Knajfele. Izdanie vkljuchaet unikalnuju, avtorizovannuju zapis "Vosmoj glavy" odnoj iz vershin v mirovoj muzykalnoj istorii. Dlja vsekh, interesujuschikhsja sudbami iskusstva. Vstrechi: "I pravda, kak zvezda v nochi, otkrylas ", 1975 Neskolko slov muzykanta, 1996 Probuzhdenie, 1998 Proiznesti muzyku, 1999 "Amicta sole", 2000 Solo dlja dinozavra (Scherzo 1), 2000 Repetitsija chuda, ili Svidetelstvo, 2001 Ja neverojatno schastliv , 2001 "Repetitsija Raja", 2002 Postscriptum (2007) Vzgljad strany Manfreda Ajkhera , 2003 Pronzitelnaja, izumljajuschaja chistota i podlinnost , 2005 Chelovek po svoej prirode avangarden, 2005 Ja svoboden! Printsipialno svoboden, 2006 Snezhinka na pautinke, 2007 Nezhnee nezhnogo, 2007 "Beregis vstrecha idjot!", 2007 Nou brjuking! (Scherzo 2), 2008 Vstrecha v Darsberi, 2009 Helle Mustonen., 2011 Tantsy voskhozhdenija, 2011 Vsjo svojo sluzhenie., 2012 Obraz obratnogo, 2013 Most v Edem, 2013 Proizvedenija Aleksandra Knajfelja, upominaemye vo vstrechakh Litsa" 9785737907921.

ECM Records, München, 2005. CD in original Kunststoffhülle und kartoniertem Schuber---Verlag: ECM Records Verlag: ECM Records - gespielt von Mstislav Rostropovich in Begleitung des State Hermitage Orchestra unter der Leitung von Arkady Shteinlukht/gutes Exemplar - 120 Gramm.

Condition: New. Das vierte New-Series-Album des in St. Petersburg lebenden Komponisten Alexander Knaifel koennte sein bisher ausgreifendstes sein - eine Reise vom Sakralen zum Saekularen und wieder zurueck, ueber verschiedenartig inspirierte Umwege. Dazu gehoeren zwei Prayers t.