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The Nina Dorliak chamber music competition - the return of traditions


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MOSCOW. In the IHC them. Tchaikovsky ended the I International Competition of Chamber Singing named after Nina Dorliak.

The concept of "chamber music" is interpreted unambiguously by contemporary listeners - vocal or instrumental compositions of small forms, performed by a small group or solo on any suitable venues for this purpose. In the Middle Ages, such works were included in the category of "secular art", considered a sinful alternative to religious creativity. The vireles, ballads, rondos, "May" and "weaving" songs, motets, madrigals, cacci, which were based on folklore, were opposed to the chorals, liturgies, propriums, antiphones and masses.

At the beginning of the last century, as well as during the previous one and a half centuries, chamber music was intended for home music making, were an integral part of salon culture. In the aristocratic environment, musical evenings of Count Mikhail Vielgorsky - composer, philanthropist, friend of Pushkin and Gogol, baron, banker, founder of the "New Music Society" Alexander Rahl, major general, violinist and composer Alexei Titov were very popular.

Various intelligentsia and representatives of the bohemians gathered on Wednesdays at home with the Kukolnikov brothers, in the lump of Prince Odoevtsev. At the beginning of the XX century one of the most fashionable places was the salon of Zinaida Gippius, who gave life to the genre of the salon romance. In Moscow, the "House of Song" was created by the popularization of vocal music, created by the singer, the founder of the Russian school of chamber music performance Maria Olenina-d’Algeim.

A major role in the promotion of chamber music was played by the Kerzin Circle, whose active members were Rakhmaninov, Cui, Taneyev, Medtner, Zabela-Vrubel, Sobinov, and d’Algeum. Only here, in the opinion of critics, one could hear the magnificent chamber extra-opera music and forever become its admirer.

Nina Lvovna Dorliak - one of the best domestic performers of works of small form. The first mentor was her mother - Xenia Dorliak, a former maid of honor of the imperial court, an opera singer, a teacher. Nina Lvovna debuted on stage in the early 30’s, from 1943 began her joint performances with Svyatoslav Richter, her husband. Shostakovich and Prokofiev entrusted Dorliak with the first performance of many chamber works. Romances and classics acquired in its interpretation a special depth and penetration. After leaving the scene in the early 60’s closely engaged in teaching. She was depressed by the lack of aesthetic landmarks and vivid traditions that would allow this genre to declare itself in full force, a deficit of worthy performers. Sincerely in love with him, able to debunk the myth of its low significance. Who can create a memorable image in a few minutes, convey the finest details and touch the hearts of listeners. Those who could replace such vocalists as Zabela-Vrubel, Figner, Nezhdanova Sobinov.

Dorliak was an amazing teacher who appreciated in the students not only the vocal data, but first of all the soul. She taught me to convey emotions without inappropriate sound boosting. Some of her students were members of the jury of the First International Chamber Music Competition named after her: Galina Pisarenko, Beatrice Parra from Ecuador, Anegina Ilyina. Laureates of the contest were Yulia Lyubimova and Said Gobecia. Grand Prix - Albina Latipova.


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