Ippolitov-Ivanov (1859-1935) Symphony No. 1 in E Minor, Opus 46 Adagio - Allegro risoluto Scherzo: Allegro Elegia: Larghetto Finale: Allegro moderato...
Ippolitov-Ivanov
(1859-1935)
Symphony No. 1
in E Minor, Opus 46
Adagio - Allegro
risoluto
Scherzo: Allegro
Elegia:
Larghetto
Finale: Allegro
moderato
Turkish
Fragments, Opus 62
1. Caravan
2. At Rest
3. Night
4. Festival
Turkish March,
Opus 55
Mikhail Mihaylovich
Ippolitov-Ivanov was born at Gatchina, near St. Petersburg, in 1859 and studied
music at home, before entering the St. Petersburg Conservatory in 1875. He was
a pupil of Rimsky-Korsakov and after completing his studies was appointed
director of the music school and conductor of the opera in Tblisi (Tiflis) in
Georgia. It was during his eleven years residence there that he was able to
make a study of the music of the region, on which he published an authoritative
survey.
In 1893
Ippolitov-Ivanov became a professor at the Moscow Conservatory, of which he was
director from 1905 until 1924. His career involved him in busy activity as a
conductor for a number of opera companies, and, in later years, in work for the
radio and in journalism. He maintained an interest in oriental music, and
particularly in the music of ethnic minorities in the Soviet Union, while
preserving the harmonic vocabulary and compositional techniques he had acquired
as a student.
In the musical
politics of his country Ippolitov-Ivanov remained generally uninvolved. He was
president of the Society of Writers and Composers in 1922, and when he left
Moscow Conservatory in 1924, he returned to Georgia to superintend the musical
life of the newly established Georgian Republic. He died in Moscow in January,
1935.
Ippolitov-Ivanov's
Symphony No. 1 in E minor, Opus 46, was written in 1908 and dedicated to the
Caucasian musician Vasily Il'ich Safonov, the son of a Cossack general, and
director of the Moscow Conservatory in succession to S.I. Taneyev in 1889,
later being appointed director of the National Conservatory of Music in New
York, a position once held by Dvorak. Ippolitov-Ivanov was Safonov's immediate
successor as director of the Moscow Conservatory, the latter feeling himself out
of sympathy with his students, affected by the political restlessness of the
period.
The first
movement opens with a slow introduction, followed by an Allegro, the first
subject contrasted with a less restless clarinet melody. The music is in the
usual symphonic first movement form, ending with the return of the opening
Adagio.
The Scherzo, in
C major, is introduced by slower chords and a curious melodic figure that soon
leads us into the moto perpetuo of the violins. The Trio, in E major, offers a
contrast of mood and texture, before the repetition of the Scherzo.
Clarinets and
bassoons announce the opening melody of the Elegia, accompanied by a chorus of
strings, suggesting the solemnity of the Russian liturgy. This is followed by a
Finale in which the principal subject is passed from wind to strings and back,
before the appearance of other material, a folk-song that seems strangely
familiar, and a later brief excursion into a thoroughly Russian piece of wind
writing.
In later life
Ippolitov-Ivanov took an increasing interest in the folk-music of Turkish
peoples, the music of the Uzbek, Kazakh and Turkmen, as well as that of the
Western Turks and of the Arabs. The Turkish Fragments, Opus 62, were written in
1930, and offer four orchestral sketches, using material of Turkish folk
origin. The work is scored for a large orchestra, and is dedicated to the
Azerbaijani soprano, Shevket Mamedova, one of the leading figures in the opera
in Baku.
The first of the
fragments, Caravan, sets a characteristic Turkish melody in illustration of the
progress of the caravan, contrasted with a middle section that offers more
varied material. The second piece, At Rest, has an outer framework of rhythmic
tranquillity, and a central section of a much livelier kind.
A similar
three-part structure is used for the third of the fragments, Night, where the
cor anglais at first offers a Turkish melody, followed by one of those even
more characteristic oriental turns of phrase, that must recall Rimsky-Korsakov.
The Turkish
Fragments end with a Festival, a lively dance tune appearing above a constantly
reiterated rhythmic figure in the bass. It makes a satisfactorily animated
conclusion to the short suite.
The Turkish
March, published in Moscow in 1932, is couched in the conventional harmonic
terms that were part of Ippolitov-Ivanov's usual musical vocabulary. The march
includes melodic material that has hints of an even more popular Turkish
origin.
Choo Hoey
Choo Hoey is a
native of Singapore and was invited to establish the Singapore Orchestra after
a career in Europe, where he had most recently served as Resident Conductor of
the Athens State Orchestra, the Greek National Opera Orchestra and the Hellenic
Radio and Television Orchestra.
Choo Hoey's
debut was in 1958, with the Belgian National Orchestra. He has appeared with
many famous European orchestras, including the London Symphony Orchestra, the
London Philharmonic Orchestra, the Orchestre de la Societe du Conservatoire and
the Orchestre de la Suisse Romande.
Since 1979 Choo
Hoey has been Resident Conductor and Music Director of the Singapore Symphony
Orchestra, and has continued to appear in Europe as a guest conductor, as well
as accepting invitations to conduct other orchestras in Asia, including the
Hong Kong Philharmonic and the China Philharmonic in Beijing.
Singapore
Symphony Orchestra
The Singapore
Symphony was set up, with the encouragement of the Singapore Government, in
1979. Under the direction of its Resident Conductor Choo Hoey it has grown in
size, and now has a complement of some ninety musicians. While partly dependent
on foreign players, a realistic long-term scheme sees to the training, in
Singapore and abroad, of local players of the future.