Aleksey L'vovich LARIN, Honoured Arts Worker, member of the Union of Composers of Russia, prize-winner of several international composers' competitions (Musica Mundi, Germany, 1997; 'Classical Heritage', Russia, 1999Jihlava, Czechia, 2000), was born in 1954 in Saratov. Graduated from the Moscow Boys' Chapel (1971), Gnesin Musical Pedagogical Institute (GMPI, 1976, composition class of N. Peyko), postgraduate courses at GMPI (1979). Now he is Professor of the latter institution, renamed in Russian Gnesin Academy of Music, and Honorary Visiting Professor of Korea University.
The scope of A Larin's work is large. He is author of orchestral and vocal-orchestral scores (Poem, Symphony, suite A Summer in Mitrofanovo Village', tableau 'The Birth of a City1, 'Praise to the Academy', etc), choral compositions (an oratorio, seven cantatas, choral concertos and cycles), compositions for Russian folk orchestra ('Till the Cocks Crow for the Third Time', 'Concerto-Bylina', etc) and for wind band ('Russian Fantasy*), chamber compositions, works for Children, music for movies, etc.
Aleksey Larin participates in the performances of his own music as pianist, organist, conductor, and member of a chorus. His works appear in the concert programs of such renowned performers as V. Fedoseev, K. Orbelian, A Vedernikov, V. Pon'kin, B. Ungrangsee, V. Minin, G. Dmitryak, V. Sudakov, N. Nekrasov, A Poletaev, V. Matorin, M. Shaposhnikova, and many others.
In 1989 Aleksey Larin turned to one of Modest Musorgsky's most important work, the vocal cycle Songs and Dances of Death. As he himself confessed, 'at first I did not dare to touch the legendary cycle. And this was not only because of its fame. Would the sound of chorus be appropriate there? Wouldn't the result be a trivial arrangement? Any good transcription - from Liszt's paraphrases to the Carmen Suite - provides a new quality; it is like a poetic rendering rather than a word-for-word translation. Only later I felt that the cycle's epic range and the richness of its content may be expressed not only by means of its original (chamber) or symphonic sound (remember the orchestrations made by D. Shostakovich and others): the choral texture might impart to the many-sided image of Death some new, perhaps unexpected colours.'
In Larin's transcription, the work by Musorgsky sounds in a new, impressive and vibrant way.
Contents
Lullaby
Serenade
Trepak
The Field-Marshal
Aleksey L'vovich LARIN, Honoured Arts Worker, member of the Union of Composers of Russia, prize-winner of several international composers' competitions (Musica Mundi, Germany, 1997; 'Classical Heritage', Russia, 1999Jihlava, Czechia, 2000), was born in 1954 in Saratov. Graduated from the Moscow Boys' Chapel (1971), Gnesin Musical Pedagogical Institute (GMPI, 1976, composition class of N. Peyko), postgraduate courses at GMPI (1979). Now he is Professor of the latter institution, renamed in Russian Gnesin Academy of Music, and Honorary Visiting Professor of Korea University.
The scope of A Larin's work is large. He is author of orchestral and vocal-orchestral scores (Poem, Symphony, suite A Summer in Mitrofanovo Village', tableau 'The Birth of a City1, 'Praise to the Academy', etc), choral compositions (an oratorio, seven cantatas, choral concertos and cycles), compositions for Russian folk orchestra ('Till the Cocks Crow for the Third Time', 'Concerto-Bylina', etc) and for wind band ('Russian Fantasy*), chamber compositions, works for Children, music for movies, etc.
Aleksey Larin participates in the performances of his own music as pianist, organist, conductor, and member of a chorus. His works appear in the concert programs of such renowned performers as V. Fedoseev, K. Orbelian, A Vedernikov, V. Pon'kin, B. Ungrangsee, V. Minin, G. Dmitryak, V. Sudakov, N. Nekrasov, A Poletaev, V. Matorin, M. Shaposhnikova, and many others.
In 1989 Aleksey Larin turned to one of Modest Musorgsky's most important work, the vocal cycle Songs and Dances of Death. As he himself confessed, 'at first I did not dare to touch the legendary cycle. And this was not only because of its fame. Would the sound of chorus be appropriate there? Wouldn't the result be a trivial arrangement? Any good transcription - from Liszt's paraphrases to the Carmen Suite - provides a new quality; it is like a poetic rendering rather than a word-for-word translation. Only later I felt that the cycle's epic range and the richness of its content may be expressed not only by means of its original (chamber) or symphonic sound (remember the orchestrations made by D. Shostakovich and others): the choral texture might impart to the many-sided image of Death some new, perhaps unexpected colours.'
In Larin's transcription, the work by Musorgsky sounds in a new, impressive and vibrant way.
Contents
Lullaby
Serenade
Trepak
The Field-Marshal
В своей транскрипции современный московский композитор А. Ларин по-новому интерпретирует гениальное сочинение М. Мусоргского. Произведение входит в репертуар ряда известных исполнительских коллективов.
Алексей Львович ЛАРИН - заслуженный деятель искусств, член Союза композиторов России, лауреат международных конкурсов композиторов ('Musica Mundi', Германия, 1997; "Классическое наследие", Россия, 1999; 'Jihlava', Чехия, 2000). Родился в 1954 году в Саратове. Окончил Московскую капеллу мальчиков (1971), ГМПИ им. Гнесиных (1976, класс композиции Н. Пейко), ассистентуру-стажировку ГМПИ (1979). В настоящее время - профессор Российской академии музыки им. Гнесиных, почетный приглашенный профессор Университета Кореи (Сеул).
Диапазон композиторского творчества А. Ларина широк и многогранен. Это симфонические и вокально-симфонические произведения (Поэма, Симфония, сюита "Лето в деревне Митрофанове", картина "Рождение города", "Слово похвальное Академии" и др.), хоровые сочинения (оратория, семь кантат, хоровые концерты и циклы), произведения для русского народного оркестра ("До третьих петухов", Концерт-былина и др.), для духового оркестра ("Русская фантазия"), камерные произведения, сочинения для детей, киномузыка и др.
В 1989 году Алексей Ларин обратился к великому творению М. Мусоргского - вокальному циклу "Песни и пляски смерти". "Я далеко не сразу отважился прикоснуться к этому легендарному циклу, - говорил он. - И не только из-за его известности. Уместно ли будет здесь звучание хора, не получится ли банальное переложение? Ведь в лучших транскрипциях - от листов-ских парафраз до "Кармен-сюиты" - возникает новое качество, рождается, говоря категориями поэзии, не подстрочник, но перевод. Лишь со временем я ощутил, что эпический размах цикла, его многозначность могут воплотиться не только в оригинальном (камерном) или симфоническом звучании (инструментовки Д. Шостаковича и других) - многоликий образ Смерти мог бы раскрыться различными, возможно, в чем-то неожиданными, вокально-хоровыми красками".
В транскрипции А. Ларина сочинение Мусоргского получило новое, впечатляюще яркое и объемное звучание.
Содержание
Колыбельная
Серенада
Трепак
Полководец
V svoej transkriptsii sovremennyj moskovskij kompozitor A. Larin po-novomu interpretiruet genialnoe sochinenie M. Musorgskogo. Proizvedenie vkhodit v repertuar rjada izvestnykh ispolnitelskikh kollektivov.
Aleksej Lvovich LARIN - zasluzhennyj dejatel iskusstv, chlen Sojuza kompozitorov Rossii, laureat mezhdunarodnykh konkursov kompozitorov ('Musica Mundi', Germanija, 1997; "Klassicheskoe nasledie", Rossija, 1999; 'Jihlava', Chekhija, 2000). Rodilsja v 1954 godu v Saratove. Okonchil Moskovskuju kapellu malchikov (1971), GMPI im. Gnesinykh (1976, klass kompozitsii N. Pejko), assistenturu-stazhirovku GMPI (1979). V nastojaschee vremja - professor Rossijskoj akademii muzyki im. Gnesinykh, pochetnyj priglashennyj professor Universiteta Korei (Seul).
Diapazon kompozitorskogo tvorchestva A. Larina shirok i mnogogranen. Eto simfonicheskie i vokalno-simfonicheskie proizvedenija (Poema, Simfonija, sjuita "Leto v derevne Mitrofanove", kartina "Rozhdenie goroda", "Slovo pokhvalnoe Akademii" i dr.), khorovye sochinenija (oratorija, sem kantat, khorovye kontserty i tsikly), proizvedenija dlja russkogo narodnogo orkestra ("Do tretikh petukhov", Kontsert-bylina i dr.), dlja dukhovogo orkestra ("Russkaja fantazija"), kamernye proizvedenija, sochinenija dlja detej, kinomuzyka i dr.
V 1989 godu Aleksej Larin obratilsja k velikomu tvoreniju M. Musorgskogo - vokalnomu tsiklu "Pesni i pljaski smerti". "Ja daleko ne srazu otvazhilsja prikosnutsja k etomu legendarnomu tsiklu, - govoril on. - I ne tolko iz-za ego izvestnosti. Umestno li budet zdes zvuchanie khora, ne poluchitsja li banalnoe perelozhenie? Ved v luchshikh transkriptsijakh - ot listov-skikh parafraz do "Karmen-sjuity" - voznikaet novoe kachestvo, rozhdaetsja, govorja kategorijami poezii, ne podstrochnik, no perevod. Lish so vremenem ja oschutil, chto epicheskij razmakh tsikla, ego mnogoznachnost mogut voplotitsja ne tolko v originalnom (kamernom) ili simfonicheskom zvuchanii (instrumentovki D. Shostakovicha i drugikh) - mnogolikij obraz Smerti mog by raskrytsja razlichnymi, vozmozhno, v chem-to neozhidannymi, vokalno-khorovymi kraskami".
V transkriptsii A. Larina sochinenie Musorgskogo poluchilo novoe, vpechatljajusche jarkoe i obemnoe zvuchanie.
Soderzhanie
Kolybelnaja
Serenada
Trepak
Polkovodets
