Discover Top Posts Tagged with #sviridov

Single Family Home, Bodrum (2013-2014) by Afonin, Egorova, Sviridov ⬣ Where geometry meets garden

#bodrum #green #2010s #sviridov #minimalism #architecture #2013 #modernism #egorova #white #afonin #illustration #modern architecture

I have 0 control of myself the moment that one march starts playing in Sviridov’s The Snowstorm it’s simply gotta be on the highest volume

#blab #Georgy sviridov #the snowstorm #it sounds so silly too I would absolutely die in war to it #sviridov #aleksandr pushkin #classical music #the entire album is beautiful

Georgy Sviridov - Pushkin's Garland 07 Reveille

#music #Georgy Sviridov #sviridov #pushkin

Tatiana Totmianina and Maxim Marinin skating to The Blizzard by Georgy Sviridov for their short program at the 2005 Trophée Eric Bompard, 2006 European Championships and 2006 Olympic Games.

(Photos from Getty Images)

#Tatiana Totmianina #Maxim Marinin #Totmianina Marinin #The Blizzard #Sviridov #Figure skating #Russia #2005–2006 #2005 Trophée Eric Bompard #2006 Europeans #2006 Olympics

I’ve mentioned this before, but I love Sviridov’s hauntingly atmospheric setting of the opening two stanzas of Pushkin’s 1825 poem “October 19”. It’s one of my absolute favorite art songs.

This music is really tailored to those first two stanzas. I’ve tried singing the rest of the poem to it, out of curiosity, and found it doesn’t feel quite right. It works superficially, because the meter and the basic stanza structure are consistent. But there are some other dimensions to consider:

1. Stanzas get subdivided in various ways across the poem. The first two have a fairly clean semantic break between the two quatrains of the octave, and Sviridov’s music reflects that. But this makes the tune feel off for, say, stanza #4 («Он не пришёл, кудрявый наш певец…»), which has an enjambment between lines 4 and 5: the music forces a pause into a semantically weird place in the text.

2. The first two stanzas also each have what feels like a self-contained declaration in the first two iambic feet of the fifth line: Пылай, камин. [Blaze on, o hearth.] Я пью один. [I drink alone.] The musical phrasing highlights that, leans into it. But this melodic line feels strange in any stanza that doesn’t do that in the fifth line, it gives an emphasis that doesn’t belong.

3. The music perfectly evokes the bleak, autumnal landscapes in the opening. That’s not the tone of everything else in the poem, though.