ОФИЦИАЛЬНЫЙ САЙТ КОМПОЗИТОРА
АЛЕМДАРА САБИТОВИЧА КАРАМАНОВА
«WITH DIVINE LOVE FOR PEOPLE, I RECORD MUSIC FROM THE MUSIC SHEET OF HEAVEN AND TRANSMIT THIS ETERNAL SOUND TO ALL OF HUMANITY»
A. Karamanov.
«STABAT MATER»
SYMPHONIC WORK ABOUT THE SUFFERINGS OF THE VIRGIN MARY DURING THE CRUCIFIXION OF JESUS CHRIST
«STABAT MATER» BY A. KARAMANOV IS A MESSAGE TO ALL HUMANITY.
Alfred Schnittke.
Stabat mater dolorosa
juxta Crucem lacrimosa,
dum pendebat Filius.
Cuius animam gementem,
contristatam et dolentem
pertransivit gladius.
O quam tristis et afflicta
fuit illa benedicta,
mater Unigeniti!
Quae maerebat et dolebat,
pia Mater, dum videbat
nati poenas inclyti.
Quis est homo qui non fleret,
Christi matrem si videret
in tanto supplicio?
Quis non posset contristari
Christi Matrem contemplari
dolentem cum Filio?
Pro peccatis suae gentis
vidit Iesum in tormentis,
et flagellis subditum.
Vidit suum dulcem Natum
moriendo desolatum,
dum emisit spiritum.
Eia, Mater, fons amoris
me sentire vim doloris
fac, ut tecum lugeam.
Part 1: Prologue to the subsequent musical events.
2nd movement: Fugue for choir a’capella (this is the only movement in this work written without orchestral accompaniment).
Part 3: The most extensive. At the beginning, the sufferings of the Mother of God are described.
Next, an appeal, a prayer to the Mother of God with a request to be involved in her grief and the crucifixion of her son.
Part 4: «Enlightenment». Ascending imitations of choral voices (from low to high) convey the content of the text: «Inflamed and raised for Your sake, Virgin, I will be protected on the day of judgment.»
Part 5: Quite dramatic and represents a conclusion that leads to catharsis, purification.
Дирижер: Виктор Здоренко.
Симфонический оркестр Украины.
Xор им. П. Майбороды, руководитель Виктор Скоромный.
Капелла «Почайна», руководитель: Александр Жигун.
Fac me tecum pie flere,
crucifixo condolere,
donec ego vixero.
Iuxta Crucem tecum stare,
et me tibi sociare
in planctu desidero.
Virgo virginum praeclara,
mihi iam non sis amara,
fac me tecum plangere.
Fac, ut portem Christi mortem,
passionis fac consortem,
et plagas recolere.
Fac me plagis vulnerari,
fac me Cruce inebriari,
et cruore Filii.
Flammis ne urar succensus,
per te, Virgo, sim defensus
in die iudicii.
Christe, cum sit hinc exire,
da per Matrem me venire
ad palmam victoriae.
Quando corpus morietur,
fac, ut animae donetur
paradisi gloria. Amen.
Fac, ut ardeat cor meum
in amando Christum Deum
ut sibi complaceam.
Sancta Mater, istud agas,
crucifixi fige plagas
cordi meo valide.
Tui Nati vulnerati,
tam dignati pro me pati,
poenas mecum divide.
«STABAT MATER»
«STABAT MATER»
Section: «Religion in Symphony».
Year of creation: 1967
The work was created by order of the Union of Composers of the USSR.
The work is world famous.
The world premiere of «STABAT MATER» took place in England in 1995, in the central Westminster Hall in London with the participation of the composer.
The oratorio «Stabat Mater» was written for soloists, choir and orchestra in 1967.
The name Stabat Mater comes from the first words of the Latin text of the poet Jacoponus: Stabat Mater dolorosa («the grieving Mother stood»).
Stabat Mater was supposed to sound like a church sequence intended for the feast of the «Seven Sorrows of the Virgin Mary».
After all, the Mother of God is especially revered in Russian Orthodoxy.
Karamanov dedicated this work to his beloved mother, who became the head of the family, saved three small children from starvation and gave her son his first musical education.
On the title page, the composer will write: «I dedicate this to my mother Polina.»
Musicologist Maxim Podskochy.
ИНФОРМАЦИЯ О ПРОИЗВЕДЕНИИ «STABAT MATER»
ОФИЦИАЛЬНЫЙ САЙТ КОМПОЗИТОРА
АЛЕМДАРА САБИТОВИЧА КАРАМАНОВА
«The cosmic sound permeates the whole world, the sounding vast spheres are the Universe. Music is the conductor of the sounding world, the musical rain constantly sprinkles the earth. And from the earth, from people, music, like a wonderful flower, reaches out to the sun, to the heavens — above words, above the stars, on a par with God… And I would begin my Good News, my Gospel like this:
«IN THE BEGINNING WAS MUSIC, AND MUSIC WAS WITH GOD, AND MUSIC WAS GOD»
Alemdar Karamanov.
«STABAT MATER»
«Стабат Матер»
«Stabat Mater» is an oratorio genre of Catholic music.
But for Karamanov, an Orthodox composer, there is no contradiction here, since both Orthodoxy and Catholicism express images of the Christian worldview.
Since the Renaissance, the Stabat Mater genre has been vividly represented in the music of composers such as Palestrina, Lasso, Pergolesi, Haydn, Rossini, Dvorak, Poulenc, Penderecki.
The world premiere of this work took place in England, in London, where the composer was first «discovered» with the performance of Stabat Mater in the Central Hall of Westminster Abbey in 1995.
Alfred Schnittke said about this music: «This music is capable of informing humanity.»
And the composer himself is convinced that his music can change the world, people. He knows for sure that his music is created for centuries.
Maxim Podskochiy.
Автор видео: Людмила Константинова
Member of the Union of Composers of the USSR, People’s Artist, Author of the State Anthem of the Republic of Crimea, Laureate of the National Prize. Taras Shevchenko, creator of 24 symphonies, including «SOVERSHISHESIA», «STABAT MATER», «REQUIEM», «Chersonese», the Founder of the musical direction «Religion in Symphony».
About the work of composer Alemdar Karamanov.
The creative personality of Alemdar Karamanov is unique and inimitable in the full sense of the word.
Composer Alfred Schnittke said about his friend from his conservatory years: «Karamanov is a gifted person, he is not just a talent. He is a genius!»
He created the most remarkable compositions that influenced me in my youth, and have an impact now, said A. Schnittke.
Alemdar Karamanov (Alemdar — «the one carrying the banner in front») was born in Simferopol on September 10, 1934.
In 1953, he entered the Moscow Conservatory in the composition class of S.S. Bogatyrev and in the special piano class of V.A. Natanson, then studied in graduate school in the class of D.B. Kabalevsky (1958-1963).
Already in his student years, he chose the symphony as his main genre of creativity (in the period 1954-1964, he created 10 symphonies).
In the early 60s, Karamanov was called «the head of the conservatory modernists» and this, of course, closed the road to the performance of his music for some time.
Having survived a deep crisis, A. Karamanov left for his homeland in Crimea in 1965.
A new period of his life and work begins.
Karamanov was the first of the major Russian composers to turn to the path of religious music.
The epigraph to these years could be the words inscribed on the title page of the symphonic cycle «It is Done» and Stabat Mater: «It is Done for the glory of God, in the name of the Lord Jesus Christ.»
It is important that his work does not become religious and cultic, it is secular.
But all the music is permeated with the idea of religion. «Music was drawn to the Gospel.
This gave rise to a vital enlightenment, as if a limitless perspective on life had opened up,» says the composer.
The composer first turned to a religious source when creating the symphonic cycle «It Is Done» (1965-66) in ten parts based on four Gospels. Karamanov’s second grandiose symphonic cycle was «It Was» in six symphonies (1976-80), and it was written based on the Apocalypse (the last book of the Bible).
The volume of A. Karamanov’s works cannot but amaze: 24 symphonies, three piano concertos, oratorios and cantatas, several dozen choirs, vocal and instrumental cycles, piano music, music for films and plays. Alemdar Karamanov is the author of the music for the national anthem of the Crimean Republic, written back in 1978.
Alfred Schnittke said of this music: «This music is capable of informing humanity.» And the composer himself is convinced that his music can change the world, people. He knows for sure that his music is created for centuries.
Musicologist Maxim Podskochiy.
Народный артист, Член Союза композиторов СССР, Автор Государственного гимна Республики Крым, Лауреат Национальной премии им. Тараса Шевченко, создатель 24 симфоний, в том числе «SOVERSHISHESIA», «STABAT MATER», «REQVIEM», «Херсонес», Основоположник музыкального направления «Религия в симфонизме».
Music is an all-pervasive, all-encompassing means of communication between man and God.
Musical revelation came to the composer not simply through religious texts, but directly from a cosmic source, straight from the Creator of the Universe.
Music came, filled the composer, to be transmitted to people.
This is, of course, secular music.
«… When this super-powerful spirit appears with my music, before which everyone falls prostrate: «I am the first and the last!», — says A. Karamanov, — then why shouldn’t it be secular?
Life in all its beauty — this is precisely the main religious commandment.»
Time sets specific tasks for the creator. And the development, the ascent of art in each period goes in line with general ideas.
But Alemdar Karamanov, it seems, consciously refused to solve the musical problems of his century, his time.
He immediately stepped into the 21st century, into the third millennium. Karamanov’s music belongs to the future – and today we are timidly, sometimes timidly, beginning to return it to our time, bringing our aesthetic perception to his music.
Alemdar Karamanov:
«I have never told anyone about this. Remember how the Gospel of John begins: «In the beginning was the word…» You couldn’t say it more succinctly or more accurately.
And yet, yet… Although the word was originally with God, it was man who secured it with a written sign — a cryptogram, a hieroglyph or a letter.
The word is still more a creation of man. And how many languages did the Creator need to know in order to address all people!
But music, I am convinced, is an all-pervading, all-encompassing means of communication between man and God.
The cosmic sound permeates the entire world, the sounding vast spheres are the Universe.
Music is the conductor of the sounding world, the musical rain constantly sprinkles the earth.
And from the earth, from people, music, like a wonderful flower, reaches out to the sun, to the heavens — above words, above the stars, on a par with God…
And I would begin my Good News, my Gospel, like this:
“In the beginning was Music, and Music was with God, and Music was God.”
A. Karamanov.
Journalist Vladimir Stadnichenko.
СПИСОК ОСНОВНЫХ ПРОИЗВЕДЕНИЙ
Member of the Union of Composers of the USSR, People’s Artist, Author of the State Anthem of the Republic of Crimea, Laureate of the National Prize. Taras Shevchenko, creator of 24 symphonies, including «SOVERSHISHESIA», «STABAT MATER», «REKVIEM», «Chersonese», the Founder of the musical direction «Religion in Symphony»..
LIST OF WORKS
FOR ORCHESTRA
1954 — «Fairy Tale». Symphonic poem.
1954 — First Symphony in Five Parts.
1955-1975 — Second Symphony in Two Parts.
1956 — «Forest Pictures». Suite for Orchestra.
1956 — Third Symphony in Four Parts.
1956 — Fourth Symphony «May» in Seven Parts.
1957 — Fifth Symphony-Dramatura «V. I. Lenin» with Choir in Three Parts.
1957 — «Angarstroy». Symphonic Poem.
1957 — Sixth Symphony (Sinfonietta) in Four Parts.
1958 — Seventh Symphony «Moon Sea» in three parts.
1960 — Eighth Symphony «Classical» in four parts.
1961 — «Heroic Dances». Suite for orchestra in five parts.
1962 — Ninth Symphony in four parts.
1964 — Tenth Symphony in three parts.
1964 — Heroic Overture for orchestra («April 12»).
1964 — Festive Overture for orchestra.
Eleventh — Fourteenth Symphonies. Cycle of symphonies «It is Done» in ten parts, with choir in the finale. 1965-1966.
1974 — Fifteenth — Sixteenth Symphonies «Et in amorem vivificantem».
1975 — Seventeenth Symphony «America».
1976-1980s — Eighteenth — Twenty-third Symphonies. Cycle of six symphonies «Byst».
1982 — Crimean Overture for Orchestra.
1983 — Twenty-fourth Symphony. «Adzhimushkay».
1983 — Spring Overture for Orchestra.
1992 — Anthem of the Crimean Republic.
FOR SOLOISTS, CHOIR AND ORCHESTRA
1957 — Fifth Symphony-Dramatura «V. I. Lenin» with choir in three parts.
1964 — «Song of a Married Soldier» for soloists, choir and orchestra to the text by A. Machado y Ruiz.
Eleventh — Fourteenth Symphonies. Cycle of symphonies «It is Done» in ten parts, with choir in the finale.
1967 — «Stabat Mater» for soloists, choir and orchestra.
1971 — Requiem for soloists, choir and orchestra (score — 1991).
1983 «The Legend-True Story of Adzhimushkay» for soloists, choir and orchestra to the words of B. Serman.
1994 — Mystery «Chersonesos».
FOR CHOIR
1959 — «The Seasons». Choral cycle a cappella.
1950s — «Rodina» for choir to the text by K. Simonov.
1960 — «To the Slavs» for choir.
1964 — «Osennee» for choir to the words of V. Firsov.
1974 — «Memories» for choir to the text by Sampurova.
1975 — «Return», «Dedications», «Flying Leaves», «Images-Pictures». Choral cycles to the text by A. Sampurova.
FOR PIANO AND ORCHESTRA
1958 — First Piano Concerto.
1961 — Second Piano Concerto.
1968 — Third Piano Concerto «Ave Maria».
FOR VIOLIN AND ORCHESTRA
1961 — First Violin Concerto.
1961 — Oriental Capriccio for violin and orchestra.
1964 — Second Violin Concerto.
FOR VOICE AND PIANO
Vocalise for voice and piano.
FOR SOPRANO AND PIANO
1975 — “For You”. Seven Romances for Coloratura Soprano and Piano to the Text by Sampurova.
FOR SOPRANO, VIOLIN, FLUTE AND TWO PIANOS
1963 — “The Crime Was in Granada” for soprano, violin, flute and two pianos in memory of F. Garcia Lorca to the text by M. Hernandez.
FOR MIDDLE VOICE AND PIANO
Vocal Cycle “Stars” to the text by S. Shchipachev for middle voice and piano.
FOR TENOR AND PIANO
1963 — “When You Pass By”. Poem for tenor and piano to the text by Asmapur.
FOR BARITONE AND PIANO
1963 — “African Songs” Vocal cycle for baritone and piano.
FOR BASS AND PIANO
Four romances to words by Russian poets for bass and piano. “Song”.
FOR VIOLIN AND PIANO
1963 — Music for violin and piano.
FOR CLARINET AND PIANO
1950s — Four pieces for clarinet and piano.
FOR CELLO AND PIANO
1963 — Music for cello and piano.
STRING QUARTETS
1953 — First String Quartet.
1950s — Second String Quartet.
1963 — Third String Quartet.
FOR PIANO
1953 — First Sonata for Piano.
1954 — “The Seasons” for Piano.
1954-1955 — Second Sonata for Piano (lost, finale-“Rondo” — published in 1958).
1950s — “Ave Maria” for Piano.
1950s — Two Dances for Piano (published in 1959)
1960-1962 — Six Etudes for Piano.
1960 — Third Sonata for Piano.
1961 — Fourth Sonata for Piano.
1962 — “Prologue, Thought and Epilogue”. Triptych for Piano.
1962 — Music for Piano No. 1.
1962 — Music for Piano No. 2.
1963 — «Window into Music». Sixteen Children’s Pieces for Piano.
1964 — Five Preludes and Nineteen Concert Fugues for Piano (in the 1984 edition — Fifteen Concert Fugues).
FOR JAZZ ORCHESTRA
1960 — Suite for Jazz Orchestra.
FOR TRUMPET AND JAZZ ORCHESTRA
1965-1966 — Concerto for Trumpet and Jazz Orchestra. BALLETS
1957 — «Komsomolia». Ballet in one act. In collaboration with E. Krylatov (lib. V. Varkovitsky).
1961 — «Stronger than Love». Ballet based on B. Lavrenev.
MUSIC FOR PERFORMANCES
«The Shining World» by A. Green, staged at the Crimean Musical and Drama Theatre, Simferopol, 1962-65;
musical «The Fountain of Love» by A. Pushkin, staged in Kyiv, 1982.
MUSIC FOR FILMS
«Ordinary Fascism», directed by M. Romm, 1965-1966;
«Strategy of Victory» in fifteen episodes, 1985;
«Love with Privileges», directed by V. Kuchinsky, 1989.
Официальный сайт композитора А. С. Караманова. Official website of the composer Karamanov Alemdar Sabitovich
ЗАПРОС НА НОТНЫЕ МАТЕРИАЛЫ ПРОИЗВЕДЕНИЙ КОМПОЗИТОРА А.С. КАРАМАНОВА
ЧИТАЙТЕ ТАКЖЕ:
СТАТЬИ О КОМПОЗИТОРЕ А.С. КАРАМАНОВЕ
Г. Свиридов — «В добрый путь».
А. Шнитке — «В поисках своего пути».
С. Баласанян — «Музыка масштабная, яркая».
М. Рахманова — «Музыка — проводник звучащего мира».
А. Тевосян — «Откровение и благовествование Алемдара Караманова».
В. Адаменко — «Алемдар Караманов: Штрихи к несуществующему портрету».
Л. Прудовский — «Коллаж на тему судьбы композитора Алемдара Караманова».
Ю. Холопов — «Аутсайдер советской музыки: Алемдар Караманов».
П. Поспелов — «Алемдар Караманов расстается с ролью аутсайдера».
П. Богомолов — «Верю в воскресение России». Западная премьера Алемдара Караманова.
Е. Польдяева — «Апокриф или послание»?
И. Батюк — «Stabat Mater Алемдара Караманова».
В. Стадниченко — «Евангелие от Караманова».
Т. Чередниченко, Галина Уствольская — «Алемдар Караманов».
Е.В. Клочкова — «Да будет Мне по слову Твоему».
Е.В. Клочкова — «Праздник музыки Алемдара Караманова».
Е.В. Клочкова — «Новые исполнения музыки Караманова».
Е.В. Клочкова — «Алемдар Караманов: «Именно в музыке проявилась моя вера…».
Е.В. Клочкова — «Тема Апокалипсиса в творчестве А. Шнитке и А. Караманова».
Е.В. Клочкова — «Загадочная художественная личность последней трети прошедшего столетия».
В. Манова — «Авторский концерт Алемдара Караманова в Казани».
А. Ровнер — «Уникальный творческий путь Алемдара Караманова».