翻訳と辞書 ・ Alexander Nesmeyanov ・ Alexander Nesterov ・ Alexander Neubauer ・ Alexander Neumeister ・ Alexander Neverov ・ Alexander Neville ・ Alexander Neville (disambiguation) ・ Alexander Neville (scholar) ・ Alexander Nevin ・ Alexander Nevolin-Svetov ・ Alexander Nevsky ・ Alexander Nevsky (actor) ・ Alexander Nevsky (disambiguation) ・ Alexander Nevsky (film) ・ Alexander Nevsky (prize) ・ Alexander Nevsky (Prokofiev) ・ Alexander Nevsky (ship) ・ Alexander Nevsky Bridge ・ Alexander Nevsky Cathedral ・ Alexander Nevsky Cathedral, Allison Park ・ Alexander Nevsky Cathedral, Baku ・ Alexander Nevsky Cathedral, Belgrade ・ Alexander Nevsky Cathedral, Howell ・ Alexander Nevsky Cathedral, Izhevsk ・ Alexander Nevsky Cathedral, Moscow ・ Alexander Nevsky Cathedral, Novosibirsk ・ Alexander Nevsky Cathedral, Paris ・ Alexander Nevsky Cathedral, Sofia ・ Alexander Nevsky Cathedral, Tallinn ・ Alexander Nevsky Cathedral, Tiflis
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Alexander Nevsky (Prokofiev) : ウィキペディア英語版 | Alexander Nevsky (Prokofiev)
''Alexander Nevsky'' ((ロシア語:Александр Невский)) is the score for the 1938 Sergei Eisenstein film ''Alexander Nevsky'', composed by Sergei Prokofiev. He later rearranged the music in the form of a cantata for mezzo-soprano, chorus, and orchestra, with text by the poet Vladimir Lugovskoy and Prokofiev. It has remained one of the most renowned cantatas of the 20th century. ==Alexander Nevsky (film music)== The score was Prokofiev's third for a film, following ''Lieutenant Kijé'' (1934) and ''Pique Dame'' (1936). It was composed of 23 sections, and Prokofiev was heavily involved not just with the composition, but with the recording as well. He experimented with different microphone distances in order to achieve the desired sound. Horns meant to represent the Teutonic Knights, for instance, were played close enough to the microphones to produce a crackling, distorted sound. The brass and choral groups were recorded in different studios and the separate pieces were later mixed.〔The score of Alexander Nevsky is published by Schirmer, ISBN 0-634-03481-2〕 Prokofiev employed different sections of the orchestra, as well as different compositional styles, to evoke the necessary imagery. For instance, the Teutonic Knights (seen as the adversary) are represented by heavy brass instruments, playing discordant notes in a martial style. The sympathetic Russian forces are represented predominantly by folk-like instruments such as woodwind and strings, often playing quasi-folksong style music.
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