Gamma1734
Where I get most of the scores for the channel from
updated
Korovitsyn (b.1956) graduated from Leningrad Conservatory, he is member of the Union of Russian composers, the prize winner of the international melody competition and of the competition "Spring of Romance". He is the author of a number of collections issued by different publishers.
0:00 Dawn
1:57 Dance Of Jester
2:50 Prelude
4:54 Teddy Bear - Button Nose
7:26 Johny Prince
8:59 Idyllic Scene about the pictures of Jean Fragonard
11:28 Swallows In The High Heaven
14:27 Sonatina
16:15 First Day Of Vacation
17:21 Tango
18:18 Nocturne Mountainous Tops
22:02 Waltz
24:03 Scherzino
24:48 Plain Tune
26:16 Maria-Beauty
28:07 Paraphrase On The Theme Of The Dance "Apple"
29:25 Forty Fifth May
33:13 Intermezzo
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youtube.com/watch?v=OCkFXZByXh8
Actually, Lind is a pseudonym used by the British composer (Alfred) Frederic Mullen (1868-1936). Other pseudonyms used by him were Pierre Lescaut and Jean Morel.
Here's another set of pieces, this time released under Pierre Lescaut.
youtube.com/watch?v=AF5rJtufSR8
0:00 By The Old Lily Pond
(I know a bank, whereon the wild thyme blows. - Midsummer Night's Dream)
2:18 Where The Hedgeroses Grow
4:19 Starlight Through A Little Window
(I remember, I remember, The house where I was born
The little window where the sun Came peeping in at morn - T. Hood)
7:37 When All The World Was Young
(And where are you going With your love-locks flowing? - C.G.Rossetti)
9:24 In A Little Churchyard
("Now fades the glimmering landscape on the sight
And all the air a solemn stillness holds." - Gray, Elegy in a country churchyard)
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She sat as a jury member on international competitions such as the Paloma O'Shea Santander International Piano Competition, the International Tchaikovsky Competition and the Leeds Piano Competition. She recorded her own transcription of Sergei Prokofiev's Peter and the Wolf. Nikolayeva was the teacher of Nikolai Lugansky; shortly before her death, she declared him "The Next One" in the line of great Russian pianists. Among her other students was András Schiff, whom she taught in summer courses at the Hochschule für Musik Franz Liszt, Weimar.
Pretty piece, good melodies and some interesting modulations, and some magic in the end. I played her Elegy too:
youtube.com/watch?v=C2ubvbcN6dY
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Nápravník was born in Býšť, Bohemia, in 1839. His studies of music were precariously uneven as a child, being the son of a poor teacher. Orphaned in 1853 at the age of 14, he first worked as a local church organist. In 1854 he entered the Prague Organ School, where he studied under Jan Bedřich Kittl and others, eventually becoming an assistant teacher as Kittl's generosity allowed him to continue his studies. In 1861, he worked in Russia for the first time as conductor of the private orchestra of Prince Yusupov in St. Petersburg.
Nápravník became organist and assistant conductor at the Imperial theatres in 1863, second conductor in 1867, and chief conductor, succeeding Liadov, in 1869, holding the post until his death. He led the first performances of Boris Godunov in 1874, conducted five operas by Pyotr Ilyich Tchaikovsky, including The Maid of Orleans, Mazepa and The Queen of Spades, and five by Nikolai Rimsky-Korsakov, including May Night, The Snow Maiden and Christmas Eve. He also conducted concerts of the Russian Musical Society. In 1914, after a productive career in the service of Russian opera, he was forced to retire due to ill health.
In November 1875, Nápravník conducted the first performance in Russia of Tchaikovsky's First Piano Concerto with Gustav Kross as soloist (whose playing was described by the composer as "an atrocious cacophony"). Nápravník is also well known for leading the second — and overwhelmingly persuasive — performance of Tchaikovsky's Pathétique symphony on 6/18 November 1893, twelve days after the composer's death. The premiere, under the composer's baton, had not fared so well, partly due to the audience's and the orchestra's unfamiliarity with a work that contained so many novelties, compositionally speaking, and partly due to Tchaikovsky's conducting (although Rimsky protested after that second performance, in his autobiography Moy Muzikalny Zhizn [My Musical Life], that the first performance had also gone well under the baton of its creator). Under Nápravník's baton, however, and under the solemn influence of Tchaikovsky's sudden passing, the work was seen as a masterpiece with an overwhelming emotional message. It included some minor corrections that Tchaikovsky had made after the premiere, and was thus the first performance of the work in the exact form in which it is known today.
Of Nápravník's own four operas the most successful was Dubrovsky (1894, staged 1895) written to a Russian libretto by Modest Ilyich Tchaikovsky after the story by Alexander Pushkin.
He died in Petrograd in 1916. In May 1917, his family went abroad and eventually settled in Belgium.
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Nápravník was born in Býšť, Bohemia, in 1839. His studies of music were precariously uneven as a child, being the son of a poor teacher. Orphaned in 1853 at the age of 14, he first worked as a local church organist. In 1854 he entered the Prague Organ School, where he studied under Jan Bedřich Kittl and others, eventually becoming an assistant teacher as Kittl's generosity allowed him to continue his studies. In 1861, he worked in Russia for the first time as conductor of the private orchestra of Prince Yusupov in St. Petersburg.
Nápravník became organist and assistant conductor at the Imperial theatres in 1863, second conductor in 1867, and chief conductor, succeeding Liadov, in 1869, holding the post until his death. He led the first performances of Boris Godunov in 1874, conducted five operas by Pyotr Ilyich Tchaikovsky, including The Maid of Orleans, Mazepa and The Queen of Spades, and five by Nikolai Rimsky-Korsakov, including May Night, The Snow Maiden and Christmas Eve. He also conducted concerts of the Russian Musical Society. In 1914, after a productive career in the service of Russian opera, he was forced to retire due to ill health.
In November 1875, Nápravník conducted the first performance in Russia of Tchaikovsky's First Piano Concerto with Gustav Kross as soloist (whose playing was described by the composer as "an atrocious cacophony"). Nápravník is also well known for leading the second — and overwhelmingly persuasive — performance of Tchaikovsky's Pathétique symphony on 6/18 November 1893, twelve days after the composer's death. The premiere, under the composer's baton, had not fared so well, partly due to the audience's and the orchestra's unfamiliarity with a work that contained so many novelties, compositionally speaking, and partly due to Tchaikovsky's conducting (although Rimsky protested after that second performance, in his autobiography Moy Muzikalny Zhizn [My Musical Life], that the first performance had also gone well under the baton of its creator). Under Nápravník's baton, however, and under the solemn influence of Tchaikovsky's sudden passing, the work was seen as a masterpiece with an overwhelming emotional message. It included some minor corrections that Tchaikovsky had made after the premiere, and was thus the first performance of the work in the exact form in which it is known today.
Of Nápravník's own four operas the most successful was Dubrovsky (1894, staged 1895) written to a Russian libretto by Modest Ilyich Tchaikovsky after the story by Alexander Pushkin.
He died in Petrograd in 1916. In May 1917, his family went abroad and eventually settled in Belgium.
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Song without words, Op.10
youtube.com/watch?v=z7ZnGIof1ZU
Barcarolle
youtube.com/watch?v=XkipNaYCSHs
Old Woman's Tale, Op.33
youtube.com/watch?v=qOKJqpe9IWY
Mazurka, Op.50
youtube.com/watch?v=nOYeVfOh01c
Mazurka, Op.42
youtube.com/watch?v=oEudxQ8iys0
Mazurka, Op.47
youtube.com/watch?v=Co_K7VT2V2o
Polka, Op.34
youtube.com/watch?v=As-qZ-87EIc
Mazurka, Op.48
youtube.com/watch?v=Iz_hI8eemFA
Fleeting thought, Op.28
youtube.com/watch?v=UvFC7fKMSIk
Menuet, Op.24
youtube.com/watch?v=RGkhYasLfIU
Children's song, Op.13
youtube.com/watch?v=iKJHqPnQ-YM
However, I think I am willing to say that this composition is my favorite so far. We have to really not forget that the composer lived 1799-1855! I think his music was innovative back in the day. Let's hear what Balakirev said about him, in 1910.
"Although Glinka's piano music became famous , the first Russian piano composer should be recognized as the late Ivan F. Laskovsky ... Laskovsky's pieces provide rich material for the pianist ... We follow Laskovsky directly."
Among his teachers was John Field, Inventor of the Nocturne Genre, and his friends were A. S. Pushkin , M. I. Glinka , A. S. Dargomyzhsky , M. Vielgorsky , V. F. Odoyevsky, F. Liszt , A. Vietan , A. Serva, A. Henselt , who toured in russia and played in his house.
He was very popular at that time and mostly played his own compositions: Mazurkas, Ballades, Etudes, Variations. He was very fond of Beethovens music. He wrote over 70 compositions, and he developed the lyrical-romantic tendency of russian piano music. His music is near to slavic folklore, but is also influenced by KM Weber , F. Schubert , F. Chopin , R. Schumann and F. Mendelssohn. His pieces are tasteful, witty, beautiful and elegant.
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youtube.com/watch?v=iafFfRYnjiQ
Georgian composer (1921-1981).
Composed songs, arrangements from sacral, rural, urban contexts. Own songs for solo voice, ensemble, choir. Song about Tbilisi became especially famous.
1 Opera, musical comedies, operettes, cantatas, symphonic music, chamber and piano music, romances for theatres and films.
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Nikolai Ladukhin (1860 – 1918, Moscow) is a Russian music theorist and composer.
He studied at the Moscow Conservatory in the class of music theory with S. I. Taneyev (graduated in 1886). He taught solfeggio and harmony there (later also instrumentation; professor since 1904). He is the author of a number of compositions - Symphonic Variations for a large orchestra, the musical picture "At Twilight", piano and violin pieces, romances, choirs, children's songs for one to three voices. It is of the greatest importance as a theoretician and teacher: the collections of solfeggio written by him for one to four voices are successfully used in teaching in our time. He also owns "Experience in the Practical Study of Intervals, Scales and Rhythm", "A Concise Encyclopedia of Music Theory", "A Guide to the Practical Study of Harmony" and a collection of tasks for it.
Some of his students include
A.N. Scriabin, N.K. Medtner, A.F. Gedike, A.B. Goldenweiser, and A.V. Nezhdanov.
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Pyotr Khvoshchinsky (1882 - 1920 ) - Lieutenant Colonel, composer, author of a number of works for the orchestra.
Born June 12, 1882 in St. Petersburg . After completing the course in the Moscow Cadet Corps in 1900 , he was assigned to a special class.
Khvoshchinsky was cornet of the Cavalier Guard Regiment
Corps of Pages , and in 1901 he was promoted to chamber pages. On August 10, 1902 , he was promoted to cornet of the Cavalier Guard Regiment . In the same year, he began to study music with the professor of the St. Petersburg Conservatory N. A. Sokolov .
Since 1905 , he attended music classes with the composer N. N. Cherepnin . In 1908 , Khvoshchinsky left the regiment and was appointed to be a member of the Ministry of the Interior. At the same time, he studied the presentation of a musical work for orchestra performance by N. A. Rimsky-Korsakov , managed to take several lessons from him, since he died in the summer of that year. Then he studied music with A. K. Lyadov and V. P. Kolomzhan.
During the First World War , with the rank of lieutenant colonel, he was the head of the regimental school. In 1919 he was arrested as a hostage and imprisoned in the Butyrka prison . In 1920 he died there of typhus .
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Amost nothing is known about Viktor Kuprevich. He was born in Kaunas, Lithuania. He studied composition at the Moscow Conservatory with Anatoly Alexandrov. A prolific composer, his output includes ballets, oratorios, orchestral, instrumental and vocal works. He wrote 2 orchestral Symphonies, Nos. 1 (1960) and 2 (1969).
0:00 Arabesque No.1
1:36 Arabesque No.2
Korganov (1858-1890) was a russian composer with armenian origin. He studied under Reinecke, Judasson, Wenzel in Germany, Leipzig. And Brassin in St. Petersbourg. His works are influenced from Rimski Korsakov and Tchaikovsky, also he often uses melodied from caucasus.
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Koreshchenko was born in Moscow in 1870. He entered the Moscow Conservatory, graduating in 1891.
He was only the second person ever to be awarded the Conservatory's Great Gold Medal; the first was one of his teachers, Sergei Taneyev, and the third was Sergei Rachmaninoff. He also studied theory under Anton Arensky.
He stayed with his alma mater as a professor of harmony and also taught counterpoint at the Moscow Synodal School.
He died in Kharkov in 1921.
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Valeri Grigoryevich Kikta (October 22, 1941 in Volodymyrivka, Donetsk Oblast, Ukrainian SSR) is a Russian classical composer, a professor of the Moscow Conservatory.
He was educated at the Moscow Choral College, then at the Moscow Conservatoire under Semyon Bogatyrev and Tikhon Khrennikov. On the recommendation of Shostakovich he moved on to post-graduate study.
Kikta's compositions include ballets, symphonic, organ and choral works. These include Beyond the Verge of Darkness for tenor and orchestra, and Frescos of the St. Sofia Cathedral of Kyiv for harp and orchestra.
He was recorded extensively by the USSR state recording company, Melodiya in the 1970s and 1980s.
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youtube.com/watch?v=FYMm1KE5HpU
Interestingly, the set is dedicated to Tiniakov, of whom I have also played some pieces:
youtube.com/watch?v=hC9y4l-VWrs
youtube.com/watch?v=5KJm1lMP0_A
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(1872-1940)
His parents were Swiss, and he went to a German Primary school in Moscow. He entered the Moscow Conservatory in 1889, where he studied violin with Jan Hřímalý and composition with Anton Arensky and Sergei Taneyev. His works include sonatas for viola, cello, winds, and three for violin, four symphonies (including one in manuscript) and also a chamber symphony, four string quartets, several piano trios, piano quartets and piano quintets as well as one sextet for piano and strings from 1902 and a wind quintet, a number of concerted works including three violin concerti and a triple concerto with piano trio, many piano works and lieder, and a number of stage works including an opera Aleko.
Also I want to say thank you to the persons who donated recently, you're really helping me out! It feels really nice to get that notification after I spent 1 or 2 hours working for the channel.
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I am again surprised to see, that apparently there doesn't exist any recording of this piece on youtube at all. I actually don't understand it, I think it's a really beautiful piece, especially given that it's op.1/1. Very melancholic atmosphere and fresh but concise middle section.
(1872-1940)
His parents were Swiss, and he went to a German Primary school in Moscow. He entered the Moscow Conservatory in 1889, where he studied violin with Jan Hřímalý and composition with Anton Arensky and Sergei Taneyev. His works include sonatas for viola, cello, winds, and three for violin, four symphonies (including one in manuscript) and also a chamber symphony, four string quartets, several piano trios, piano quartets and piano quintets as well as one sextet for piano and strings from 1902 and a wind quintet, a number of concerted works including three violin concerti and a triple concerto with piano trio, many piano works and lieder, and a number of stage works including an opera Aleko.
Also I want to say thank you to the persons who donated recently, you're really helping me out! It feels really nice to get that notification after I spent 1 or 2 hours working for the channel.
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Mark Hambourg (Марк Михайлович Гамбург, 1879 – 1960) was a Russian British concert pianist.
His father was principal of the Voronezh Conservatory, and later a professor at the Moscow Conservatory, so that Mark continued his studies with his father even when he attended that academy. His uncle Alexander Hambourg was also a conductor and his cousin Charles Hambourg (1895–1979) was a cellist and conductor.
The family moved to London in 1889, as refugees from the Tsarist regime. There, having been heard by Paderewski, Mark made a debut at the old Princes Hall on 12 July 1890. This was a success, and there was another concert there, and a tour of the provinces. The family was too poor to turn down these opportunities, though they would gladly have protected the boy from public life. As a child he was billed as Max Hambourg. He was invited into the circle of the painter Felix Moscheles (son of the pianist Ignaz Moscheles), in London, where he often met Oscar Wilde, Bernard Shaw, Ellen Terry and others.
Sponsored largely by Paderewski, Hambourg was sent to study under Theodor Leschetitzky in Vienna for three years, arriving there in autumn 1891. There he won the Liszt Scholarship of 500 marks, and made a large number of friends among the artistic circles of Vienna. He made his first appearance as an adult pianist in early 1895, playing Chopin's Concerto No. 1 in E minor under the baton of Hans Richter, with the Vienna Philharmonic Orchestra. Then, while still a student with Leschetizky, he stood in at short notice (on his master's recommendation) to play Liszt's Hungarian Fantasia under Felix Weingartner, in place of Sophie Menter, who was indisposed. The audience, at first disappointed, was completely won over, and at the banquet which followed, Brahms himself proposed the toast to the young pianist.
In 1895 Hambourg began his first world tour (aged 16), beginning in Australia, where in (Sydney) he was asked to prolong his stay by six weeks. Returning to London, he deputized for Paderewski at a Philharmonic Society concert playing Anton Rubinstein's Piano Concerto No. 4 in D minor. He first appeared in Paris in 1896, and after that in Brussels and Berlin. He went to the United States in the latter part of 1898, making his New York debut under William Gericke with the Boston Symphony Orchestra, and going on to tour the US. He then returned to London, and in 1901 made his first appearances at the Queen's Hall Proms under Henry Wood. Over the next four years he made another American tour and made visits to Poland, Russia and Germany. (He had met Lenin through Felix Moscheles in London in 1900). In 1906 he made a month-long concert visit to South Africa, taking his own piano by precarious means across the Veldt to one remote location. He first toured in Canada in 1909 and later became friends with the Canadian pianist Harold Bradley.
Hambourg's career survived World War I and he remained a very famous performer throughout the 1920s and 1930s. After the war, he again took up his programme of world touring, visiting France, South Africa and Canada, and making regular provincial tours in Britain, and he made a further world tour before 1924. But he lived in London for most of his adult life, mostly at 27 Cumberland Terrace, Regent's Park in a house full of antiques.
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where he was a student of Gara Garayev who had a great influence on the
professional development of the composer. He began to form as an artist in the 1960s and, like other composers of the time, the young man actively studied new Western techniques, and his works of those years contained elements of dodecaphony.
However, Gurevich’s music even then showed a bright melodic gift, classical clarity of forms, a filigree sense of taste and measure in everything, and a surprisingly harmonious outlook. The main area of the composer’s work is symphonic and chamber instrumental music, as well as scores for theatre productions, chamber vocal and choral pieces, and songs. His works are characterized by original dramatic and timbre solutions, while the composer assigns special importance to direct emotional impact. For more than half a century, Leonid Gurevich taught at the Ural Conservatory, educating composers in the best traditions of classical and modern music. His poem In Memory of the Great Composer dedicated to Dmitri Shostakovich and the capriccio Joy Over a Found Penny dedicated to Sergei Prokofiev are parts of the concerto diptych “Coryphaeus” for violin and grand symphony orchestra created in 2003. The dedicatees are not accidental – the legacy of the Soviet classics was the soil on which the composer’s style was growing. The pieces are remakes of the second and third movements of his early sonata for violin and piano written when he was a conservatory student. Almost all the musical material of the lyrical and deeply personal poem grows out of the initial violin motif of fifths and fourths that undergoes a figurative transformation and reaches a dramatic climax. The optimistic capriccio with its clear rhythm, fast pace, and clear harmony is at the opposite emotional pole, and if the first theme is close to the image of Mercutio, the second clearly resembles one of the themes of Prokofiev’s Juliet. “As for the subtitles containing allusions with the well-known classical examples (Tchaikovsky’s trio in the first case and Beethoven’s rondo in the other), they obviously contain an additional intrigue”, the composer says, inviting a thoughtful listener to unravel it.
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Grodzki, Boleslaus, born 1865. Studied law, held public office, but resigned to devote himself to musical journalism and composition of songs, choruses, and pieces for piano and violin and cello.
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Goedicke was a professor at Moscow Conservatory. With no formal training in composition, he studied piano at the Moscow Conservatory with Galli, Pavel Pabst and Vasily Safonov. Goedicke won the Anton Rubinstein Competition in 1900. Despite his lack of traditional guidance, his compositional efforts were rewarded when he won the Rubinstein Prize for Composition at the young age of 23. Goedicke died at the age of 80 on 9 July 1957.
Alexander Goedicke was Nikolai Medtner's first cousin. Alexander's father Fyodor Goedicke, a minor composer and pianist, was Medtner's mother's brother and his first teacher.
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1:05 Lullaby
3:53 Mazurka
Composition date: 1916-1917.
Publishing date: 1950.
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Born Ralph Reichenthal in New York City, United States, Rainger initially embarked on a legal career, having obtained his law degree at Brown University in 1926. He had, however, studied piano from a young age and attended the Institute of Musical Art in New York. Public performances include radio broadcasts from New York and WOR (New Jersey) as early as 1922. These were as soloist, accompanist to singers, and as duo-pianist with Adam Carroll or "Edgar Fairchild" (the name Milton Suskind used for commercial work).
He also prepared piano rolls between 1922 and 1928 for Ampico, Standard, and DeLuxe. Some of these used the "Reichenthal" surname, others the "Rainger" name he was gradually adopting commercially.
With the advent of motion picture sound and the film musical, Rainger and other songwriters found work in Hollywood. He teamed up with lyricist Leo Robin to produce a string of successful film songs, including "I'll Take An Option On You", from the Broadway hit show Tattle Tales (1933).
In the years that followed, Rainger wrote or collaborated on such hit songs as "I Wished on the Moon", "Love in Bloom" (comedian Jack Benny's theme song), "Faithful Forever", "Easy Living", "June in January", "Blue Hawaii", and with Leo Robin on the 1938 Oscar-winning song "Thanks for the Memory", sung by Bob Hope in the film The Big Broadcast of 1938.
Rainger died in a plane crash near Palm Springs, California, in 1942. He was a passenger aboard American Airlines Flight 28, a DC-3 airliner that was involved in a mid-air collision with a U.S. Army Air Corps bomber. Rainger, then age 41, was survived by his wife, Elizabeth ("Betty"), an eight-year-old son, and two daughters, aged five and one. In the initial 1942 press coverage of the crash, the collision was not acknowledged; Betty Rainger later sued American Airlines and won a substantial judgement late in 1943.
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Today he remains largely known for Pagliacci, one of the most popular and frequently performed works in the opera repertory. His other compositions include the song "Mattinata", popularized by Enrico Caruso, and the symphonic poem La Nuit de mai.
This Serenade is from this opera.
In 1890 he saw the enormous success of Pietro Mascagni's Cavalleria rusticana and wasted no time in producing his own verismo work, Pagliacci. (According to Leoncavallo, the plot of this work had a real-life origin: he claimed it derived from a murder trial in Montalto Uffugo, over which his father had presided.)
Pagliacci was performed in Milan in 1892 with immediate success; today it is the only work by Leoncavallo in the standard operatic repertory. Its most famous aria, "Vesti la giubba" ("Put on the costume" or, in the better-known older translation, "On with the motley"), was recorded by Enrico Caruso and laid claim to being the world's first record to sell a million copies (although this is probably a total of Caruso's various versions of it, made in 1902, 1904 and 1907).
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In 1903, Jules married German-born Ella Lenzberg, and they moved permanently to New York City so he could pursue his music career.
By 1910 the Lenzbergs had moved to Queens, New York where they remained for the rest of their lives, and the move to Queens marked the beginning of his greatest period of productivity as a composer. The Hungarian Rag was his only huge seller, but his other compositions, though not as successful, still made him a comfortable income. Meanwhile, he continued to be a successful leader of his orchestra at the Colonial Theatre.
He often adapted familiar classical tunes to ragtime, as he did with his Hungarian Rag and Operatic Rag, inspiring others to "rag" famous tunes, though not always as successfully as Lenzberg. His Hungarian Rag was based upon the Hungarian Rhapsodies by Liszt. Lenzberg's Haunting Rag may be his most original work. Among Lenzberg's collaborators was the singer and songwriter Ernest Ball.
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Charles Ancliffe (1880 – 20 December 1952) was an Irish born composer of light music, chiefly remembered for his marches and waltzes.
Charles Ancliffe was born in Kildare, Ireland, the son of an army bandmaster. After studying at the Royal Military School of Music, Kneller Hall, he followed in his father's footsteps by becoming a bandmaster himself. From 1900 to 1918 he was Bandmaster of the First Battalion, South Wales Borderers, seeing much service in India. During this period he wrote many popular pieces of music including marches such as The Liberators, and Castles in Spain. He also composed dozens of short genre pieces, often styled 'intermezzo' or 'entr'acte', several songs and ingeniously titled suites such as Below Bridges. which had the titles Wapping Old Stairs, Poplar and Stepney Church, — all London bridges.
Around the time of the First World War Ancliffe composed many waltzes, and it is mainly for these that he is remembered. These included Hesitation, Alpine Echoes, and Smiles Then Kisses, the titles reflecting the age in which they were written. Several of these enjoyed renewed popularity with the fashion for ‘olde-tyme dancing’ after World War II.
Nights of Gladness
It was for Nights of Gladness, written in 1912, that Ancliffe became most famous. The waltz became so popular all over the world that in later years the BBC named a long-running series of light music programmes after it, using it as the signature tune.
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here's another piece by bachmann that i played
youtube.com/watch?v=sU4E2bOIVaU
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In order to improve his orchestration and composition skills the young Lysenko traveled to St. Petersburg where he took orchestration lessons from Nikolay Rimsky-Korsakov in the mid-1870s, but his fervent Ukrainian national position and disdain for Great Russian autocracy impeded his career. He supported the 1905 revolution and was in jail briefly in 1907. In 1908, he was the head of the Ukrainian Club, an association of Ukrainian national public figures in Kiev.
For his opera libretti Lysenko insisted on using only the Ukrainian language. Tchaikovsky was impressed by Lysenko's Taras Bulba and wanted to stage the work in Moscow, but Lysenko's insistence on it being performed in the Ukrainian language, not Russian, prevented the performance from taking place in Moscow.
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Gennady Lukinykh graduated from the conducting and choral department of the Perm Musical College in 1984. In 1991 he graduated from the conducting and choral faculty of the Ural State Conservatory named after M.P. Musorgsky in Yekaterinburg. In 1991 he was one of the initiators of the creation of the male vocal ensemble "Kantus-Quartet" (1991-2003), in which he became a laureate of the All-Russian (Nizhny Novgorod, 1993) and International (Rykhnov-nad-Knezhnou, Czech Republic, 1996) contests. Since 1996 - artistic director of the Kantus Quartet of the Perm Regional Philharmonic. In 2000, together with Victoria Lukinykh (soprano), he organized the "Romantic Duet". In 2002, for achievements in the field of culture and art, G. Lukinykh was awarded the title of laureate of the Perm Prize named after the composer A.P. Nemtin. In 2004 he founded the creative association "Perm Lyra", which included "Romantic Duet" and a number of other performers. As part of the Romantic Duet, he won the VI All-Russian Volga Competition of Russian and Gypsy Romance Performers "Autumnal Voice Romance" (Kineshma, 2005) and the VII International Competition of Old Russian Romance named after I. Yurieva (Tallinn, Estonia, 2006). Author of over 150 vocal compositions. These are romances, songs, lyrical miniatures, works for different compositions of the choir and vocal ensemble a capella and with accompaniment of piano, organ, pop orchestra. He is the author of piano works in many genres and styles - from neo-baroque to jazz. In the period from 1990 to 2012. created over 200 arrangements for various ensemble-choral, pop-instrumental and orchestral ensembles.
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He was an uncle of Louis Andriessen and Jurriaan Andriessen, who followed in his footsteps as composers.
Andriessen studied at the Amsterdam Conservatory, completing his studies in 1906, and was awarded the school's Outstanding Achievement Prize for piano. He appeared frequently in concert performances in the Netherlands, and was noted for his interpretations of J.S. Bach, Mozart, Beethoven and Robert Schumann, though he also played piano pieces from contemporaries such as Debussy, Ravel, Bartók and Pijper.
Andriessen taught at the Royal Conservatory in The Hague (1910–18) and following this at the Muziekschool in Rotterdam after 1924. He was appointed director of the Amsterdam Conservatory from 1937 to 1953. He also gave radio broadcasts of performances which included analyses of compositions. In 1942, following the Nazi occupation of the Netherlands, Andriessen and his brother Hendrik were imprisoned for a year, during which time Willem gave lecture-concerts for the prisoners.
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Godard's long list of works includes five symphonies: Symphonie gothique (1883), Symphonie orientale (1884), and Symphonie légendaire (1886); Concerto romantique for violin and orchestra (1876), two piano concertos, three string quartets, four sonatas for violin and piano, a sonata for cello and piano, two piano trios, and various other orchestral works. Among his piano pieces may be mentioned Mazurka No. 2, Valse No. 2, Au Matin, Postillon, En Courant, En Train, and Les Hirondelles. Florian's Song is also very popular and has been arranged for many instruments. One of Godard's sonatas for violin and piano contains a scherzo written in the unusual time signature of 5 8. He wrote more than 100 songs. Godard was opposed to the music of Richard Wagner and also highly critical of Wagner's antisemitism. Godard's musical style was more in tune with those of Felix Mendelssohn and Robert Schumann.
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Salomon (or Solomon) Mazurette. Pianist, composer, organist, teacher, baritone, b Montreal 26 Jun 1847, d Detroit 19 Sep 1910.
He took piano lessons for eight years with Paul Letondal, studied 1865-6 at Ottawa College (University of Ottawa), and then went to Paris to work with the virtuoso pianist Jacques Herz and the organist Édouard Batiste. In Paris Mazurette apparently gave successful concerts with the Greek violinist Joseph Dawsrahk. After returning to Montreal in 1870 he set out on an extended concert tour which took him through New England, Michigan, and Illinois. Back in Montreal, in November 1873, he gave two recitals at Queen's Hall; an anonymous critic wrote in L'Opinion publique: 'M. Mazurette is already a master. He has more than just talent, he has the inspiration of genius. Like Liszt, his illustrious rival, our Canadian artist makes the piano speak and sing.'
Mazurette moved to Detroit in 1873, returning only on rare occasions to give concerts in Canada. In May 1890 he took part in two concerts in Montreal at the Victoria rink with Emma Albani. 'Leading critics admit that he has no superior on the American continent,' wrote La Minerve on this occasion, adding that 'the sounds he draws from the piano one would believe possible only in flights of ecstatic imagination.' In Detroit he was for many years the organist at St Anne's Church, and in neighbouring Windsor, Ont, he was music director of St Mary's Academy for at least the 1875-6 school year. He was awarded a gold medal in 1876 for his performance at the Centennial Exposition in Philadelphia.
Dubbed the 'King of Canadian pianists,' Mazurette belongs to that generation of 19th-century pianist-composers whose considerable success with the public was due to their spectacular performance style and to compositions in which bravura passages and facile sentimental melodies abound. He was an unusually prolific composer, and his works were much in demand among publishers. The best-known was Home, Sweet Home, Opus 17 (CMH, vol 1), 'a brilliant Romance with variations imitating waves during a storm,' which he composed in August 1870 aboard ship on his return journey from France. Numerous editions were produced by Ditson, Schott, Ashdown, and Sheard. Old Folks at Home, 'a grand concert paraphrase' published by Gordon, bears the opus number 275, an indication of the abundance of his output. On l Jul 1876, a list containing 52 of his works then published and sold at Boucher's, appeared in Le Canada Musical. Mazurette wrote mainly for piano and voice, but he also composed a Mass in D Minor, sung in 1875 in Trinity Church, Detroit. He dedicated some sentimental ballads to famous singers such as Emma Albani ('O! Give me back my native hills'), Annie Louise Cary, Clara Louise Kellogg, and Marie Roze.
Despite the active life he appears to have led in Detroit as organist, teacher, and composer, he died destitute and was buried in a pauper's grave.
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youtube.com/channel/UCZegvLktzFN-QRnibDS6NzQ
The composition is dedicated to Gahyun Han. This is my interpretation of this lovely piece.
The score can be accessed at musescore
musescore.com/user/27125197/scores/7008113
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Shamo(1925-1982) - Ukrainian composer. Shamo was born in Kiev. He graduated from the Lysenko Music School in Kiev, where his main subjects were composition and piano, in 1941, and was evacuated in that year to Ufa, where he studied medicine for two years. From 1942 to 1946 he was in the Soviet Army as a medical assistant; when he returned to Kiev he recommenced his musical studies, graduating from the Kiev Conservatory in 1951 in the class of Boris Lyatoshinsky. He had joined the Union of Soviet Composers in 1948, and at his graduation played his own Concert-Ballade for piano and orchestra.
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Babajanian was born in Yerevan, Armenia. By age 5, his musical talent was apparent, and the composer Aram Khachaturian suggested that the boy be given proper music training. Two years later, in 1928 at the age of 7, Babajanian entered the Yerevan State Musical Conservatory. In 1938, he continued his studies in Moscow with Vissarion Shebalin.
He later returned to Yerevan, where from 1950–1956 he taught at the conservatory. It was during this period (1952) that he wrote the Piano Trio in f# sharp minor. It received immediate acclaim and was regarded as a masterpiece from the time of its premiere. Subsequently, he undertook concert tours throughout the Soviet Union and Europe. In 1971, he was named a People's Artist of the Soviet Union.
As a composer, Babajanian was active in most genres and even wrote many popular songs in collaboration with the leading poets such as Yevgeny Yevtushenko and Robert Rozhdestvensky among others. Much of Babajanian's music is rooted in Armenian folk music and folklore. But generally, the way in which he uses Armenian folk music is in the virtuosic style of Rachmaninov and Khachaturian. His later works were influenced by Prokofiev and Bartók. Praised by Dmitri Shostakovich as a "brilliant piano teacher", Babajanian was also a noted pianist and often performed his own works in concerts.
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notes.tarakanov.net/katalog/kompozitsii/nostaligiya_6
A detailed biography of the georgian composer (1936- ): (use google translate)
http://iverioni.com.ge/5469-vazha-azarashvili-iubilaria.html
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Olsen was born in Hammerfest, in the county of Finnmark. His mother died when he was young. His father was Iver Olsen, a craftsman and an amateur musician who played the organ at the local church. From a young age Olsen learnt to play the piano and the violin. At the age of five he composed his first small piece, and by the age of seven he sometimes stood in for his father playing the church pipe organ.
In 1865 Olsen went to Trondheim as apprentice to a craftsman. He also studied composition and the organ from Fredrick and Just Lindeman, and sometimes substituted for Just as the organist in the Trondheim cathedral. In 1870, having given up his apprenticeship, he moved to Leipzig where he studied under Oscar Paul at the music conservatory until 1874. There he wrote his Symphony in G major, and began his opera Stig Hvide.
In 1874 he became a teacher in Christiania (now Oslo), where he spent most of the rest of his life. He conducted the Christiania Artisans' Choral Society from 1876–1880, the Music Society orchestra from 1877–1880, and the freemason's orchestra from 1894–1908. From 1884 he was the music director of the Akershus 2nd Brigade. From 1899–1920 he was a music inspector.
Olsen's operas were influenced by Richard Wagner. Another strong influence was the traditional Joik form of song, as he was involved in collecting folk tunes while in the military. These influenced the large number of military marches he composed, and the nationalist tradition was also represented in his stage works.
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http://iverioni.com.ge/5469-vazha-azarashvili-iubilaria.html
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