Russia's Most Influential Composer...

12,699 views Nov 22, 2022

A look at one of Russia's most influential composers - a teacher of Stravinsky, Prokofiev, and many others, and composer of such great works as Scheherazade, Antar, and Flight of the Bumblebee.

Dmitri Shostakovich - The second waltz / Dimitri Schostakowitsch - Der Zweite Walzer

Aram Khachaturian - His Music and His Life

Armenian Russian classical composer An outstanding representative of the Russian school of composition, Khachaturian was a unique artist for whom folklore was the inspiration for his music. His ballets, symphonies, and other works are permeated by the intonations and rhythms of folk songs and dances of the East. They brought a fresh voice to the Russian music of the twentieth century. Born: June 6, 1903; Tbilisi, Georgia, Russian Empire (now in Georgia) Died: May 1, 1978; Moscow, Russia, Soviet Union (now in Russia)  Also known as: Aram Ilich Khachaturian (full name) Principal works ballets (music): Schast’ye, Op. 43, 1939 (Happiness; scenario by Gevorg Ovanesian; choreography by Ilya Arbatov); Gayan?, Op. 50, 1942 (scenario by Konstantin Derzhavin); Gayan? Suite No. 1, Op. 53, 1943; Gayan? Suite No. 3, Op. 55, 1943; Gayan? Suite No. 2, Op. 54, 1945; Spartak, Op. 82, 1956 (Spartacus; scenario by Nikolai Volkov; choreography by Yuri Grigorovitch); Gayan?, Op. 89, 1957 (scenario by Boris Pletnev). cello work: Sonata-fantaziya, Op. 104, 1974 (Sonata-Fantasy in C Major). chamber works: Elegy in G Minor, Op. 4, 1925 (for cello and piano); Pesnya stranstvuyushchego ashuga, Op. 2, 1925 (The Roaming Ashug’s Song; for cello and piano); Dance No. 1, 1926 (for violin and piano); The Dream, Op. 3, 1926 (for cello and piano); Pantomime, Op. 13, 1927 (for oboe and piano); Allegretto, Op. 18, 1929 (for violin and piano); String Quartet, Op. 23, 1931; Mass Dance, Op. 25, 1932 (for bayan); Sonata, Op. 29, 1932 (for violin and piano); Trio, Op. 30, 1933 (for clarinet, violin, and piano). choral works: Mer Hayrenik, Op. 60, 1944 (Our Fatherland; national anthem of the Armenian Soviet Socialist Republic; lyrics by Armenac Sarkisyan under the pseudonym A. Sarmen); Oda radosti, Op. 88, 1956 (Ode to Joy; for female soloist, chorus, violins, harps, and orchestra; lyrics by S. Smirnov); Ballada o Rodine, Op. 97, 1961 (Ballad of the Motherland; for soloist and symphony orchestra; lyrics by Ashot Garnakerian). orchestral works: Baghdasar akhpar, 1927 (Uncle Baghdasar; incidental music for Hakob Paronian’s play); Arevelian atamnabuzh, Op. 17, 1928 (The Eastern Dentist; incidental music for Paronian’s play); Khatabala, Op. 15, 1928 (incidental music for Gabriel Sundukian’s play); Dance Suite, Op. 32, 1933 (Tantseval’naya syuita); Macbeth, Op. 33, 1933 (incidental music for William Shakespeare’s play); Symphony No. 1, Op. 35, 1935; Piano Concerto in D-flat Major, 1936; Violin Concerto in D Minor, Op. 46, 1940; The Widow of Valencia, Op. 45, 1940 (incidental music for Lope de Vega’s play); Masquerada, Op. 48, 1941 (incidental music for Mikhail Lermontov’s play); Symphony No. 2 in E Minor, Op. 56, 1943 (Simfoniya s kolokolom; The Bell Symphony); Russkaya fantaziya, Op. 59, 1945 (The Russian Fantasy); Cello Concerto in E Minor, Op. 65, 1946; Symphony No. 3, Op. 67, 1947 (Symphony-Poem); Oda pamyati Lenina, Op. 71, 1948 (Ode in Memory of Vladimir Ilich Lenin); Stalingradskaya bitva, Op. 74, 1949 (The Battle of Stalingrad ); Macbeth, Op. 84, 1955 (incidental music for Shakespeare’s play); Spartacus Suite No. 1, Op. 82a, 1955; Spartacus Suite No. 2, Op. 82b, 1955; Spartacus Suite No. 3, Op. 82c, 1955; King Lear, Op. 92, 1958 (incidental music for Shakespeare’s play); Privetstvennaya uvertyura, 1958 ( Salutatory Overture); Suite from Lermontov, Op. 94, 1959; Concerto-Rhapsody in B-Flat, Op. 96, 1962 (for violin and orchestra); Concerto-Rhapsody, Op. 99, 1963 (for cello and orchestra); Concerto-Rhapsody in D-flat Major, Op. 102, 1968 (for piano and orchestra). piano works: Poem, Op. 1, 1925; Andantino, Op. 5, 1926; Waltz-Caprice in C-sharp Minor, Op. 8, 1926; Waltz-?tude, Op. 6, 1926; Poem in Csharp Minor, Op. 12, 1927; Toccata in E-flat Minor, Op. 24, 1932; Dance No. 3, Op. 31, 1933; March No. 3, Op. 34, 1934; Khoreograficheskiy val’s, Op. 58, 1944 (Choreographic Waltz); Children’s Album Book I, Op. 62, 1947; Waltz from Masquerade, 1952; Sonatina in C Major, Op. 93, 1958; Sonata in E-flat Major, Op. 95, 1961; Children’s Album Book II, Op. 100, 1965; Seven Recitatives and Fugues, Op. 101, 1966. The Life Aram Ilich Khachaturian (ah-RAHM IHL-yihch kah-chah-TOO-rih-ahn) was born on June 6, 1903, in Kodjori, a suburb of Tbilisi. He grew up in an environment filled with folk music, his first musical impressions formed by the artistry of Ashugs, folk poets and singers of the Caucasus who fused all the best stylistic traits of Armenia, Azerbaijan, Georgia, and Persia. His first encounter with classical music, at the age of sixteen, was an opera, Abesalom and Eteri (1918) by Georgian composer Zakharia Paliashvili. At that same time, he began to play the trumpet by ear in an amateur band. In 1921 Khachaturian moved to Moscow to attend the university as a biology major.Hesoon realized his uncontrollable attraction to music and left the university to enroll in the Gnesin Institute of Music, studying cello with Andrei Borisyak and composition with Mikhail Gnesin. In 1929-1934 he studied composition with Nikolai Myaskowski at the Moscow Conservatory, acquiring the best of Russian and Western European traditions. During his graduate studies (1934-1936) his tendency toward a virtuosic style was evidenced in concerti for piano (1936) and violin (1940) with bright harmonic “colors,” emphatic rhythms, and expressive melodies. At the same time, he began an active performing career and became a member of the Composers’ Union. The 1940’s were associated with a great Soviet patriotism, as demonstrated in The Bell Symphony, a tragic piece depicting terrible times. He also composed a cello concerto, the Gayan? ballets, and Our Fatherland, considered the national anthem of the Armenian Republic. In 1950 Kachaturian became a professor at both the Moscow Conservatory and the Gnesin Institute and began his conducting career. In 1951 he was awarded the title of National Artist of the U.S.S.R. During a trip to Rome, Khachaturian conceived an idea that led him to compose the ballet Spartacus, for which received the Lenin Prize in 1959. He received many honorary titles thereafter. In the 1970’s, as Khachaturian’s health began to decline, he often spoke about wishing to be buried in Yerevan, in his Armenian homeland. After his death on May 1, 1978, his wish was fulfilled. The Music Khachaturian was first to use Asian themes in large, symphonic forms, thus enriching Western music. His music is marked by modern images and means of expression based on the folk motifs of the peoples of the Caucasus. Early Works. Khachaturian’s first compositional attempts were combined with great challenges: his lack of training in music theory and his age (he entered the conservatory at twenty-six). However, his hard work and purposefulness prevailed. His early works include a toccata for piano, a clarinet trio, and an orchestral dance suite, in which Eastern colors merge with academic strictness of form. His Symphony No. 1, a graduation project, won a gold medal. Violin Concerto in D Minor. The Violin Concerto in D Minor marked the composer’s artistic credo: brightness of musical images, an emphasis on folklore sources, a distinct foundation in dance, and a lack of dramatically emphasized conflicts. Thiswork, filled with musical materials resembling Armenian folk songs and dances, depicts scenes from people’s lives and poetic sketches of Armenian nature. Dancelike, ecstatic outer movements surround a lyrical second movement. The concerto premiered on November 16, 1940, conducted by its dedicatee, David Oistrakh. Gayan?. Composed in 1942, this ballet was the first Armenian work in the genre. It features three main elements: dance, drama (bordering on tragedy), and lyricism. The main characters are farmers and Red Army soldiers. Their happiness, resulting from the nation’s prosperity, is boundless. Through difficult struggle against evil and unfairness, Gayan? finally finds her happiness. She exposes the perpetrators (among them her husband) who set fire to a collective farm’s warehouse, an act that almost costs her her life. The ballet concludes with a national celebration. In Gayan? Khachaturian used the best numbers from his first ballet, Happiness. Perhaps Gayan? is most famous for the fiery “Saber Dance” of the fourth act. Arranged for various instrumental ensembles, this piece would become a standard in concert programs. In 1943 Khachaturian received the State Prize for Gayan?. Spartacus. Inspired by ancient Rome, Khachaturian composed this ballet, in which he shows the conflict between the opposing forces of Spartacus and the gladiators, and the aristocratic world of the Roman patriarchs. This opposition is heard in the prologue as Thracians pull the victor-commander’s chariot. Heavily, with somber solemnity, sounds the march of the victors. This is Rome, a powerful, imperious, and brutal empire. Opposing it is Spartacus’s heroic theme, conveying strength, nobility, and, at the same time,worry and sorrow. Premiering in 1956, Spartacus became one of the most prominentworks of the Soviet ballet. Later Khachaturian created three suites using this ballet’s most important fragments. Musical Legacy The stylistic individuality of Khachaturian’s works lies in the inseparability of what is his own music and what is borrowed. Since even the authentic folk melodies are altered, it is nearly impossible to detect where traditional motifs end and the composer’s work begins. Most of Khachaturian’s works are saturated with centuries-old motifs of Armenian culture. The traditions of folk music were sustained and developed by many national composers, such as Armenian Soghomon Soghomonian (Komitas) and Georgian Paliashvili, but Khachaturian was the first of the trans-Caucasian composers to weave these motifs into large, symphonic forms and, by enriching these classical forms with ethnic music, elevate the latter in the classic

Nocturne by Alexander Scriabin

Alexander N. Skriabin - His Music and His Life

The Russian Alexander Nikolajewitsch Skriabin was born in Moscow on January 10, 1872 and got his education at the Cadets Corps in Moscow. At the Moscow Conversatory, Skriabin studied piano play and composition together with Sergey Tanejeff (1856-1915) and Anton St. Arenski (1861-1906).

Skriabin toured whole Europe as dazzling and fascinating virtuoso with nervous brilliancy. In his compositions Skriabin tried to link and united himself with Frederic Chopin and Richard Wagner, while he criticized Peter Tschaikowsk's music as "disagreeable"!

Skriabin's composition dreams contented of "selected art", an art with its own regularity; an "art-for-art-standpoint",which has been very unbelievable and unique. A new complete art of work was his first symphony composed within five years from 1895 - 1900.

In 1908 follwed "Le Poeme de l'Extase"; in 1911 "Promoetheus". More and more ecstasy and satanic traits became parts in Skriabin's compositions. Sometimes his exaltations appeared shocking and dis-pleasing. Some dances and sonatas can be found on some very rare records.

Alexander Skriabin passed away in Moscow on April 14, 1915.

Alexander Glassunoff - His Music and His Life

ALEXANDER KONSTANTINOVICH GLAZUNOV  

Born on August 10, 1865 in Saint Petersburg

Glazunov, a pupil of Rimsky-Korsakov, received encouragement also from Belyayev, an influential patron and publisher, whose activities succeeded and largely replaced the earlier efforts of Balakirev to inspire the creation of national Russian music. Glazunov joined the teaching staff of the St Petersburg Conservatory in 1899 and after the student protests and turmoil of 1905 was elected director, a position he retained until 1930 (although from 1928 he had remained abroad, chiefly in Paris, where he died in 1936). His music represents a synthesis between the Russian and the so-called German—the technical assurance introduced by the Rubinstein brothers in the Conservatories of St Petersburg and of Moscow in the middle of the century.

Orchestral Music

In addition to his nine symphonies and a variety of other orchestral works, Glazunov wrote a Violin Concerto, completed in 1904, when he was at the height of his powers as a composer. The symphonies have won less popularity, but the symphonic poem Stenka Razin, written in 1885, retains a place in national repertoire.

Ballets

Glazunov’s ballets include Raymonda, first staged in St Petersburg in 1898, with choreography by Marius Petipa. Les Ruses d’amour followed in 1900, with The Seasons in the same year. He orchestrated music by Chopin for Les Sylphides. The choreographer Fokin also made use of Stenka Razin for a ballet of that name.

Chamber Music

Chamber music by Glazunov includes seven numbered string quartets, the last written in 1930, and a series of works for other instrumental ensembles, including a String Quintet and a Saxophone Quartet. 

Piano Music

Glazunov’s piano music includes, among more serious works, a number of quite pleasing examples of salon music, for which there was always a ready public in his day.

Passed away on March 21, 1936 in Paris/France.

Igor Strawinski, Konzert fuer Klavier und Blaeser 1 Satz Lento Allegro

Modest Mussorgski - His Music and Life

The Russian Modest Mussorgski was born on March 21, 1839 in Karewo/Pskow. He passed away in Saint Petersburg on March 28, 1881.

His ancestors have been Russian princes and their relatives. He was appointed to start an officer's cadet career. In 1856, Mussorgski joined a guard regiment. He became acquainted with Alexander Dargomischski, Cesar Cui and Mily Balakirew.

Modest, meanwhile an alcoholic, didn't know how to convert his incredible music talent into a successful classical music composer career. A genius finder talent let him rush centuries in advance in subscribing incredible composer talents. He developed a unique expressionism and impressionism of unknown Russian music reality.

"Pictures at an Exhibition" and "A Night on a Bald Mountain" as well as "The Dances of the Deaths" belonged to Russian classical music jewels.

Modest Mussorgsky, Pictures at an Exhibition, The G...

Nikolai Rimski-Korssakoff - His Music and Life

Born in Tichwin-Nowgorod on March 18, 1844, the Russian composer Nikolai Rimski-Korssakoff passed away in Lubensk-St. Petersburg on June 21, 1908. Alternate he studied music and visited the navy academy, which made it possible for him to join a world sailing tour.

His leisure time at sea, Rimski-Korssakoff made use of composing his first symphony; by the way: this work has been played for the first time under the conductor Mily Balakirew in 1865.

1871, Rimski-Korssakoff became Professor for Instrumentation and Compositions at the St. Petersburg College of Music. His strict self-training and contra dot studies brought him into an extraordinary position among all other Russian composers. Almost all Russian composers belonging to the younger generation passed through his musical instructions.

His operas went for Russian legends and fairy tales: "Sadko" (1898, very known "The Song of the Indian Merchant"), "The Night in May" (1880); por"Tsar Sultan" (1900, very known "The Flight of the Bumble Bee").

Brilliant orchestral works have been "Scheherazade". "Cappricio Espagnol" or "Russian Easter".

His biography has been published in German language already in 1928.

Serge Prokofieff - His Music and Life

Born in Sonzowka-Jekaterinoslaw/Russia on April 23, 1891, Serge Prokofieff passed away on March 5, 1953. His father was an estate trustee; his mother taught him effusive music classes.

At the age of 9, Prokofieff couldn't read or write, but being able to compose, he started with his first opera. His teachers have been all very well-known: Reinhold Gliere (1875-1956), Anatol Liadow (1855-1914), and Nikolai Rimsky-Korssakof (1844-1908).

The "Piano Sonata f-minor" from 1909 became his Opus 1. In 1913, Prokofieff played his "Second Piano Concerto in g-minor" for the honorable dedication of Serge Diaghilew (1872-1929).

At the end of his studies in 1914, he won the "Rubinstein Trophy".

Prokofieff's ballet "Ala and Lolly" became a flop; some pieces from this ballet, known as "Skythetic Suite" became a scandal in 1916. Prokofieff's ironical hemisphere, especially remarkable in his piano pieces "Sarcasm" (1912, opus 17) widened certain uneasiness among music lovers. 

His "Symphony classic d-major" (1916/1917) became a continuous success.

After the Russian revolution 1917-1918, Prokoieff pulled out to live abroad in Japan, U.S.A., and Upper Bavaria/Germany.His opera "Love to Three Oranges" (1919) also flopped; only the opera march remained as hit up to now.

The children's opera "Peter and the Wolf" is classical music equipment. I grew up with this antique record (by the way, the first in my classical music collection), when I started playing piano at the age of 4 sometime in 1957.

Prokofieff composed fantastic ballet works: "Romeo and Juliet" (1935), "Cinderella" (1941-1944 during World War II), or "The Stony Flower" (1949).

During my stay in Russia in 1981, Prokofieff's ballet works became main parts of Moscow's theatres. Prokoieff's last work (opus 125) has been "The Concerto for violin cello and orchestra", which has been dedicated to Msistlaw Rostropowitsch, a great violin cello virtuoso from the Moscow College of Music.