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Lyadov: Piano Music Stephen Coombs Variations on a Polish Theme Variations on a Theme by Glinka

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Name:Lyadov: Piano Music Stephen Coombs Variations on a Polish Theme Variations on a Theme by Glinka

Total Size: 169.45 MB

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Last Updated: 2015-09-28 12:46:02 (Update Now)

Torrent added: 2009-08-23 07:13:28





Torrent Files List


13 Preludes (3) for piano, Op 36.flac (Size: 156.78 MB) (Files: 22)

 13 Preludes (3) for piano, Op 36.flac

3.42 MB

 12 Preludes (3) for piano, Op 36.flac

1.63 MB

 11 Little Waltz in G major Op 26.flac

5.79 MB

 10 Pieces (3) for piano, Op 57- No.3, Mazurka.flac

3.27 MB

 09 Pieces (3) for piano, Op 57- No.2, Waltz.flac

4.21 MB

 08 Pieces (3) for piano, Op 57- No.1, Prelude.flac

5.23 MB

 07 Pieces (2) for piano, Op 24.flac

9.55 MB

 06 Pieces (2) for piano, Op 24.flac

4.49 MB

 05 Pieces (3) for piano, Op 11.flac

7.95 MB

 04 Pieces (3) for piano, Op 11.flac

5.63 MB

 03 Pieces (3) for piano, Op 11.flac

7.42 MB

 01 Variations on a Polish Folk Theme for piano in A flat, Op 51.flac

29.66 MB

 14 Preludes (3) for piano, Op 36.flac

2.38 MB

 15 Musical Snuffbox, for piano (or orchestra), Op 32.flac

4.80 MB

 16 Barcarolle for piano in F sharp, Op 44.flac

10.64 MB

 17 Pieces (4) for piano, Op 64.flac

1.62 MB

 18 Pieces (4) for piano, Op 64.flac

3.46 MB

 19 Pieces (4) for piano, Op 64.flac

3.86 MB

 20 Pieces (4) for piano, Op 64.flac

2.50 MB

 21 Variations for piano on a theme by Glinka Op 35.flac

39.26 MB

 contents.txt

0.40 KB

 grove.txt

30.07 KB
 

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Lyadov [Liadov], Anatoly [Anatol] Konstantinovich

(b St Petersburg, 29 April/11 May 1855; d Polïnovka, Novgorod district, 16/28 Aug 1914). Russian composer, teacher and conductor. His first teacher was his father, conductor at the Mariinsky Theatre from 1850 to 1868, but lessons were irregular and unsystematic. In 1870 he entered the junior classes of the St Petersburg Conservatory with the piano and the violin as his principal studies. He soon forsook both instruments, but remained an accomplished pianist. He transferred to Johannsen’s classes in counterpoint and fugue, where he developed a lasting interest in contrapuntal techniques. Rimsky-Korsakov recalled that he and Lyadov each wrote a fugue a day on the same subject during the summer of 1878 and, according to Rimsky-Korsakov's pupil, J?zeps V?tols, the Canons op.34 were composed during breakfast in the conservatory common room. In 1873 Musorgsky described Lyadov to Stasov as ‘a new, unmistakable, original and Russian young talent’; his songs op.1 date from this time. He was admitted to Rimsky-Korsakov’s composition classes but before long was expelled (together with his great friend Georgy Dütsch) for failure to attend. Lyadov was however readmitted early in 1878 to prepare his graduation composition, the final scene from Schiller’s Die Braut von Messina, which was performed with great success on 23 May/4 June. Of the many influences on this work, the most interesting is Cui's opera William Ratcliff (1861–8), which had been composed with much help from Balakirev, and it is not surprising that Cui's and Stasov's reviews were complimentary.

In September 1878 Lyadov became a teacher of elementary theory at the conservatory, taking over the instruction of advanced counterpoint in 1901, and, in 1906, composition. In 1905 he resigned in protest at Rimsky-Korsakov’s dismissal, but returned when Rimsky-Korsakov was reinstated; among his students at this time was the young Prokofiev, who found him likeable but dry and fastidiously pedantic. From 1885 Lyadov also taught theory at the court chapel, at a time when Balakirev was musical director and Rimsky-Korsakov his assistant. His ideas on teaching harmony formed the basis for Rimsky-Korsakov’s textbook on the subject (1886); and in the late 1870s he had collaborated with Balakirev and Rimsky-Korsakov in preparing an edition of Glinka’s operas.

Lyadov made numerous appearances as a conductor without holding a permanent appointment. During the 1890s he conducted many of the Imperial Russian Music Society concerts. He was associated with the Moguchaya Kuchka (‘The Five’) in the 1870s, tolerating Balakirev’s attempts at religious indoctrination. To Balakirev's disapproval, he became a founder-member of the Belyayev circle which met on Friday evenings in the 1880s. The joint compositions resulting from these gatherings were published by Belyayev under the title Pyatnitsï (‘Fridays’). When Belyayev founded a publishing house in 1884, Lyadov acted as one of his advisers, and he was appointed to the board of management as a trustee (with Rimsky-Korsakov and Glazunov) on Belyayev’s death in January 1904. As such an important figure in this circle, he must be at least partially responsible for the tame and pallid nature of much of the music by young Russian composers published by Belyayev, although, at Glazunov's instigation, he did agree that the firm should publish Stravinsky's songs Favn i pastushka (‘Faun and Shepherdess’), which had been rejected by Balakirev's publisher J.H. Zimmermann. In 1889 he visited Paris to hear two of his works performed at the Exposition Universelle. He undertook a journey to collect folksongs for the Imperial Geographical Society in 1897, and subsequently published several volumes of folksong arrangements. Through his marriage in 1884 he obtained a country property at Polïnovka where he spent his summers in idleness, making sporadic attempts at composition. After three years of ill-health he died there in 1914.

Lyadov’s indolence was not the only factor to limit his compositional output. He felt himself to be overshadowed by Rimsky-Korsakov, referring to him as a gigantic mountain in comparison with ‘present-day grains of sand and pottery shards’ (Yastrebstev, 1959–60). Moreover, he was a severe self-critic who doubted both the quality of his ideas and his ability to develop them, and many of his pieces are essentially a series of variations on pre-existing motifs, such as folksongs (Variations on a Polish Folk Theme op.51; Huit chants populaires russes op.58; numerous arrangements of folk melodies); other composers’ themes (Variations on a Theme by Glinka op.35; his contribution to Parafrazï); or a cantus firmus (12 Canons, 1914). Although his fascination with variation techniques and canonic devices suggests that he was interested in the problems of creating abstract musical forms on a small scale, he generally preferred to rely on a programme as the basis for his structures. He was little concerned with the expression of human emotion in music, but, like Rimsky-Korsakov, he possessed a highly developed sense of orchestral colour and gift for musical characterization in an admittedly limited sphere of fable and fantasy. The three descriptive orchestral pieces based on Russian fairy tales, Baba-Yaga, Kikimora and Volshebnoye ozero (‘The Enchanted Lake’), are among his most successful and justly popular works. Here the lack of purposeful harmonic rhythm (less obvious in Baba-Yaga and Kikimora because of the purely superficial but nonetheless exhilarating bustle and whirl), a serious fault in much of his music, produces a sense of ageless unreality akin to that induced by the telling of an oft-repeated and much-loved fairy tale. Other fine works include the epic piano piece (later orchestrated) Pro starinu (‘About Olden Times’), reminiscent of Borodin’s Song of the Dark Forest, in which Lyadov finds himself firmly in the tradition of The Five; Idylle in D (1891), an imaginative piece that Lyapunov was soon to use as the starting-point of his study of the same name, op.11 no.7. In the late piano pieces op.64 and his last symphonic piece Skorbnaya pesn' (‘Threnody’), he forms, together with Skryabin, a link with a new generation of composers such as Myaskovsky.

Lyadov came from a family of professional musicians notorious for their loose living and slipshod attitude to work. He broke away only partly from this pattern; his personal integrity was beyond reproach, but he never succeeded in applying himself wholeheartedly to his work for more than a short period. Although he possessed considerable technical facility, it was sheer indolence that led to his expulsion from the St Petersburg Conservatory in 1876, and his unreliability was such that Rimsky-Korsakov, an admirer of his talents, was unwilling to allow him to become director of the Free School concerts in 1880. His lifelong reputation for procrastination was confirmed for posterity when, after much dithering, he turned down Diaghilev's request to write a ballet score to be based on The Firebird, thus providing Stravinsky with one of his first important commissions. Yet he was held in great affection by his fellow musicians, and, although he never completed a work of any size or scope, the best of his miniatures assure for him a permanent niche in the history of Russian music.

WORKS
published in St Petersburg until 1884, thereafter in Leipzig by Belyayev
orchestral
op. 16 Scherzo, D, 1879–86 (1887)
19 Sel'skaya stsena u korchmï [Village Scene by the Inn], mazurka, 1887 (1887)
49 Polonaise, in memory of A.S. Pushkin, 1899 (1900)
55 Polonaise, D, for unveiling of statue of A.G. Rubinstein, 14 Nov 1902 (1903)
56 Baba-Yaga, ?1891–1904 (1905)
58 8 chants populaires russes (1906)
62 Volshebnoye ozero [The Enchanted Lake] (1909)
63 Kikimora, 1909 (1910)
65 Danse de l’Amazone, 1910 (1910)
66 Iz Apokalipsisa [From the Apocalypse], 1910–12 (1913)
67 Skorbnaya pesn' [Threnody] (Nénie) (1914)

choral
28 Final scene from Schiller: Die Braut von Messina, 4 solo vv, chorus, orch, 1878 (1891)
— Velichaniye V.V. Stasova [In Praise of Stasov], female vv, 1893 (1894) [for Stasov's 70th birthday]
47 Slava, female vv, 2 hps, 2 pf (8 hands) (1899)
50 Proshchal'naya pesn' vospitannits Instituta imperatritsï Marii [Farewell Song of the Pupils of the Empress Maria Institute], female vv, pf, 1900 (1900)
54 Hymn, G, mixed vv, for unveiling of statue of A.G. Rubinstein in the St Petersburg Conservatory, 1902 (1903)
60 Soeur Béatrice (Maeterlinck), incid music, 1906 (1908)
61 10 arrs. from the Obikhod, unacc. vv (?1909)
— Yezhechasnaya molitva svyatitelya Iosafa Gorlenko [The Hourly Prayer of Prelate Iosaf Gorlenko], unacc. vv, pubd in A. Malyarevsky: Svyatitel' Iosaf, ?piskop Belgorodskiy [Prelate Iosaf, Bishop of Belgorod] (1910)

songs
1 Chetïre romansa [4 Songs], 1873–4 (1876): Ne poy, krasavitsa, pri mne [Do not sing in my presence, my beauty] (Pushkin); Pesnya [Song] (A.K. Tolstoy); Iz Geine (Iz slyoz moikh) [From my Tears]; Vot bednaya ch'ya-to mogila [There is some poor person’s grave] (Maykov)
14 Shest' detskikh pesen na narodnïye slova [6 Children’s Songs with Folk Texts], i, 1887 (1887): Zaychik [Little Hare]; Soroka [Magpie]; Zabavnaya (Skok-poskok) [Amusing Song: Galloping Pace]; Petushok [Cockerel]; Zabavnaya (Kosoy bes) [Amusing Song: Cross-eyed Demon]; Kolïbel'naya [Lullaby]
18 Shest' detskikh pesen na narodnïye slova [6 Children’s Songs with Folk Texts], ii, 1887 (1887): Ladushki [Beloved Ones]; Zhil-bïl zhuravl' da ovtsa [Once upon a time there lived a crane and sheep]; Kolïbel'naya (U kota, kota) [Lullaby: Next to the Cat]; Zabavnaya (Bom, bom, bom) [Amusing Song]; Dozhdik, dozhdik! na dyadinu pshenitsu [A Shower, a Shower! on Uncle’s Wheat]; Zabavnaya (Galki, voronï) [Amusing Song: Jackdaws, Crows]
22 Shest' detskikh pesen na narodnïye slova [6 Children’s Songs with Folk Texts], iii (1890): Kolïbel'naya (Kotinka-kotok) [Lullaby: Little Cat]; Zabavnaya (Mikayla Kortoma) [Amusing Song]; Oklikaniye dozhdya [The Call for Rain]; Moroz [Frost]; Zabavnaya (Luchina) [Amusing Song: Torch]; Zabavnaya (Tatarki) [Amusing Song: Tatar Women]

piano
2 Biryul'ki [Spillikins], 14 pieces, 1876 (1876)
3 Shest' p'yes [6 Pieces], 1876–7 (1877): Prelude, D; Giga, F; Fugue, g; 3 mazurkas, G, B, C
4 Arabesques, 4 pieces, 1878 (1879): c, A, B, E
5 Etude, A, 1881 (1881)
6 Impromptu, D, 1881 (1881)
7 Two Intermezzos, D, F, 1881 (1882)
8 Two Intermezzos, B (1883), no.1 orchd 1902 (1903)
9 Dve p'yesï [2 Pieces], 1883 (1884): Waltz, f; Mazurka, A
10 Tri p'yesï [3 Pieces], 1884 (1885): Prelude, D; 2 Mazurkas, C, D
11 Tri p'yesï [3 Pieces], 1885 (1886): Prelude, b; Mazurka in the Dorian mode, a; Mazurka, f
12 Etude, E (1886)
13 Four Preludes, G, B, A, f (1887)
15 Two Mazurkas, A, d (1887)
17 Two Bagatelles, 1887 (1887): Stradaniye (La douleur), b; Pastoral, b
20 Novinka [Novelette], c, c1882–9 (1889)
21 Pro starinu [About Olden Times], ballade, D, 1889 (1890), orchd 1906 as op.21b (1906)
23 Na luzhayke (Nabrosok) [In the Glade: Sketch], F, 1890 (1890)
24 Dve p'yesï [2 Pieces] (1890): Prelude, E; Kolïbel'naya (Berceuse), G
25 Idylle, D (1891)
26 Malenkiy val's [Little Waltz], G, 1891 (1891)
27 Three Preludes, E, B, G (1891)
29 Kukolki [Marionettes], E, 1892 (1892)
30 Bagatelle, D, 1889 (1889)
31 Dve p'yesï [2 Pieces] (1893): Derevenskaya mazurka (Mazurka rustique), G; Prelude, b
32 Muzïkal'naya tabakerka [A Musical Snuffbox] (1893)
33 Tri p'yesï [3 Pieces]: Prelude on a Russian Theme, A, 1889 (1914); Grotesque, C, 1889 (1914); Pastoral, F, 1889 (1889, 1914)
34 Three Canons, G, c, F, 1894 (1894)
35 Variations on a Theme by Glinka, B, 1894 (1895)
36 Three Preludes, F, b, G (1895)
37 Etude, F, 1895 (1895)
38 Mazurka, F, 1895 (1896)
39 Four Preludes, A, c, B, f, 1895 (1896)
40 Etude, c, and 3 Preludes, C, d, D (1897)
41 Two Fugues, f, D, 1896 (1897)
42 Two Preludes, B, B, and Mazurka on Polish themes, A, 1898 (1898)
44 Barcarolle, F (1898)
46 Four Preludes, B, g, G, e (1899)
48 Etude, A, and Canzonetta, B (1899)
51 Variations on a Polish Folk Theme, A (1901)
52 Tri baletnïkh nomera [3 Ballet Numbers], E, C, A (1901)
53 Three Bagatelles, B, G, A (1903)
57 Tri p'yesï [3 Pieces], c1900–05 (1906): Prelude, D; Waltz, E; Mazurka, f
64 Chetïre p'yesï [4 Pieces], 1909–10 (1910): Grimace, C; Sumrak (Ténèbres), c; Iskusheniye (Temptation), E; Vospominaniye (Réminiscence), B
— Prelude-Pastoral, 1894 (1894)
— Twenty-four Canons (1898)
— Sarabande, g (1899)
— Tanets komara [Gnat’s Dance], Russ. song, pubd in Galchonok (1911), no.2
— Fugue on La–do–fa, 1913, facs. in ‘Pis'ma A.K. Lyadova k A.V. Ossovskomu’, RMG (1916), no.11
— Twelve Canons on a cantus firmus (1914)

collaborations
Parafrazï, pf (3 hands), collab. Borodin, Cui, Rimsky-Korsakov, Shcherbachov; excerpts, 1878 (1879)
Scherzo from B–la–f, str qt, 1886 (1887) [other movts by Rimsky-Korsakov, Borodin, Glazunov]
Velichaniye [Song of Praise], from Imeninï, 1887 (1899) [other movts by Glazunov, Rimsky-Korsakov]
Slavleniya [Celebration] (Les fanfares), brass, perc, 22 Dec 1890 (1891), collab. Glazunov [for Rimsky-Korsakov’s 25th jubilee]
Shutka [Joke], quadrille, pf 4 hands (1891), collab. N. Artsïbushev, J. V?tols, N. Sokolov, Glazunov, Rimsky-Korsakov
Slavleniya [Celebration], pf 4 hands (1894), collab. F. Blumenfeld, Glazunov [for Stasov]
Pyatnitsï [Fridays] (1899), collab. Sokolov, Glazunov, Rimsky-Korsakov, Kopïlov [incl. Lyadov’s Polonaise, Sarabande, Fugue, Mazurka (all for str qt), Trio]
Variations on a Folk Theme, str qt (1899), collab. Artsïbushev, Skyrabin, Glazunov, Rimsky-Korsakov, V?tols, Blumenfeld, Sokolov, V. Ewald, A. Winkler
Variations on a Russian Theme from Abramïchev’s Collection (1900), collab. Rimsky-Korsakov, Winkler, Blumenfeld, Sokolov, V?tols, Glazunov
Variations on a Russian Theme, orch, 1901 (1903), collab. Artsïbushev, V?tols, Sokolov, Glazunov, Rimsky-Korsakov
Cantata in Memory of M. Antokol'sky, T, chorus, orch, 1902 (1906), collab. Glazunov

other works
Zoryushka, op, sketched before 1909, material used in opp.62–3 (see ‘Orchestral’)
Leyla i Adelay, ballet, c1912–13, inc.
Muzïkal'naya tabakerka [A Musical Snuffbox], arr. picc, 2 fl, 3 cl, hp, bells, op.32 (1897), orig. for pf
Allegro, str qt, not pubd

orchestrations, arrangements
Excerpts from Borodin: Polovtsian Dances from Prince Igor, 1879; part of 2nd version of Cui: Kavkazskiy plennik [Prisoner of the Caucasus], 1881–2; Dargomïzhsky: Paladin, song, 1881, ?lost; excerpts from Musorgsky: Sorochinskaya yarmarka [Sorochintsy Fair], 1881–1903 (1904): Vstupleniye [Introduction], Dumka Parubka, Pesnya Khivrï [Khivra’s Song], Gopak
Shcherbachov: Serenade for Orchestra op.23, ?1893 (1894) [pubd anon.]
A.G. Rubinstein: 5 pieces from op.93, orch, c1899 (1899): Sarabande, Serenade, Minuet, U okna [By the Window], Kolïbel'naya [Lullaby]
Schumann: Carnaval, 1902 (1956), collab. Arensky, Winkler, V?tols, Glazunov, others
Tchaikovsky: V tyomnom ade [In Dark Hell], song, orch, op.16 no.6, 1909 (1910)
Many folksong arrs., (1v, pf)/choir, incl. opp.43, 45, 59, some ed. B.V. Budrin: Russkiye narodnïye pesni v obrabotke A. Lyadova (Moscow, 1965)

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