Russian Miniatures: Works by Glinka, Glazunov, Tchai...

Amazing Art and Music on your iPhone or any device that supports m4v format! Includes massive art galleries and music of Tchaikovsky, Mussorgsky, Glinka and Rimsky-Korsakov Almost an hour and half of splendid music performance! Including complete, rarely performed pieces.

Glazunov's wonderfully atmospheric The Seasons ballet joins other Russian compositions by Liadov and Glinka, as well as the colourful orchestral arrangement by Glazunov and others of Schumann's Carnaval - in stunning recordings by Ernest Ansermet as part of the Decca Ansermet Legacy on Eloquence. In addition to the Glazunov and Glazunov-by-arrangement Ansermet recordings, this generous 2-CD set offers all the Glinka and Liadov recordings in the Decca Ansermet catalogue. The Changs Populairs Russes make their first appearance on CD and both Baba Yaga and Kikimora have their piquant endings delightfully realised by Ansermet and his Suisse Romande Orchestra.

ANSERMET, ERNEST - GLAZUNOV: THE SEASONS/SCHUMANN/GLINKA/LIADOV [CD NEW]Label: Eloquence Format: CD Release Date: 25 Aug 2008 Brand New, Sealed, ships usually within three business days, depending on availability.Album Tracks 1. ALEXANDER GLAZUNOV (1865-1936)2. The Seasons, Op. 67 3. Concert Waltzes Nos. 1 2 4. Carnaval, Op. 9 (Schumann, arr. Glazunov)5. Stenka Razin 6. MIKHAIL GLINKA (1804-1857)7. Overture: Ruslan and Ludmilla 8. Kamarinskaya Fantasy 9. Overture: A Life for the Tsar 10. Valse-F

Glazunov's wonderfully atmospheric The Seasons ballet joins other Russian compositions by Liadov and Glinka, as well as the colourful orchestral arrangement by Glazunov and others of Schumann's Carnaval - in stunning recordings by Ernest Ansermet as part of the Decca Ansermet Legacy on Eloquence. In addition to the Glazunov and Glazunov-by-arrangement Ansermet recordings, this generous 2-CD set offers all the Glinka and Liadov recordings in the Decca Ansermet catalogue. The Changs Populairs Russes make their first appearance on CD and both Baba Yaga and Kikimora have their piquant endings delightfully realised by Ansermet and his Suisse Romande Orchestra.

Challenging what is widely regarded as the distinguishing feature of Russian music—its ineffable “Russianness”—Marina Frolova-Walker examines the history of Russian music from the premiere of Glinka's opera A Life for the Tsar in 1836 to the death of Stalin in 1953, the years in which musical nationalism was encouraged and endorsed by the Russian state and its Soviet successor. The author identifies and discusses two central myths that dominated Russian culture during this period—that art revealed the Russian soul, and that this nationalist artistic tradition was founded by Glinka and Pushkin. The author also offers a critical account of how the imperatives of nationalist thought affected individual composers. In this way Frolova-Walker provides a new perspective on the brilliant creativity, innovation, and eventual stagnation within the tradition of Russian nationalist music.

Overtures by Russian Composers - CD NEW Format: CD Artist: Glinka, Mikhail Runtime: Not Available Retail Price: $13.95

Although folk dances have a special place in Russian music, being raised to the status of character dances in works for the stage, the more classical forms taken over from the west are not neglected. During the nineteenth century the waltz, for example, tended more and more towards `pure' music, giving rise to some highly virtuosic works in the manner of those by Weber or Liszt. Thus, in 1856 Glinka (1804-1857), founder of the Russian nationalist school, produced the definitive version of a Valse which had already aroused the enthusiasm of Berlioz. Its slightly melancholy principal theme reappears as a refrain between episodes in various keys, which give rise to passages of instrumental dialogue and to such bold strokes such as the cantabile for solo trombone in the third episode. Witty or ironic comments by the flutes or strings turn it virtually into a fantasia - which Shostakovich was to recall later. Scenes at parties and balls abound in opera. Tchaikovsky composed the waltz for Act Two of Eugene Onegin (1877) - with a chorus in its original version - so as to reflect the humdrum pretentiousness of the lesser, countrified aristocracy: it is closer to the waltz in Faust than to those he was to write for his ballets. This is in clear contrast to the majestic Act Three Polonaise, with its trio incorporating the traditional mazurka, which as the dance of aristocratic St Petersburg receptions is in a differ­ent class altogether. Marius Petipa, who became chief ballet master at the imperial ballet in 1869, restored to the art of dance the nobility and charm which had been killed off by an emphasis on technique. Tchaikovsky provided him with music suffused with the poetic inspiration lacking in the more straightforwardly rhythmic scores of composers like Drigo and Pugni. He was, however, criticised by those ballet-lovers who found his music too symphonic; his waltzes, refined rather than brilliant and frivolous, are often tinged with dramatic lyricism, even a sense of anxiety. The unusual flavour of the Waltz of the Flowers from The Nutcracker (1892) is largely created by the mysterious other-worldly horn-calls answered by rippling clarinet figures. Raymonda (1898) is a medieval romance choreographed by Petipa to music by Glazunov. Always melodious, subtle and graceful, it is sometimes highly evocative, as in the trance-like atmosphere in the dreamy slow-motion accompanying the heroine's sleep (andante sostenuto) in the interlude before the second scene. The tradition of the grand ballet d'action persisted right up to the revolution brought about by Sergei Diaghilev. Reacting against the `double pirouettes and detestable sets of thirty-two fouettés', the director of the Ballets Russes sought the character of the various folk-dances of Russia and other countries, which he remodelled for the stage using a basically classical technique. In his Parisian season in 1909 he presented the second act of Prince Igor (1887) against the background of a tawny-coloured desert steppe. The Polovtsian Dances, alternating spellbinding movements for the women and pounding, savage rhythms for the warriors, were directed by Mikhail Fokine: when a tumultuous wave of dancers rushed downstage at the end, stopping dead just short of the foot­lights, it brought the house down!Even Anatole Liadov, the composer of backwoods Russia, gave in to the infatuation of the Russian intelligentsia of around 1900 with ancient Greece. His Dance of the Amazon (1910), for Ida Rubinstein, employs two Greek chants, heavily reworked: the first theme suggests the Amazon riding on horseback, the second (meno mosso) emphasises the oriental atmosphere; brass and percussion suggest warlike activity - ushered in by a fanfare.After the 1917 Revolution it was thought that the creations of the Tsarist era would be unappealing to the sensibilities of the new Bolshevik listener. New themes and characters - stadiums and factories, sportsmen and workers - figured in `futurist'

Store Search search Title, ISBN and Author Masters of Russian Music: Glinka (1917) by M. Montage-Nathan Estimated delivery 3-12 business days Format Paperback Condition Brand New Details ISBN 0548745617 ISBN-13 9780548745618 Title Masters of Russian Music: Glinka (1917) Author M. Montage-Nathan Format Paperback Year 2007 Pages 88 Publisher Kessinger Publishing Dimensions 6 in. x 0.2 in. x 9 in. About Us Grand Eagle Retail is the ideal place for all your reading and entertainment needs! With fas

Challenging what is widely regarded as the distinguishing feature of Russian music—its ineffable “Russianness”—Marina Frolova-Walker examines the history of Russian music from the premiere of Glinka's opera A Life for the Tsar in 1836 to the death of Stalin in 1953, the years in which musical nationalism was encouraged and endorsed by the Russian state and its Soviet successor. The author identifies and discusses two central myths that dominated Russian culture during this period—that art revealed the Russian soul, and that this nationalist artistic tradition was founded by Glinka and Pushkin. The author also offers a critical account of how the imperatives of nationalist thought affected individual composers. In this way Frolova-Walker provides a new perspective on the brilliant creativity, innovation, and eventual stagnation within the tradition of Russian nationalist music.

Although folk dances have a special place in Russian music, being raised to the status of character dances in works for the stage, the more classical forms taken over from the west are not neglected. During the nineteenth century the waltz, for example, tended more and more towards `pure' music, giving rise to some highly virtuosic works in the manner of those by Weber or Liszt. Thus, in 1856 Glinka (1804-1857), founder of the Russian nationalist school, produced the definitive version of a Valse which had already aroused the enthusiasm of Berlioz. Its slightly melancholy principal theme reappears as a refrain between episodes in various keys, which give rise to passages of instrumental dialogue and to such bold strokes such as the cantabile for solo trombone in the third episode. Witty or ironic comments by the flutes or strings turn it virtually into a fantasia - which Shostakovich was to recall later. Scenes at parties and balls abound in opera. Tchaikovsky composed the waltz for Act Two of Eugene Onegin (1877) - with a chorus in its original version - so as to reflect the humdrum pretentiousness of the lesser, countrified aristocracy: it is closer to the waltz in Faust than to those he was to write for his ballets. This is in clear contrast to the majestic Act Three Polonaise, with its trio incorporating the traditional mazurka, which as the dance of aristocratic St Petersburg receptions is in a differ­ent class altogether. Marius Petipa, who became chief ballet master at the imperial ballet in 1869, restored to the art of dance the nobility and charm which had been killed off by an emphasis on technique. Tchaikovsky provided him with music suffused with the poetic inspiration lacking in the more straightforwardly rhythmic scores of composers like Drigo and Pugni. He was, however, criticised by those ballet-lovers who found his music too symphonic; his waltzes, refined rather than brilliant and frivolous, are often tinged with dramatic lyricism, even a sense of anxiety. The unusual flavour of the Waltz of the Flowers from The Nutcracker (1892) is largely created by the mysterious other-worldly horn-calls answered by rippling clarinet figures. Raymonda (1898) is a medieval romance choreographed by Petipa to music by Glazunov. Always melodious, subtle and graceful, it is sometimes highly evocative, as in the trance-like atmosphere in the dreamy slow-motion accompanying the heroine's sleep (andante sostenuto) in the interlude before the second scene. The tradition of the grand ballet d'action persisted right up to the revolution brought about by Sergei Diaghilev. Reacting against the `double pirouettes and detestable sets of thirty-two fouettés', the director of the Ballets Russes sought the character of the various folk-dances of Russia and other countries, which he remodelled for the stage using a basically classical technique. In his Parisian season in 1909 he presented the second act of Prince Igor (1887) against the background of a tawny-coloured desert steppe. The Polovtsian Dances, alternating spellbinding movements for the women and pounding, savage rhythms for the warriors, were directed by Mikhail Fokine: when a tumultuous wave of dancers rushed downstage at the end, stopping dead just short of the foot­lights, it brought the house down!Even Anatole Liadov, the composer of backwoods Russia, gave in to the infatuation of the Russian intelligentsia of around 1900 with ancient Greece. His Dance of the Amazon (1910), for Ida Rubinstein, employs two Greek chants, heavily reworked: the first theme suggests the Amazon riding on horseback, the second (meno mosso) emphasises the oriental atmosphere; brass and percussion suggest warlike activity - ushered in by a fanfare.After the 1917 Revolution it was thought that the creations of the Tsarist era would be unappealing to the sensibilities of the new Bolshevik listener. New themes and characters - stadiums and factories, sportsmen and workers - figured in `futurist'