Works by Russian Composers

44 Pieces By Rachmaninoff Scriabin Mussorgsky and Others-Nineteenth-century Europe's immersion into Romanticism fostered a 'back to nature' movement in which artists turned toward folk music for inspiration. This collection spotlights the works of important Russian composers who drew upon and popularized folk melodies of their native country. Forty-four stirring pieces reflect the influence of Russia's peasant songs as well as the tonality and rhythms of music from the Russo-Greek Orthodox Church and Tartar culture. Suitable for intermediate-level pianists of all ages this collection features contributions from Michael Glinka hailed a century ago as 'the father of Russian musical art.' Additional contributors includeAlexander Borodin Modest Mussorgsky Nikolas Rimsky-Korsakov Alexander Scriabin Sergei Rachmaninoff and other composers. Reprint of the Carl Fischer New York 1915 edition.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

Description A towering figure among Russian composers of the late 19th century, Rimsky-Korsakov was one of music’s master orchestrators. The 3 works in full score in this collection, Dance of the Buffoons, Capriccio Espagnol, Russian Easter Festival (Overture), display his mastery of orchestration. They are reproduced from early authoritative scores. Songlist Capricio Espagnol Dance Of The Buffoons Russian Easter Festival Overture

The skillful concert band transcriptions of the late Glenn Cliffe Bainum have proven to be a standard by which others are measured. This transcription is one of Mr. Bainum's most monumental works. Vasily Kalinnikov a contemporaryof Tchaikovsky died prematurely at 35 just as he was establishing himself as one of the great Russian composers. Originally published in 1958 this new edition features a revised full score and parts for optional antiphonal brasschoirs. Dur: ca. 9:00

Schostakowitsch-Shostakovich was one of the most important twentieth century Russian composers. This volume presents the most important works of Shostakovich's vast oevre and can be used by technically skilled Horn players as a major working basis for their own studies and Orchestral careers.

This volume from the Boosey Masterworks Series contains a mix of orchestral and vocal works. The Five Etudes Tableaux were orchestrated by the Italian composer Ottorino Respighi from a selection of the composer's Opp. 33 and 39. Symphonic Dances (Op. 45) was the last composition Rachmaninoff ever wrote while Vocalise is the last in Op. 34 a collection of 14 Romances.Sergei Rachmaninoff (1873-1943) was a Russian composer and pianist who was able to push the boundaries of virtuosic Piano composition through his incredible skills as a performer. Through hisrich textures and expressiveness he is often seen as the last great member if not the pinnacle of the European Romantic movement.

Wonderful World of Tchaikovsky for Violin and Piano-Russian composer Pyotr Ilyich Tchaikovsky’s works included symphonies concertos operas ballets chamber music and a choral setting of the Russian Orthodox Divine Liturgy. Some of these are among the most populartheatrical music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally which he bolstered with appearances as a guest conductor later in his career in Europe and theUnited States.Arranged by Andrew Moore for intermediate level Violin and Piano The Wonderful World Of Tchaikovsky includes Barcarolle Daydream Love theme from Romeo andJuliet Old French song Tears Theme from second movement of Symphony No 5 and Waltz from Swan Lake.

The Russian composer Mussorgsky was for the most part self-taught. His contemporaries were not always enthusiastic about the innovations in his music and accused him of lacking technique. Today however Mussorgsky is considered the innovator of Russian music par excellence. Although he gained fame primarily as a composer of operas and songs Mussorgsky also wrote a number of piano works; for example the suite Pictures at an Exhibition from 1874.

Russian composer Sergei Bortkiewicz's Piano style is of the post-Romantic Russian era and is stylistically similiar to the works of Chopin and Liszt. This Simrock Orignal Edition presents his 10 Preludes from Opus 33.