Nicolas Slonimsky: Writings on Music: Russian and Soviet by Nicolas Slonimsky

By Nicolas Slonimsky

Nicolas Slonimsky (1894-1995) was once an influential and celebrated author on song. Born in St. Petersburg, Russia in 1894, in his one zero one years he taught and coached tune; carried out the premieres of numerous twentieth century masterpieces; composed works for piano and voice; and oversaw the 5th-8th variants of the vintage Baker's Biographical Dictionary of Musicians. starting in 1926, Slonimsky resided within the usa. From his arrival, he wrote provocative articles on modern song and musicians, lots of whom have been his own buddies. operating as a contract writer, he outfitted a wide dossier of stories, articles, or even manuscripts for books that have been by no means released. this can be the second one quantity of a four quantity assortment at the better of this fabric.

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Extra info for Nicolas Slonimsky: Writings on Music: Russian and Soviet Music and Composers (Nicolas Slonimsky: Writings on Music)

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A particularly interesting example is the remarkable song “Vision” by Balakirev, to the words by Khomiakov. Here the imagination of the poet carries him to a future Pan-Slavic commonwealth; in his dream he flies, like an eagle, to Prague, and hears the Greek Orthodox service in the cathedral, invoking God’s blessings on all Slavic lands. In his musical characterization, Balakirev reaches great eloquence, and the sonorous conclusion, with a hymnlike chant and ringing church bells, is an apotheosis of nationalist aspirations of Russia.

Not only the members of the “mighty company” and their spiritual descendants, but also romantic Russian composers accepted at least a particle of musical realism, as promulgated by the Nationalists. Tchaikovsky was not a militant nationalist, but he Russian music in art songs 21 expressed repeatedly his love for Russian folk songs. ” Paradoxically, it was St. Petersburg, the most western city in Russia, that became the cradle of Russian national music, while Moscow, the ancient capital, remained the center of cosmopolitan musical culture, exemplified by Tchaikovsky.

Not only was Glazunov a fantastically talented student, but he endeared himself to Rimsky-Korsakov’s heart by another quality, rare among beginners in composition: a wonderful tidiness in writing notes on manuscript paper. This gift of penmanship is often underestimated by teachers and pupils alike, and negligent students are apt to excuse themselves by saying that Beethoven’s handwriting was almost illegible. Glazunov’s working habits were as methodical as his penmanship. As a pupil, he never failed to prepare his lessons and bring in the required number of pages of music.

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