Composer Biography: Nikolai Rimsky-Korsakov

Total Page:16

File Type:pdf, Size:1020Kb

Composer Biography: Nikolai Rimsky-Korsakov CLIBURN KIDS COMPOSER BIOGRAPHY NIKOLAI RIMSKY-KORSAKOV BORN: March 18, 1844 ERA/STYLE: Romantic DIED: June 21, 1908 HOMETOWN: Tikhvin, Russia Nikolai Rimsky-Korsakov was born in Tikhvin, near Novgorod, Russia, in 1844. His father was an official in the Russian government and his mother enjoyed playing the piano. Rimsky-Korsakov became interested in the piano at an early age and started lessons at age 6. In his early school years, he was tutored at home and did well in all his subjects. He started writing his own music at the age of 10. In 1856, at age 12, Rimsky-Korsakov became a student at the Naval Academy in St. Petersburg, Russia. While studying at the Naval Academy, he still played the piano whenever he could. In 1861, he met Mily Balakirev, an older, well-known composer, who encouraged him to join a group of young composers who later became known as “The Five.” This group, led by Balakirev, urged Russian composers to stress their national heritage in their music. In 1862, Rimsky-Korsakov sailed on a three- year naval cruise where he completed his first symphony. After returning to St. Petersburg in 1865, his symphony was performed with his friend and teacher Balakirev conducting. In 1871, Rimsky-Korsakov accepted a job teaching composition at the conservatory in St. Petersburg, a position he kept for the rest of his life. Since he had never been to music school, he realized that he knew almost no music theory, and so he taught himself counterpoint, harmony, and music form. He became one of the world’s greatest music theorists. Rimsky-Korsakov married Nadezhda Purgold in June of 1872. She was a talented pianist who also did some composing. The couple had six children. © 2021 The Cliburn.
Recommended publications
  • The Russian Five Austin M
    Masthead Logo Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2019 yS mposium Apr 3rd, 1:30 PM - 2:00 PM The Russian Five Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Art Practice Commons, Audio Arts and Acoustics Commons, and the Other Classics Commons Doub, Austin M., "The Russian Five" (2019). The Research and Scholarship Symposium. 7. https://digitalcommons.cedarville.edu/research_scholarship_symposium/2019/podium_presentations/7 This Podium Presentation is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Austin Doub December 11, 2018 Senior Seminar Dr. Yang Abstract: This paper will explore Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the Moguchaya Kuchka, or The Russian Five, sought to influence Russian culture and develop a pure school of Russian music. Comprised of César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimksy-Korsakov, this group of inspired musicians, steeped in Russian society, worked to remove outside cultural influences and create a uniquely Russian sound in their compositions. As their nation became saturated with French and German cultures and other outside musical influences, these musicians composed with the intent of eradicating ideologies outside of Russia. In particular, German music, under the influence of Richard Wagner, Robert Schumann, and Johannes Brahms, reflected the pan-Western-European style and revolutionized the genre of opera.
    [Show full text]
  • Songs of the Mighty Five: a Guide for Teachers and Performers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me.
    [Show full text]
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • A Tribute to the Mighty Handful the Russian Guitar Quartet
    A Tribute to the Mighty Handful The Russian Guitar Quartet DE 3518 1 DELOS DE DELOS DE A Tribute to the Mighty Handful The Russian Guitar Quartet 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO César Cui: Cherkess Dances ♦ Cossack Dances Modest Mussorgsky: Potpourri from Boris Godunov Mily Balakirev: Mazurka No. 3 ♦ Polka ♦ “Balakireviana” Alexander Borodin: Polovtsian Dances Nikolay Rimsky-Korsakov: Scheherazade in Spain Total playing time: 64:38 ORIGINAL ORIGINAL DIGITAL DIGITAL A Tribute to the Mighty Handful The Russian Guitar Quartet Dan Caraway, Alexei Stepanov, Vladimir Sumin, Oleg Timofeyev CÉSAR CUI (arr. Oleg Timofeyev): 1. Cherkess Dances (5:53) 2. Cossack Dances (5:24) 3. MODEST MUSSORGSKY (arr. Timofeyev): Potpourri from Boris Godunov (13:25) MILY BALAKIREV (arr. Viktor Sobolenko): 4. Mazurka No. 3 (4:54) 5. Polka (3:17) 6. ALEXANDER BORODIN (arr. Timofeyev): Polovtsian Dances (14:02) MILY BALAKIREV (arr. Alexei Stepanov): “Balakireviana” 7. I – Along the meadow (1:19) 8. II – By my father’s gate (1:49) 9. III – I am tired of those nights (2:54) 10. IV – Under the green apple tree (1:24) 11. NIKOLAY RIMSKY-KORSAKOV (arr. Sobolenko): Scheherazade in Spain (10:12) Total playing time: 64:38 2 NOTES ON THE PROGRAM In a certain way, this album is an attempt to reinvent history. We took the alliance of clas- erious connoisseurs of classical music as sical Russian composers known as “The Mighty well as more superficial listeners usually Handful “ or “The Five” and built a musical trib- Shave a certain image of (if not a prejudice ute to them with our quartet of four Russian about) Russian music.
    [Show full text]
  • Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
    Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years.
    [Show full text]
  • MODEST MUSSORGSKY Born March 21, 1839 in Karevo, Pskov District, Russia; Died March 28, 1881 in St
    MODEST MUSSORGSKY Born March 21, 1839 in Karevo, Pskov District, Russia; died March 28, 1881 in St. Petersburg A Night on Bald Mountain (1867; arranged in 1886) Arranged by Nikolai Rimsky-Korsakov (1844-1908) PREMIERE OF WORK: St. Petersburg, October 15, 1886 Russian Symphony Orchestra Nikolai Rimsky-Korsakov, conductor APPROXIMATE DURATION: 12 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings In the 1860s, Russian music was just beginning to find its distinctive voice. A number of composers — Balakirev, Cui, Borodin, Rimsky-Korsakov and Mussorgsky — explored native musical and folkloric sources as the basis of a national art, and became loosely confederated into a group known as “The Mighty Handful” in Russia and “The Five” in the West. Since their works took their inspiration largely from indigenous legends and folk music, Mussorgsky considered himself lucky to receive a commission in 1861 (when he was just 21) for a dramatic musical composition based on a specifically Russian subject. On January 7th, he wrote to his mentor, Balakirev, “I have received an extremely interesting commission [for music for a drama titled The Witch by his friend Baron Georgy Fyodorovitch Mengden], which I must prepare for next summer. It is this: a whole act to take place on Bald Mountain … a Witches’ Sabbath, separate episodes of sorcerers, a solemn march for all this nastiness, a finale — the glorification of the Sabbath into which is introduced the commander of the whole festival on the Bald Mountain. The libretto is very good. I already have some material for it; it may turn out to be a very good thing.” The mountain to which Mussorgsky referred, well known in Russian legend, is Mount Triglav, near Kiev, reputed to be the site of the annual witches’ sabbath that occurs on St.
    [Show full text]
  • The Nineteenth Century, Part 2: Nationalism and Ideology
    A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century,
    [Show full text]
  • Nov 23 to 29.Txt
    CLASSIC CHOICES PLAYLIST Nov. 23 - Nov. 29, 2020 PLAY DATE: Mon, 11/23/2020 6:02 AM Antonio Vivaldi Concerto for Viola d'amore, lute & orch. 6:15 AM Wolfgang Amadeus Mozart Divertimento for Winds 6:29 AM Georg Muffat Sonata No.1 6:42 AM Marianne Martinez Sinfonia 7:02 AM Georg Philipp Telemann Concerto for 2 violas 7:09 AM Ludwig Van Beethoven Eleven Dances 7:29 AM Henry Purcell Chacony a 4 7:37 AM Robert Schumann Waldszenen 8:02 AM Johann David Heinichen Concerto for 2 flutes, oboes, vn, string 8:15 AM Antonin Reicha Commemoration Symphony 8:36 AM Ernst von Dohnányi Serenade for Strings 9:05 AM Hector Berlioz Harold in Italy 9:46 AM Franz Schubert Moments Musicaux No. 6 9:53 AM Ernesto de Curtis Torna a Surriento 10:00 AM Wolfgang Amadeus Mozart Rondo for horn & orch 10:07 AM Wolfgang Amadeus Mozart Divertimento No. 3 10:21 AM Wolfgang Amadeus Mozart Piano Sonata 10:39 AM Wolfgang Amadeus Mozart Allegro for Clarinet & String Quartet 10:49 AM Wolfgang Amadeus Mozart Divertimento No. 8 11:01 AM Aaron Copland Appalachian Spring (Ballet for Martha) 11:29 AM Johann Sebastian Bach Violin Partita No. 2 12:01 PM Bedrich Smetana Ma Vlast: The Moldau ("Vltava") 12:16 PM Astor Piazzolla Tangazo 12:31 PM Johann Strauss, Jr. Artist's Life 12:43 PM Luigi Boccherini Flute Quintet No. 3 12:53 PM John Williams (Comp./Cond.) Summon the Heroes 1:01 PM Ludwig Van Beethoven Piano Trio No. 1 1:36 PM Margaret Griebling-Haigh Romans des Rois 2:00 PM Johann Sebastian Bach Konzertsatz (Sinfonia) for vln,3 trpts.
    [Show full text]
  • Gnomes” from Pictures at an Exhibition
    “Gnomes” from Pictures at an Exhibition Modest Mussorgsky Born: March 21, 1839 In addition to his instrumental Died: March 28, 1881 music, Mussorgsky wrote songs, and several operas. His operatic Modest Mussorgsky was born in masterpiece is Boris Godunov, the Russian village of Karevo. about a Russian Tsar who lived His mother gave him his first in the 1500’s. piano lessons, and it was clear early on that Mussorgsky was a Mussorgsky wrote Pictures at very good pianist. an Exhibition to honor his friend Victor Hartman, an artist and Modest went to military architect who died at the age of boarding school, and when he 39. After viewing a memorial graduated, he joined the army exhibition of Hartman’s work, as an officer. Then, Mussorgsky Mussorgsky decided to create his started studying music with own tribute - music depicting ten Russian composer Mily pieces of art in the show. Pictures Balakirev, and left the army to at an Exhibition was originally become a composer. He was written for piano, but there have part of a group of five Russian been many orchestrations of the composers known as “The Five,” piece. The most famous is by or the “Mighty Handful.” Maurice Ravel. Mussorgsky had a hard time The first picture in Mussorgsky’s making a living as a composer, musical exhbition is a sketch especially after his family lost all for a nutcracker shaped like a its money; so he found a gnome. government job, and continued to spend all his spare time composing. Picture This Modest Mussorgsky We can not see the painting of the “Gnomes” Mussorsky saw.
    [Show full text]
  • Piano Works V
    Милий Балакирев Mily Balakirev (1837 – 1910) Vol. 1 : Piano works I Vol. 2 : Piano works II Vol. 3 : Piano works III Vol. 4 : Piano works IV Vol. 5 : Piano works V Complete Works for Pianoforte solo Original settings Vol. 1 : Scherzo - Islamey Page Remembrence on the Opera „A Life for the Tsar“ 4 Scherzo No.1 30 Sonata I. 47 II.Mazur 64 III. 71 Polka Vol. 1 Page 75 Mazurka No.1 80 Mazurka No.2 86 The Lark 88 Islamey. Orientical Fantasy 95 Comments 121 Picture of M.Balakirev 124 Vol.2:In the garden-Gondolier's song In the garden Page 4 Mazurka No.3 11 Mazurka No.4 19 Nocturne No.1 27 Scherzo No.2 34 Complainte 51 Vol. 2 Page Mazurka No.5 57 Valse di bravura 68 Valse mélancholique 85 Gondolier's song 93 Comments 102 Vol. 3 : Nocturne 2 - Valse 4 Page Nocturne No.2 4 Scherzo No.3 12 Tarantella 27 Valse-Impromptu 45 Capriccio 54 Vol. 3 Page Spanish Melody 75 Spanish Serenada 81 Berceuse 92 Valse No.4 99 114 Comments Vol. 4 : Toccata - Dreams Page Toccata 4 Nocturne No.3 14 Mazurka No.6 22 Fantasy-piece 33 Tirolian dance 40 Vol. 4 l z N .5 Wa t o Page 52 Humoresque 65 Waltz No.6 80 Fisherman's song 90 Dreams 96 Comments 106 Vol. 5 : Sonata - Impromptu Sonata Page I. 4 II. 14 III. 25 IV. 32 Novelletta 54 Waltz No.7 66 Vol. 5 The Spinner Page 83 Mazurka No.7 91 Impromptu on Themes of a Prélude by F.Chopin 102 Appendix Sonatina I.
    [Show full text]
  • Musically Russian: Nationalism in the Nineteenth Century Joshua J
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis.
    [Show full text]