Alexander Borodin was part of a group of 19th century composers that were known as what "number"?
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Alexander Borodin Alexander Porfiryevich Borodin (Russian: Алекса́ндр Порфи́рьевич Бороди́н ; ] , 12 November 183327 February 1887) was a Russian Romantic composer of Georgian origin, as well as a doctor and chemist. He was one of the prominent 19th century composers known as The Mighty Handful, a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models.
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The Mighty Handful The Mighty Handful (Russian: Могучая кучка ), also known as The Five and The New Russian School, were five prominent 19th-century Russian composers who worked together to create a distinctly Russian classical music. Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin all lived in Saint Petersburg, and collaborated from 1856 to 1870.
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God Save the Tsar! "God Save the Tsar!" (Russian: Боже, Царя храни! ; transliteration: Bozhe, Tsarya khrani!) was the national anthem of the Russian Empire. The song was chosen from a competition held in 1833 and was first performed on 18 December 1833. The composer was violinist Alexei Lvov, and the lyrics were by the court poet Vasily Zhukovsky. It was the anthem until the Russian Revolution of 1917, after which "Worker's Marseillaise" was adopted as the new national anthem until the overthrow of the Russian Provisional Government.
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Atonality Atonality in its broadest sense is music that lacks a tonal center, or key. "Atonality", in this sense, usually describes compositions written from about 1908 to the present day where a hierarchy of pitches focusing on a single, central tone is not used, and the notes of the chromatic scale function independently of one another . More narrowly, the term "atonality" describes music that does not conform to the system of tonal hierarchies that characterized classical European music between the seventeenth and nineteenth centuries . "The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations in unfamiliar environments" .
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Tone poems (Strauss) The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction. As Hugh MacDonald points out in the "New Grove Dictionary of Music and Musicians", "In the years prior to World War I these works were held to be in the vanguard of modernism."
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Neo-romanticism The term neo-romanticism is used to cover a variety of movements in philosophy, literature, music, painting, and architecture, as well as social movements, that exist after and incorporate elements from the era of Romanticism. It has been used with reference to late-19th-century composers such as Richard Wagner particularly by Carl Dahlhaus who describes his music as "a late flowering of romanticism in a positivist age". He regards it as synonymous with "the age of Wagner", from about 1850 until 1890—the start of the era of modernism, whose leading early representatives were Richard Strauss and Gustav Mahler . It has been applied to writers, painters, and composers who rejected, abandoned, or opposed realism, naturalism, or avant-garde modernism at various points in time from about 1840 down to the present.
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Les nuits d'été discography Les nuits d'été ("Summer Nights"), Op. 7, is a song cycle by the French composer Hector Berlioz, setting six poems by Théophile Gautier. The cycle, completed in 1841, was originally for soloist and piano accompaniment. Berlioz orchestrated one of the songs in 1843, and did the same for the other five in 1856. The cycle was neglected for many years, but during the 20th century it became, and has remained, one of the composer's most popular works. Of the many recordings made in the 20th and 21st centuries, most are of the orchestrated version and are sung by a soprano or mezzo-soprano.
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Nocturnes, Op. 9 (Chopin) The Nocturnes, Op. 9 are a set of three nocturnes written by Frédéric Chopin between 1830 and 1832, published that year, and dedicated to Madame Camille Pleyel. The second nocturne of the work is regarded as Chopin's most famous piece.
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The Composers' House in Ivanovo The Composers' House in Ivanovo, Russia, also often simply referred to by musicians as "Ivanovo", was created in 1943 by the USSR Union of Composers and its organizing committee. Their goal was to help Soviet composers during these difficult years and to give them the opportunity to continue to do creative work while ensuring basic living conditions, at least during the summer months.
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Piano Trio (Tchaikovsky) Pyotr Ilyich Tchaikovsky's Trio in A minor, Op. 50, was written in Rome between December 1881 and late January 1882. It is subtitled "In memory of a great artist," in reference to Nikolai Rubinstein, his close friend and mentor, who had died on 23 March 1881. It is scored for piano, violin, and cello.
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Schubert Thematic Catalogue Schubert: Thematic Catalogue of all his Works in Chronological Order, also known as the Deutsch catalogue, is a numbered list of all compositions by Franz Schubert compiled by Otto Erich Deutsch. Since its first publication in 1951, Deutsch (abbreviated as D or D.) numbers are used for the unique identification of Schubert's compositions.
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Symphony No. 1 (Dohnányi) The Symphony No. 1 in D minor, Op. 9, was completed by Ernő Dohnányi in 1901, when the composer was 24. Premiered in 1902, it is an early work by Dohnányi, and is his first full venture into orchestral writing (the 1896 Symphony in F was neither completed nor published). Although audibly influenced by the prevailing voices of the time, including Bruckner, Strauss, Tchaikovsky, Wagner, Mahler and Brahms, the work nonetheless demonstrates a formidable handling of complex compositional techniques and is a notable precursor to what would become Dohnányi's distinctive neoromantic style. As with most of his public work, Dohnányi published the composition under the Germanized version of his name, Ernst von Dohnányi. The symphony is 50–55 minutes in duration.
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Boris Lyatoshinsky Boris Mykolayovych Lyatoshinsky or Lyatoshynsky (Ukrainian: Бори́с Ми́колайович Лятоши́нський , "Borys Mykolayovych Lyatoshyns′kyi"; January 3, 1895 – April 15, 1968) was a Ukrainian composer, conductor, teacher. A leading member of the new generation of twentieth-century Ukrainian composers, he was awarded a number of accolades, including the honorary title of People's Artist of the Ukrainian SSR and two Stalin State Prizes.
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Night on Bald Mountain Night on Bald Mountain (Russian: Ночь на лысой горе, "Noch′ na lysoy gore" ), also known as Night on the Bare Mountain, is a series of compositions by Modest Mussorgsky (1839–1881). Inspired by Russian literary works and legend, Mussorgsky composed a "musical picture", "St. John's Eve on Bald Mountain" (Russian: Иванова ночь на лысой горе, "Ivanova noch′ na lysoy gore" ) on the theme of a witches' sabbath occurring on St. John's Eve, which he completed on that very night, 23 June 1867. Together with Nikolay Rimsky-Korsakov's "Sadko" (1867), it is one of the first tone poems by a Russian composer.
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Prince Igor Prince Igor (Russian: Князь Игорь , "Knyaz' Igor'") is an opera in four acts with a prologue, written and composed by Alexander Borodin. The composer adapted the libretto from the Ancient Russian epic "The Lay of Igor's Host", which recounts the campaign of Rus' prince Igor Svyatoslavich against the invading Cuman ("Polovtsian") tribes in 1185. He also incorporated material drawn from two medieval Kievan chronicles. The opera was left unfinished upon the composer's death in 1887 and was edited and completed by Nikolai Rimsky-Korsakov and Alexander Glazunov. It was first performed in St. Petersburg, Russia, in 1890.
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Music written in all major and/or minor keys There is a long tradition in classical music of writing music in sets of pieces that collectively cover all the major and minor keys of the chromatic scale. These sets typically consist of 24 numbers, one for the major and minor key of each key signature. Well known examples include Johann Sebastian Bach's "The Well-Tempered Clavier" and Frédéric Chopin's 24 Preludes, Op. 28. Such sets are often organized as preludes and fugues, or designated as preludes or études.
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Wilhelm von Lenz Wilhelm von Lenz (born 20 May 1809 in Riga - died 7 January 1883 in Saint Petersburg) was a Baltic German Russian official and writer. Wilhelm von Lenz was a friend of many mid-century Romantic composers, including Franz Liszt, Frédéric Chopin and Hector Berlioz, Lenz's most important and influential work was an early biography of the German composer Ludwig van Beethoven, entitled "Beethoven et ses trois styles" (1855), written in response to the disparagement of Beethoven by Alexander Ulybyshev in his "Nouvelle biographie de Mozart" (1843). Lenz promoted the idea (already suggested by earlier figures such as François-Joseph Fétis) that Beethoven's musical style be divided into three characteristic periods. Lenz's periodisation, with minor changes, is still widely used today by musicologists in discussing Beethoven's compositions.
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Leonid Malashkin Leonid Dimitrievitch Malashkin (1842 – February 11, 1902) was a Russian composer and conductor. Though he wrote a few works in larger forms, he is today chiefly remembered for his romances, particularly "Oh, Could I But Express in Song".
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Nikolay Lvov Nikolay Aleksandrovich Lvov (May 4, 1753 – December 21, 1803) was a Russian artist of the Age of Enlightenment. Lvov, an amateur of Rurikid lineage, was a polymath who contributed to geology, history, graphic arts and poetry, but is known primarily as an architect and ethnographer, compiler of the first significant collection of Russian folk songs (the Lvov-Prach collection).
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Neo-Riemannian theory Neo-Riemannian theory is a loose collection of ideas present in the writings of music theorists such as David Lewin, Brian Hyer, Richard Cohn, and Henry Klumpenhouwer. What binds these ideas is a central commitment to relating harmonies directly to each other, without necessary reference to a tonic. Initially, those harmonies were major and minor triads; subsequently, neo-Riemannian theory was extended to standard dissonant sonorities as well. Harmonic proximity is characteristically gauged by efficiency of voice leading. Thus, C major and E minor triads are close by virtue of requiring only a single semitonal shift to move from one to the other. Motion between proximate harmonies is described by simple transformations. For example, motion between a C major and E minor triad, in either direction, is executed by an "L" transformation. Extended progressions of harmonies are characteristically displayed on a geometric plane, or map, which portrays the entire system of harmonic relations. Where consensus is lacking is on the question of what is most central to the theory: smooth voice leading, transformations, or the system of relations that is mapped by the geometries. The theory is often invoked when analyzing harmonic practices within the Late Romantic period characterized by a high degree of chromaticism, including work of Schubert, Liszt, Wagner and Bruckner.
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Iron Foundry Factory: machine-music (Russian: Завод: музыка машин , "Zavod: muzyka mashin "), Op. 19, commonly referred to as the Iron Foundry, is the most well-known work by Soviet composer Alexander Mosolov and a prime example of Soviet futurist music. It was composed between 1926 and 1927 as the first movement of the ballet suite "Stal" ("Steel"). The remaining movements of "Steel", "In Prison," "At the Ball," and "On the Square" have been lost, and "Iron Foundry" is performed today as a standalone orchestral episode.
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Petite Suite (Borodin) The Petite Suite is a suite of seven piano pieces, written by Alexander Borodin, and acknowledged as his major work for the piano. It was published in 1885, although some of the pieces had been written as far back as the late 1870s. After Borodin's death, Alexander Glazunov orchestrated the work, and added his orchestration of another of Borodin's pieces as an eighth number.