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Anatoli Lyadov - The Enchanted Lake (1909)
Anatoli Lyadov (1855-1914)
BBC Philarmonic - Vassily Sinaisky
published: 05 May 2009
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Lyadov Prelude op. 57/1 | Dmitry Sin - Queen Elisabeth Competition 2021
© RTBF, VRT, Queen Elisabeth Competition
ANATOLY LYADOV Prelude op. 57/1
Dmitry Sin, piano
Queen Elisabeth Competition | Piano 2021, Semi-final
Flagey / Studio 4 (Brussels)
More #piano2021 videos:
• https://queenelisabethcompetition.be/en/competitions-details-watch-listen/activities/piano-2021/
• https://www.rtbf.be/auvio/emissions/detail_concours-reine-elisabeth?id=11357
• https://www.vrt.be/vrtnu/a-z/koningin-elisabethwedstrijd/
published: 16 Jun 2021
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Anatoly Liadov The Enchanted Lake Op. 62
USSR Symphony Orchestra
Evgeny Svetlanov, conductor
published: 12 Aug 2016
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Lyadov: Complete Piano Works
This superb album of Lyadov’s Complete Works for Piano features many first recordings, and reveals as never before his wonderful contribution to this repertoire.
Composer: Anatoly Konstantinovich Liadov
Artist: Marco Rapetti
🎵 Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): https://brilliant-classics.lnk.to/LyadovCompletePiano
💎 More Information: https://www.brilliantclassics.com/articles/l/lyadov-complete-piano-works/
🎬🎮 Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: https://www.brilliantclassicslicensing.com/
The Russian late Romantic composer Anatoly Lyadov is somewhat overlooked compared to his famous contemporaries, although Modest Mussorgsky had tipped hi...
published: 26 Mar 2022
-
Anatoly Lyadov ‒ 3 Morceaux, Op.11
Anatoly Lyadov (1855 - 1914), 3 Morceaux, Op.11 for solo piano (1886)
Performed by Olga Solovieva
00:00 - No. 1 Prelude in B minor
02:51 - No. 2 Mazurka in Dorian Mode
04:55 - No. 3 Mazurka in F-sharp minor
While Lyadov's technical facility was highly regarded by his contemporaries, his unreliability stood in the way of his advancement. His published compositions are relatively few through his natural indolence and a certain self-critical lack of confidence. Many of his works are variations on or arrangements of pre-existing material (for example his Russian Folksongs, Op. 58). He did compose a large number of piano miniatures, of which his Musical Snuffbox of 1893 is perhaps most famous.
Like many of his contemporaries, Lyadov was drawn to intensely Russian subjects. Much of his mu...
published: 18 Jan 2016
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Anatoly Liadov - Kikimora, Op. 63 (1909)
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russian composer, teacher and conductor.
Please support my channel:
https://ko-fi.com/bartjebartmans
Kikimora for orchestra, Op. 63 (1909)
Dedication: Nikolay Tcherepnin (1873–1945)
USSR State Symphony Orchestra conducted by Evgeny Svetlanov
Lyadov apparently had a thing for witches: in his brief and desultory career as a composer, he wrote not one but two tone poems for orchestra depicting witches. The first is Baba-Yaga from 1904, a short and pseudo-spooky "picture from a Russian folk tale," and the second is Kikimora, a longer but still pseudo-spooky folk tale. Both are scored for full, late Romantic orchestra with a huge percussio...
published: 24 Sep 2015
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Anatoly Liadov - Baba Yaga, Op. 56 (1904)
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russian composer, teacher and conductor.
Please support my channel:
https://ko-fi.com/bartjebartmans
Baba-Yaga, for orchestra, Op. 56 (1904)
Dedication: à Monsieur Vladimir Stassoff
USSR State Academy Orchestra conducted by Evgeny Svetlanov
Description by James Leonard
Nearly a decade since he first conceived the idea, Lyadov, the Oblomov of Russian composers, finally completed his three-and-a-half-minute tone poem Baba-Yaga in 1904. The archetypal Russian witch, Baba-Yaga is a small, gnomish creature whom Mussorgsky had previously depicted in music in "The Hut on Hen's Legs" from his Pictures at an Exhibition. Lyadov's "Picture from ...
published: 23 Sep 2015
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Anatoly Lyadov : Village Scene by the Inn, Mazurka for orchestra Op. 19 (1887)
Performed by the BBC Philharmonic conducted by Vassily Sinaisky.
published: 10 May 2017
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Anatoly Lyadov ‒ Barcarolle, Op.44
Anatoly Lyadov (1855 - 1914), Barcarolle, Op.44 (1898)
Performed by Monique Duphil
Lyadov was born in St. Petersburg into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin.
He soon gave up instrumental study to concentrate on counterpoint and fugue, although he remained a fine pianist. His natural musical talent was highly thought of by, among others, Modest Mussorgsky, and during the 1870s he became associated with the group of composers known as The Mighty Handful. He entered the composition classes of Nikolai Rimsky-Korsakov, but was expelled for absenteeism in 1876. In 1878 he was readmitted to these classes to help him co...
published: 29 Jan 2016
7:42
Anatoli Lyadov - The Enchanted Lake (1909)
Anatoli Lyadov (1855-1914)
BBC Philarmonic - Vassily Sinaisky
Anatoli Lyadov (1855-1914)
BBC Philarmonic - Vassily Sinaisky
https://wn.com/Anatoli_Lyadov_The_Enchanted_Lake_(1909)
Anatoli Lyadov (1855-1914)
BBC Philarmonic - Vassily Sinaisky
- published: 05 May 2009
- views: 101517
3:02
Lyadov Prelude op. 57/1 | Dmitry Sin - Queen Elisabeth Competition 2021
© RTBF, VRT, Queen Elisabeth Competition
ANATOLY LYADOV Prelude op. 57/1
Dmitry Sin, piano
Queen Elisabeth Competition | Piano 2021, Semi-final
Flagey / Studi...
© RTBF, VRT, Queen Elisabeth Competition
ANATOLY LYADOV Prelude op. 57/1
Dmitry Sin, piano
Queen Elisabeth Competition | Piano 2021, Semi-final
Flagey / Studio 4 (Brussels)
More #piano2021 videos:
• https://queenelisabethcompetition.be/en/competitions-details-watch-listen/activities/piano-2021/
• https://www.rtbf.be/auvio/emissions/detail_concours-reine-elisabeth?id=11357
• https://www.vrt.be/vrtnu/a-z/koningin-elisabethwedstrijd/
https://wn.com/Lyadov_Prelude_Op._57_1_|_Dmitry_Sin_Queen_Elisabeth_Competition_2021
© RTBF, VRT, Queen Elisabeth Competition
ANATOLY LYADOV Prelude op. 57/1
Dmitry Sin, piano
Queen Elisabeth Competition | Piano 2021, Semi-final
Flagey / Studio 4 (Brussels)
More #piano2021 videos:
• https://queenelisabethcompetition.be/en/competitions-details-watch-listen/activities/piano-2021/
• https://www.rtbf.be/auvio/emissions/detail_concours-reine-elisabeth?id=11357
• https://www.vrt.be/vrtnu/a-z/koningin-elisabethwedstrijd/
- published: 16 Jun 2021
- views: 11356
4:44:31
Lyadov: Complete Piano Works
This superb album of Lyadov’s Complete Works for Piano features many first recordings, and reveals as never before his wonderful contribution to this repertoire...
This superb album of Lyadov’s Complete Works for Piano features many first recordings, and reveals as never before his wonderful contribution to this repertoire.
Composer: Anatoly Konstantinovich Liadov
Artist: Marco Rapetti
🎵 Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): https://brilliant-classics.lnk.to/LyadovCompletePiano
💎 More Information: https://www.brilliantclassics.com/articles/l/lyadov-complete-piano-works/
🎬🎮 Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: https://www.brilliantclassicslicensing.com/
The Russian late Romantic composer Anatoly Lyadov is somewhat overlooked compared to his famous contemporaries, although Modest Mussorgsky had tipped him for greatness: “A genuine talent! Easy, natural, daring, fresh and powerful…” Lyadov’s work shows great precision and attention to detail, but he did not fulfil his potential, because he was also unreliable, very self-critical, and totally lacking in ambition.
Complete tracklist can be found in the comments
00:00:00 Biryul’ki (Spillikins), Op. 2
00:13:10 3 Pieces, Op. 3a
00:19:43 3 Mazurkas, Op. 3b
00:26:54 Arabesques, Op. 4
00:39:29 24 Variations and Finale on a Simple Theme for piano 4 hands (in collaboration with Cui and Rimsky–Korsakov) (1878), first recording
00:46:18 4 Paraphrases on a Simple Theme, for piano 4 hands
00:52:34 Etude in A-Flat, Op. 5
00:55:24 Impromptu in D, Op. 6
00:56:56 2 Intermezzi, Op. 7
01:02:19 2 Intermezzi, Op. 8
01:07:45 2 Pieces, Op. 9
01:12:39 3 Pieces, Op. 10
01:19:25 3 Pieces, Op. 11
01:27:51 Etude in E, Op. 2 (1886), first recording
01:29:52 Velichaniye (Song of Praise) for piano 4 hands (1887), first recording
01:33:41 4 Preludes, Op. 13
01:39:58 2 Mazurkas, Op. 15
01:42:29 2 Nabroska (Sketches), Op.17 (1887), first recording
01:46:09 Novinka (Novellette), Op. 20 (1882–89), first recording
01:49:01 Shestviye (Procession) (1889), first recording
01:50:24 Pro starinu (About Olden Times), Op. 21, Ballade
01:54:33 Bagatelle in D-Flat, Op. 30
01:56:40 3 Pieces Op. 33
02:01:34 Na luzhayke, nabrosok (In the Glade, Sketch), Op. 23 (1890), first recording
02:05:35 2 Pieces, Op. 24
02:12:13 Shutka–Kadril’ (Quadrille–Joke) for piano 4 hands (1890), first recording
02:19:04 Idylle, Op. 25
02:25:14 Malenkiy Val’s (Little Waltz), Op.26
02:27:42 3 Preludes, Op. 27
02:32:08 Kukolki (Marionettes), Op. 29 (1892)
02:37:47 2 Pieces, Op. 31 (1893)
02:44:34 Muzïkal’naya tabakerka (A Musical Snuffbox), Op. 32 (1893)
02:46:43 Slavleniya (Celebration) for piano 4 hands (1893), first recording
02:47:53 3 Canons, Op. 34 (1894), first recording
02:51:10 Variations on a Theme by Glinka Op.35 (1894)
03:06:32 Prelude-Pastorale in A (1894), first recording
03:08:40 3 Preludes, Op. 36 (1895)
03:11:27 Etude in F, Op. 37 (1895)
03:13:03 Mazurka in F, Op. 38 (1895), first recording
03:16:28 4 Preludes, Op. 39 (1895)
03:22:34 Sarabande in G Minor (1895) (ornamented repeats by Marco Rapetti), first recording
03:25:50 2 Fugues, Op. 41 (1896), first recording
03:30:37 Prelude in F, Op. posth. (1897), first recording
03:31:16 Etude in C-Sharp minor, Op. 40a (1897)
03:33:17 3 Preludes, Op. 40b (1897)
03:37:26 2 Preludes, Op. 42a (1898)
03:39:13 Mazurka on Polish themes in A, Op. 42b (1898)
03:41:28 Barcarolle in F-Sharp, Op. 44 (1898)
03:45:48 Variations on a Russian Folk Theme (1899), first recording
03:56:19 4 Preludes, Op. 46 (1899)
04:00:28 Slava (Glory), Op. 47 for 2 pianos 8 hands (1899), first recording
04:02:33 Etude in A, Op. 48a (1899), first recording
04:04:56 Canzonetta in B-Flat, Op.48b (1899), first recording
04:07:18 Prelude in D-Flat, Op. 57 No. 1 (1900)
04:09:38 Variations on a Polish Folk Theme, Op. 51 (1901)
04:21:44 3 Baletnikh nomera (Ballet Numbers), Op. 52 (1901), first recording
04:27:54 3 Bagatelles, Op. 53 (1903)
04:30:06 Valse in E, Op. 57 No. 2 (1905)
04:31:58 Mazurka in F Minor, Op. 57 No. 3 (1905)
04:33:19 4 Pieces, Op. 64 (1909)
04:38:49 Tanets Komara (Mosquito’s Dance), Russian folksong (1911), first recording
04:39:38 10 Detskikh pesen (Children’s Songs), Op. posth. for piano 4 and 2 hands, first recording
04:42:59 Scherzo (Chorus) in B Minor, Op. posth., first recording
04:43:45 Fuga on LA–DO–FA (1913), Op. posth., first recording
👉 Social media links:
Instagram: https://brilliant-classics.lnk.to/InstagramID
Facebook: https://brilliant-classics.lnk.to/FacebookID
TikTok: https://brilliant-classics.lnk.to/TikTokID
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Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for other pieces some of the greatest composers. We upload daily with complete albums and compilations with the best classical music. https://brilliant-classics.lnk.to/YouTubeID
#Lyadov #Piano #Works #Classical #Music #Classics #BrilliantClassics
https://wn.com/Lyadov_Complete_Piano_Works
This superb album of Lyadov’s Complete Works for Piano features many first recordings, and reveals as never before his wonderful contribution to this repertoire.
Composer: Anatoly Konstantinovich Liadov
Artist: Marco Rapetti
🎵 Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): https://brilliant-classics.lnk.to/LyadovCompletePiano
💎 More Information: https://www.brilliantclassics.com/articles/l/lyadov-complete-piano-works/
🎬🎮 Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: https://www.brilliantclassicslicensing.com/
The Russian late Romantic composer Anatoly Lyadov is somewhat overlooked compared to his famous contemporaries, although Modest Mussorgsky had tipped him for greatness: “A genuine talent! Easy, natural, daring, fresh and powerful…” Lyadov’s work shows great precision and attention to detail, but he did not fulfil his potential, because he was also unreliable, very self-critical, and totally lacking in ambition.
Complete tracklist can be found in the comments
00:00:00 Biryul’ki (Spillikins), Op. 2
00:13:10 3 Pieces, Op. 3a
00:19:43 3 Mazurkas, Op. 3b
00:26:54 Arabesques, Op. 4
00:39:29 24 Variations and Finale on a Simple Theme for piano 4 hands (in collaboration with Cui and Rimsky–Korsakov) (1878), first recording
00:46:18 4 Paraphrases on a Simple Theme, for piano 4 hands
00:52:34 Etude in A-Flat, Op. 5
00:55:24 Impromptu in D, Op. 6
00:56:56 2 Intermezzi, Op. 7
01:02:19 2 Intermezzi, Op. 8
01:07:45 2 Pieces, Op. 9
01:12:39 3 Pieces, Op. 10
01:19:25 3 Pieces, Op. 11
01:27:51 Etude in E, Op. 2 (1886), first recording
01:29:52 Velichaniye (Song of Praise) for piano 4 hands (1887), first recording
01:33:41 4 Preludes, Op. 13
01:39:58 2 Mazurkas, Op. 15
01:42:29 2 Nabroska (Sketches), Op.17 (1887), first recording
01:46:09 Novinka (Novellette), Op. 20 (1882–89), first recording
01:49:01 Shestviye (Procession) (1889), first recording
01:50:24 Pro starinu (About Olden Times), Op. 21, Ballade
01:54:33 Bagatelle in D-Flat, Op. 30
01:56:40 3 Pieces Op. 33
02:01:34 Na luzhayke, nabrosok (In the Glade, Sketch), Op. 23 (1890), first recording
02:05:35 2 Pieces, Op. 24
02:12:13 Shutka–Kadril’ (Quadrille–Joke) for piano 4 hands (1890), first recording
02:19:04 Idylle, Op. 25
02:25:14 Malenkiy Val’s (Little Waltz), Op.26
02:27:42 3 Preludes, Op. 27
02:32:08 Kukolki (Marionettes), Op. 29 (1892)
02:37:47 2 Pieces, Op. 31 (1893)
02:44:34 Muzïkal’naya tabakerka (A Musical Snuffbox), Op. 32 (1893)
02:46:43 Slavleniya (Celebration) for piano 4 hands (1893), first recording
02:47:53 3 Canons, Op. 34 (1894), first recording
02:51:10 Variations on a Theme by Glinka Op.35 (1894)
03:06:32 Prelude-Pastorale in A (1894), first recording
03:08:40 3 Preludes, Op. 36 (1895)
03:11:27 Etude in F, Op. 37 (1895)
03:13:03 Mazurka in F, Op. 38 (1895), first recording
03:16:28 4 Preludes, Op. 39 (1895)
03:22:34 Sarabande in G Minor (1895) (ornamented repeats by Marco Rapetti), first recording
03:25:50 2 Fugues, Op. 41 (1896), first recording
03:30:37 Prelude in F, Op. posth. (1897), first recording
03:31:16 Etude in C-Sharp minor, Op. 40a (1897)
03:33:17 3 Preludes, Op. 40b (1897)
03:37:26 2 Preludes, Op. 42a (1898)
03:39:13 Mazurka on Polish themes in A, Op. 42b (1898)
03:41:28 Barcarolle in F-Sharp, Op. 44 (1898)
03:45:48 Variations on a Russian Folk Theme (1899), first recording
03:56:19 4 Preludes, Op. 46 (1899)
04:00:28 Slava (Glory), Op. 47 for 2 pianos 8 hands (1899), first recording
04:02:33 Etude in A, Op. 48a (1899), first recording
04:04:56 Canzonetta in B-Flat, Op.48b (1899), first recording
04:07:18 Prelude in D-Flat, Op. 57 No. 1 (1900)
04:09:38 Variations on a Polish Folk Theme, Op. 51 (1901)
04:21:44 3 Baletnikh nomera (Ballet Numbers), Op. 52 (1901), first recording
04:27:54 3 Bagatelles, Op. 53 (1903)
04:30:06 Valse in E, Op. 57 No. 2 (1905)
04:31:58 Mazurka in F Minor, Op. 57 No. 3 (1905)
04:33:19 4 Pieces, Op. 64 (1909)
04:38:49 Tanets Komara (Mosquito’s Dance), Russian folksong (1911), first recording
04:39:38 10 Detskikh pesen (Children’s Songs), Op. posth. for piano 4 and 2 hands, first recording
04:42:59 Scherzo (Chorus) in B Minor, Op. posth., first recording
04:43:45 Fuga on LA–DO–FA (1913), Op. posth., first recording
👉 Social media links:
Instagram: https://brilliant-classics.lnk.to/InstagramID
Facebook: https://brilliant-classics.lnk.to/FacebookID
TikTok: https://brilliant-classics.lnk.to/TikTokID
Spotify: https://brilliant-classics.lnk.to/SpotifyID
Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for other pieces some of the greatest composers. We upload daily with complete albums and compilations with the best classical music. https://brilliant-classics.lnk.to/YouTubeID
#Lyadov #Piano #Works #Classical #Music #Classics #BrilliantClassics
- published: 26 Mar 2022
- views: 24080
7:31
Anatoly Lyadov ‒ 3 Morceaux, Op.11
Anatoly Lyadov (1855 - 1914), 3 Morceaux, Op.11 for solo piano (1886)
Performed by Olga Solovieva
00:00 - No. 1 Prelude in B minor
02:51 - No. 2 Mazurka in D...
Anatoly Lyadov (1855 - 1914), 3 Morceaux, Op.11 for solo piano (1886)
Performed by Olga Solovieva
00:00 - No. 1 Prelude in B minor
02:51 - No. 2 Mazurka in Dorian Mode
04:55 - No. 3 Mazurka in F-sharp minor
While Lyadov's technical facility was highly regarded by his contemporaries, his unreliability stood in the way of his advancement. His published compositions are relatively few through his natural indolence and a certain self-critical lack of confidence. Many of his works are variations on or arrangements of pre-existing material (for example his Russian Folksongs, Op. 58). He did compose a large number of piano miniatures, of which his Musical Snuffbox of 1893 is perhaps most famous.
Like many of his contemporaries, Lyadov was drawn to intensely Russian subjects. Much of his music is programmatic; for example his tone poems Baba Yaga Op. 56, Kikimora Op. 63, The Enchanted Lake Op. 62. These short tone poems, probably his most popular works, exhibit an exceptional flair for orchestral tone color. In his later compositions he experimented with extended tonality, like his younger contemporary Alexander Scriabin.
It has been argued that Lyadov never completed a large-scale work. However, many of his miniatures have their place in the repertory. In 1905 Lyadov began work on a new ballet score, but when the work failed to progress, he shifted gears to work on an opera instead. Lyadov never finished the opera, but sections of the work found realization in the short tone poems Kikimora and The Enchanted Lake.
In 1909 Sergei Diaghilev commissioned Lyadov to orchestrate a number for the Chopin-based ballet Les Sylphides, and on 4 September that year wrote to the composer asking for a new ballet score for the 1910 season of his Ballets Russes; however, despite the much-repeated story that Lyadov was slow to start composing the work which eventually became The Firebird (famously fulfilled by the then relatively inexperienced Igor Stravinsky), there is no evidence that Lyadov ever accepted the commission.
https://wn.com/Anatoly_Lyadov_‒_3_Morceaux,_Op.11
Anatoly Lyadov (1855 - 1914), 3 Morceaux, Op.11 for solo piano (1886)
Performed by Olga Solovieva
00:00 - No. 1 Prelude in B minor
02:51 - No. 2 Mazurka in Dorian Mode
04:55 - No. 3 Mazurka in F-sharp minor
While Lyadov's technical facility was highly regarded by his contemporaries, his unreliability stood in the way of his advancement. His published compositions are relatively few through his natural indolence and a certain self-critical lack of confidence. Many of his works are variations on or arrangements of pre-existing material (for example his Russian Folksongs, Op. 58). He did compose a large number of piano miniatures, of which his Musical Snuffbox of 1893 is perhaps most famous.
Like many of his contemporaries, Lyadov was drawn to intensely Russian subjects. Much of his music is programmatic; for example his tone poems Baba Yaga Op. 56, Kikimora Op. 63, The Enchanted Lake Op. 62. These short tone poems, probably his most popular works, exhibit an exceptional flair for orchestral tone color. In his later compositions he experimented with extended tonality, like his younger contemporary Alexander Scriabin.
It has been argued that Lyadov never completed a large-scale work. However, many of his miniatures have their place in the repertory. In 1905 Lyadov began work on a new ballet score, but when the work failed to progress, he shifted gears to work on an opera instead. Lyadov never finished the opera, but sections of the work found realization in the short tone poems Kikimora and The Enchanted Lake.
In 1909 Sergei Diaghilev commissioned Lyadov to orchestrate a number for the Chopin-based ballet Les Sylphides, and on 4 September that year wrote to the composer asking for a new ballet score for the 1910 season of his Ballets Russes; however, despite the much-repeated story that Lyadov was slow to start composing the work which eventually became The Firebird (famously fulfilled by the then relatively inexperienced Igor Stravinsky), there is no evidence that Lyadov ever accepted the commission.
- published: 18 Jan 2016
- views: 61446
8:06
Anatoly Liadov - Kikimora, Op. 63 (1909)
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russia...
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russian composer, teacher and conductor.
Please support my channel:
https://ko-fi.com/bartjebartmans
Kikimora for orchestra, Op. 63 (1909)
Dedication: Nikolay Tcherepnin (1873–1945)
USSR State Symphony Orchestra conducted by Evgeny Svetlanov
Lyadov apparently had a thing for witches: in his brief and desultory career as a composer, he wrote not one but two tone poems for orchestra depicting witches. The first is Baba-Yaga from 1904, a short and pseudo-spooky "picture from a Russian folk tale," and the second is Kikimora, a longer but still pseudo-spooky folk tale. Both are scored for full, late Romantic orchestra with a huge percussion section, including the obligatory xylophone, a prerequisite for evoking rattling skeletons. Like Baba-Yaga, the main body of Kikimora is a Presto replete with chromatic scales, woodwinds wails, and brass blasts. But unlike Baba-Yaga, Kikimora has a dark and moody Adagio introduction with the bleakness and despair of Rachmaninov and the harmonic vagueness of Debussy. Thus, although Kikimora is for the most part merely a re-write of Baba-Yaga, its introduction shows that Lyadov could be more than a procurer for witches.
https://wn.com/Anatoly_Liadov_Kikimora,_Op._63_(1909)
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russian composer, teacher and conductor.
Please support my channel:
https://ko-fi.com/bartjebartmans
Kikimora for orchestra, Op. 63 (1909)
Dedication: Nikolay Tcherepnin (1873–1945)
USSR State Symphony Orchestra conducted by Evgeny Svetlanov
Lyadov apparently had a thing for witches: in his brief and desultory career as a composer, he wrote not one but two tone poems for orchestra depicting witches. The first is Baba-Yaga from 1904, a short and pseudo-spooky "picture from a Russian folk tale," and the second is Kikimora, a longer but still pseudo-spooky folk tale. Both are scored for full, late Romantic orchestra with a huge percussion section, including the obligatory xylophone, a prerequisite for evoking rattling skeletons. Like Baba-Yaga, the main body of Kikimora is a Presto replete with chromatic scales, woodwinds wails, and brass blasts. But unlike Baba-Yaga, Kikimora has a dark and moody Adagio introduction with the bleakness and despair of Rachmaninov and the harmonic vagueness of Debussy. Thus, although Kikimora is for the most part merely a re-write of Baba-Yaga, its introduction shows that Lyadov could be more than a procurer for witches.
- published: 24 Sep 2015
- views: 25497
3:35
Anatoly Liadov - Baba Yaga, Op. 56 (1904)
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russia...
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russian composer, teacher and conductor.
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Baba-Yaga, for orchestra, Op. 56 (1904)
Dedication: à Monsieur Vladimir Stassoff
USSR State Academy Orchestra conducted by Evgeny Svetlanov
Description by James Leonard
Nearly a decade since he first conceived the idea, Lyadov, the Oblomov of Russian composers, finally completed his three-and-a-half-minute tone poem Baba-Yaga in 1904. The archetypal Russian witch, Baba-Yaga is a small, gnomish creature whom Mussorgsky had previously depicted in music in "The Hut on Hen's Legs" from his Pictures at an Exhibition. Lyadov's "Picture from a Russian Folk-Tale" is set for large, late Romantic orchestra with numerous winds, brass, strings, a vast percussion section, and of course, the contrabassoon taking the witch's part. A pseudo-spooky evocation of the supernatural à la Dukas' contemporaneous Sorcerer's Apprentice, Lyadov's Baba-Yaga is clearly the basis of many of Hollywood's witches, but especially the Wicked Witch of the West from The Wizard of Oz with its shrieks in the woodwinds, its glissandos in the trombones, its chromatic runs in the strings, and its xylophone and bass drum.
https://wn.com/Anatoly_Liadov_Baba_Yaga,_Op._56_(1904)
Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; 12 May [O.S. 30 April] 1855 – 28 August [O.S. 15 August] 1914) was a Russian composer, teacher and conductor.
Please support my channel:
https://ko-fi.com/bartjebartmans
Baba-Yaga, for orchestra, Op. 56 (1904)
Dedication: à Monsieur Vladimir Stassoff
USSR State Academy Orchestra conducted by Evgeny Svetlanov
Description by James Leonard
Nearly a decade since he first conceived the idea, Lyadov, the Oblomov of Russian composers, finally completed his three-and-a-half-minute tone poem Baba-Yaga in 1904. The archetypal Russian witch, Baba-Yaga is a small, gnomish creature whom Mussorgsky had previously depicted in music in "The Hut on Hen's Legs" from his Pictures at an Exhibition. Lyadov's "Picture from a Russian Folk-Tale" is set for large, late Romantic orchestra with numerous winds, brass, strings, a vast percussion section, and of course, the contrabassoon taking the witch's part. A pseudo-spooky evocation of the supernatural à la Dukas' contemporaneous Sorcerer's Apprentice, Lyadov's Baba-Yaga is clearly the basis of many of Hollywood's witches, but especially the Wicked Witch of the West from The Wizard of Oz with its shrieks in the woodwinds, its glissandos in the trombones, its chromatic runs in the strings, and its xylophone and bass drum.
- published: 23 Sep 2015
- views: 28082
4:41
Anatoly Lyadov ‒ Barcarolle, Op.44
Anatoly Lyadov (1855 - 1914), Barcarolle, Op.44 (1898)
Performed by Monique Duphil
Lyadov was born in St. Petersburg into a family of eminent Russian musician...
Anatoly Lyadov (1855 - 1914), Barcarolle, Op.44 (1898)
Performed by Monique Duphil
Lyadov was born in St. Petersburg into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin.
He soon gave up instrumental study to concentrate on counterpoint and fugue, although he remained a fine pianist. His natural musical talent was highly thought of by, among others, Modest Mussorgsky, and during the 1870s he became associated with the group of composers known as The Mighty Handful. He entered the composition classes of Nikolai Rimsky-Korsakov, but was expelled for absenteeism in 1876. In 1878 he was readmitted to these classes to help him complete his graduation composition.
https://wn.com/Anatoly_Lyadov_‒_Barcarolle,_Op.44
Anatoly Lyadov (1855 - 1914), Barcarolle, Op.44 (1898)
Performed by Monique Duphil
Lyadov was born in St. Petersburg into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin.
He soon gave up instrumental study to concentrate on counterpoint and fugue, although he remained a fine pianist. His natural musical talent was highly thought of by, among others, Modest Mussorgsky, and during the 1870s he became associated with the group of composers known as The Mighty Handful. He entered the composition classes of Nikolai Rimsky-Korsakov, but was expelled for absenteeism in 1876. In 1878 he was readmitted to these classes to help him complete his graduation composition.
- published: 29 Jan 2016
- views: 4051