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While the contributions of the Russian nationalistic group The Five were important in their own right in developing an independent Russian voice and consciousness in classical music, Tchaikovsky's formal conservatory training allowed him to write works with Western-oriented attitudes and techniques, showcasing a wide range and breadth of technique from a poised "Classical" form simulating 18th ...
Brown, David, Tchaikovsky: The Man and His Music (New York: Pegasus Books, 2007). ISBN 0-571-23194-2 . Maes, Francis, tr. Arnold J. Pomerans and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002).
Tchaikovsky's complete range of melodic styles was as wide as that of his compositions. Sometimes he used Western-style melodies, sometimes original melodies written in the style of Russian folk song; sometimes he used actual folk songs. [142] According to The New Grove, Tchaikovsky's melodic gift could also become his worst enemy in two ways.
While Tchaikovsky himself used folk songs in some of his works, for the most part he tried to follow Western practices of composition, especially in terms of tonality and tonal progression. Also, unlike Tchaikovsky, none of The Five were academically trained in composition; in fact, their leader, Balakirev, considered academicism a threat to ...
Here Tchaikovsky harnessed the harmonic, melodic and rhythmic quirks of Ukrainian folk music to produce an opening movement massive in scale, intricate in structure and complex in texture—what Brown calls "one of the most solid structures Tchaikovsky ever fashioned" [47] —and a finale that, with the folk song "The Crane" offered in an ever ...
Sea Songs; Second Suite in F for Military Band; Serenade for Strings (Tchaikovsky) Six Studies in English Folk Song; Sonatina (Bartók) St Paul's Suite; String Quartet No. 1 (Tchaikovsky) Suite from Henry V; Suite paysanne hongroise; Symphony in E-flat (Stravinsky) Symphony No. 1 (Mahler) Symphony No. 1 (Tchaikovsky) Symphony No. 2 (Penderecki)
Glinka uses the principle from folk song of allowing the musical structure to unfold around a thematic constant—or actually two constants, since he uses two folk songs. [10] He varies the background material surrounding these songs more than the songs themselves— orchestral color (timbre) , harmonization , counterpoint .
It is based on the traditional Russian [2] and Ukrainian folk dance also called the trepak. The piece is part of the Divertissement in Act II, Tableau III. [citation needed] The other character dances in this divertissement are: Chocolate (Spanish dance), Coffee (Arabian dance) and Tea (Chinese dance). Tchaikovsky's Trepak is written in AABA form.