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Glinka composing Ruslan and Lyudmila, by Ilya Repin. As with A Life for the Tsar, Ruslan employs some aspects of Russian folk music; it is also noted for imaginative use of dissonance, chromaticism, and Eastern elements. Of particular consequence is the use of the whole tone scale for the first time in Russian music. [5]
Mikhail Ivanovich Glinka (Russian: Михаил Иванович Глинка [a], romanized: Mikhail Ivanovich Glinka [b], IPA: [mʲɪxɐˈil ɨˈvanəvʲɪdʑ ˈɡlʲinkə] ⓘ; 1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country and is often regarded ...
Pages in category "Works with IMSLP links" ... 1812 Overture; List of compositions by Franz Schubert (1813) ... 1890 in music; 1913 in British music; A. A Fugal Overture;
The Werner Icking Music Archive (often abbreviated WIMA) is a web archive of liberally licensed sheet music of public domain music. The scores are electronically typeset by volunteers and distributed in PDF, often accompanied by their typesetting files. WIMA continues the defunct GMD Music Archive and is named after its founder, the late Werner ...
Chamber music: 71: 1824: Квартет D-dur: String Quartet in D major: for 2 violins, viola and cello: Chamber music: 52: 1825–1828: Соната для фортепьяно и альта: Sonata in D minor: for viola and piano: unfinished (2 movements only); movement II completed by Vadim Borisovsky in 1932 and Bart Berman in 1999 Chamber ...
From 2007 to 2015, the IMSLP / Petrucci Music Library used a logo based on a score. The score image in the background was taken from the beginning of the first printed book of music, the Harmonice Musices Odhecaton. It was published in Venice, Italy in 1501 by Ottaviano Petrucci, the library's namesake. [5] [non-primary source needed]
In keeping with Glinka's European training, much of A Life for the Tsar was structured according to conventional Italian and French models of the period. Nevertheless, several passages in the opera are based on Russian folk songs or folk melodic idioms that become a full part of the musical texture.
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