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The khromka (хромка) was invented in 1870 in Tula by Russian musician Nikolay Beloborodov. It was a unisonoric (like the bayan or piano accordion), diatonic accordion but on the right keyboard there were also two or three chromatic buttons, usually g 1 ♯, d 2 ♯, f 2 ♯, hence the name khromka.
The Keyboard Gusli ["Claviroobraznie Gusli" | (Russian: Клавирообразные гусли)] is a heavily strung 19th-century variant with an iron frame, supported on a stand or with table legs. It has a one-octave piano-type chromatic keyboard. Pressing a key raises the dampers on all strings of that note.
Richter's father, Teofil, c. 1900 Richter was born in Zhytomyr, Volhynian Governorate, in the Russian Empire (modern-day Ukraine), the hometown of his parents.His father, Teofil Danilovich Richter [] (1872–1941), was a pianist, organist and composer born to German expatriates, who from 1893 to 1900 studied at the Vienna Conservatory.
Andrei Gavrilov was born into a family of artists in Moscow.His father was Vladimir Gavrilov (May 30, 1923 – December 4, 1970), one of the eminent Russian painters during the middle of the 20th century, through whom Gavrilov also has German ancestors.
Khromka (Russian: хро́мка, khromka) is a type of Russian garmon (unisonoric diatonic button accordion). It is the most widespread variant in Russia and in the former USSR . Nearly all Russian garmons made since the mid of the 20th century are khromkas.
prepared piano, i.e. introducing foreign objects into the workings of the piano to change the sound quality; string piano, i.e. hitting or plucking the strings directly or any other direct manipulation of the strings; sound icon, i.e. placing a piano on its side and bowing the strings with horsehair and other materials
Konus (far left) with Anton Arensky and two other classmates from the Moscow Conservatory: Nikita Morozov and Sergei Rachmaninoff. Lev Eduardovich Conus (Russian: Лев Эдуа́рдович Коню́с, Lev Eduárdovich Konyús), known in Western Europe and the US as Leon Conus (1871–1944), was a Russian pianist, music educator, and composer.
In his compositions, he fused the traditions of both classical piano repertoire and improvisational jazz, combining jazz idioms and classical music structures. [6] [7] [8] His Suite in the Old Style, Op. 28, written in 1977, sounds like jazz improvisation but is modeled after Baroque suites such as Johann Sebastian Bach's keyboard partitas.