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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 ...
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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.
Tchaikovsky's interest resulted in his Second Symphony, composed in 1872. Because Tchaikovsky used three Ukrainian folk songs to great effect in this work, it was nicknamed the "Little Russian" (Russian: Малороссийская, Malorossiyskaya) by Nikolay Kashkin, a friend of the composer as well as a well-known musical critic of Moscow. [9]
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).
Moreover—and this is what amazed contemporaries about the work—the music included folk songs and Russian national idioms, incorporating them into the drama. Glinka meant his use of folk songs to reflect the presence of popular characters in the opera, rather than an overt attempt at nationalism. [22] Nor do they play a major part in the ...
The original version of the song, written by Vasily Zhukovsky and Egor Fyodorovich Rozen, praised the Tsar and the Russian Tsardom, while the latter version by Sergey Gorodetsky was one of a patriotic form and is sometimes regarded as the unofficial anthem of Russia in the 20th century and even today.
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.