Russian classical music
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Russian classical music is a
Pyotr Tchaikovsky
.
Early history
In the period of
Ivan IV[1]
in the 16th century.
One of Russia's earliest music theorists was the Ukrainian
Kiev – after 1680, Moscow). Although several of his compositions survive, Diletsky's fame rests chiefly on his composition treatise, Grammatika musikiyskago peniya (A Grammar of Music[al Singing]), which was the first of its kind in Russia; there are three surviving versions of this work, of which the earliest dates from 1677. Diletsky's followers included Vasily Titov, whose most enduring composition was the prayer Mnogaya leta (Многая лета), or Bol'shoe mnogoletie (Большое многолетие), which was sung well beyond his time possibly because its relatively simple polyphony was more in line with the ideals of Classical music era. It was sung in Russian churches up to the October Revolution.[2]
18th and 19th century
In the 18th century,
Artem Vedel
who not only composed masterpieces of choral music but also included operas, chambers works and symphonic works.
The first great Russian composer to exploit native Russian music traditions into the realm of Secular music was
Ruslan and Lyudmila
. They were neither the first operas in the Russian language nor the first by a Russian, but they gained fame for relying on distinctively Russian tunes and themes and being in the vernacular.
The Mighty Five", headed by Mily Balakirev (1837–1910) and including Nikolai Rimsky-Korsakov (1844–1908), Modest Mussorgsky (1839–1881), Alexander Borodin (1833–1887) and César Cui (1835–1918), proclaimed its purpose to compose and popularize Russian national traditions in classical music. Among the Mighty Five's most notable compositions were the operas The Snow Maiden (Snegurochka), Sadko, Boris Godunov, Prince Igor, Khovanshchina, and symphonic suite Scheherazade. Many of the works by Glinka and the Mighty Five were based on Russian history, folk tales and literature, and are regarded as masterpieces of romantic nationalism
in music.
This period also saw the foundation of the
Peter Ilyich Tchaikovsky (1840–93), best known for ballets like Swan Lake, Sleeping Beauty, and The Nutcracker. He remains Russia's best-known composer outside Russia. Easily the most famous successor in his style is Sergei Rachmaninoff (1873–1943), who studied at the Moscow Conservatory (where Tchaikovsky himself taught). Alexander Glazunov
also took this romantic style.
The late 19th and early 20th century saw the third wave of Russian classics:
Soviet music
as well.
20th century: Soviet music
After the
Russian Revolution, Russian music changed dramatically. The early 1920s were the era of avant-garde experiments, inspired by the "revolutionary spirit" of the era. New trends in music (like music based on synthetic chords) were proposed by enthusiastic clubs such as Association for Contemporary Music.[4]
In the 1930s, under the regime of
" and soon removed from theatres for years).The music patriarchs of the era were
Union of Soviet Composers
was established in 1932 and became the major regulatory body for Soviet music.
21st century: Modern Russian music
The profile of "Classical" or concert hall music has to a considerable degree been eclipsed by on one hand the rise of commercial popular music in Russia, and on the other its own lack of promotion since the collapse of the USSR.[6] Yet a number of composers born in the 1950s and later have made some impact, notably Leonid Desyatnikov who became the first composer in decades to have a new opera commissioned by the Bolshoi Theatre (The Children of Rosenthal, 2005), and whose music has been championed by Gidon Kremer and Roman Mints. Meanwhile, Sofia Gubaidulina, amongst several former-Soviet composers of her generation, continues to maintain a high profile outside Russia composing several prestigious and well-received works including "In tempus praesens" (2007) for the violinist Anne-Sophie Mutter.
References
- ISBN 978-0-7546-3466-9
- ^ Dolskaya-Ackerly: p. 220.
- ^ "Russian Music before Glinka: A Look from the Beginning of the Third Millennium." Marina Ritzarev (Rytsareva), Bar-Ilan University
- ^ ISBN 978-0-271-02369-4
- ISBN 978-0-415-54620-1
- ^ See Richard Taruskin "Where is Russia's New Music?", reprinted in On Russian Music. Berkeley: University of California Press, 2009: p. 381
- Dolskaya-Ackerly, Olga. Vasilii Titov and the "Moscow" Baroque, JRMA, cxviii (1993), pp. 203–22.
- Jensen, Claudia R. A Theoretical Work of Late Seventeenth-Century Muscovy: Nikolai Diletskii's "Grammatika" and the Earliest Circle of Fifths, JAMS, xviii (1992), 305–31. (subscription required)
- Ritzarev, Marina. Eighteenth-century Russian music. Ashgate Publishing, Ltd., 2006. ISBN 978-0-7546-3466-9
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