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Belarusian Music

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Author Topic: Belarusian Music  (Read 5180 times)
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« Reply #30 on: August 17, 2016, 04:24:51 pm »

I have posted up some works by Mikalai Aladau (1890-1972).

("Aladov" in Russian)

From Wikipedia (google translate):

Nikolai Aladov (9 December (21 December on the Gregorian calendar) 1890, St. Petersburg - 4 snezhnya 1972 Minsk, Belarus) - Belarusian composer and teacher. People's Artist of the Byelorussian SSR (1955).

In 1910 he graduated from the St. Petersburg Conservatory externally. During the Civil War, he worked in East Conservatory in Kazan, and in 1923 at the State Institute of Musical Sciences in Moscow. He was a song-Belarusian commission. He arrived in Minsk in 1924. One of the founders and first teachers of the Belarusian Music College and Conservatory. Since 1946 - Professor, and in the years 1944-1948 - Director of the Conservatory. In 1932 he participated in the creation of the Belarusian composers' organization. [1] During the war, in 1941-1944 he taught at the Saratov Conservatory.

He worked in many genres of music. His works of the 1920s and 1930s laid the foundation for many of the Belarusian professional music genres: processing folk songs, cantatas, vocal and symphonic poem, chamber and instrumental ensemble romance. He gave the first in the Belarusian music samples dramatic (first, 1930) and the lyric-psychological (fourth, 1953-54, and the fifth, 1956) Symphony. Comprehensive solutions distinctive genre opera "Taras on Parnassus" is defined by the author as music and drama joke in one act and written by Belarusian anonymous poem "Taras on Parnassus" and "Eneida inside out" and the poem V.Dunina-Marcinkiewicz "Hapon". [1 ]

Key shaped creative industries - lyric and dramatic. psychological and lyrical epic genre. An important place in the musical heritage occupy gumarystyyachnyya and satirical images. The composer characterized symfanichnasts musical thinking, extensive use of polyphony, proactive approach to folk material. Editor of many music publications (including works M.Churkina and R.Puksta), collector and researcher of Belarusian, Mari, Chuvash and Yakut folklore.

For the first time I met with the Yanka Kupala in September 1923, when Kupala with friends Inbelkult attended the All-Union Agricultural Exhibition in Moscow and became acquainted at that time with the literary and the musical community of the Russian capital. Domes Aladova interested in creativity, befriended him and helped move the composer in Minsk. Between the families of Kupala and Aladova established friendly relations. In 1923 he wrote his first songs on poems by Kupala "Byasputnasts", "C linden and birch broom", "summer", which is selected from the collection of the "Heritage", donated by the poet. Set to music many poems Kupala. [3]

The largest work on the words Kupala - vocal-symphonic poem for 5 soloists, choir and symphony arkestru "Over the River Aresay" (1933). The first work was performed by soloists, chorus and symphony arkestru Belarusian Radio under the direction of Aladova May 28, 1935 during the celebration of the 30th anniversary of the literary activity of Kupala.

Symphony (1921, 1930, 1951, 1953-54, 1956, 1960, 1963, 1965, 1967 1971)
Fortepiyanny Quintet (1925)
Cantata "10 Years" (1927)
Opera "Taras on Parnassus" (1927)
The vocal-symphonic poem "Over the River Aresay" (1933)
The collection of songs on poems by Kupala and Maxim Bogdanovich
Symphonic Poem "From the diary of a partisan" (1942)
Symphony-ballad "In the grim days" (1942)
Opera "Andrew Kosten" (1947)
Cantata "Forty Years" (1947)
Suites fantasy for symphony arkestru (1950)
Concert Fantasy for Violin and Orchestra (1950)
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