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Russian and Soviet Music

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Author Topic: Russian and Soviet Music  (Read 23098 times)
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guest377
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« Reply #105 on: September 02, 2013, 05:11:45 pm »

The Goedicke Symphony upload has no link to allow downloading.

its now there.
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« Reply #106 on: September 02, 2013, 05:23:54 pm »

Thanks :)
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kyjo
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« Reply #107 on: September 02, 2013, 05:34:49 pm »

Many, many thanks for the Goedicke :) I have always longed to hear one of his symphonies :)
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guest377
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« Reply #108 on: September 02, 2013, 05:36:47 pm »

Note:  I put some Soviet era Georgian music under the downloads for Country of Georgia. 

Enjoy...
Dave
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guest264
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« Reply #109 on: September 04, 2013, 08:35:36 pm »

Thanks so much for the Goedicke symphony, I'd been looking for the piece for ages! It's
not quite as I expected, his musical style seems to have evolved from the pre-1900 pieces that
I have.
  Robert
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guest377
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« Reply #110 on: September 05, 2013, 02:31:03 am »

Thanks so much for the Goedicke symphony, I'd been looking for the piece for ages! It's
not quite as I expected, his musical style seems to have evolved from the pre-1900 pieces that
I have.
  Robert

you are welcome...its on the old CCCP label.. which is pre-melodiya and pre-MK
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« Reply #111 on: September 12, 2013, 11:15:56 am »

Many thanks for the Murad Kazhlayev Gorianka ("Daughter of the Mountains"), The First Suite from the Ballet,
This is a wonderful work, and I found myself listening to it five times yesterday while I was working.  I did some searching on him, and noticed he had a strong interest in Jazz. 
Then  I found this oddity.



I don't read cyrillic, but is this the same composer?

I can say in all honesty, I've never heard a big band/funk/psychedelic Bossa Nova album before.  It's almost as if Antonio Carlos Jobim and Funkadelic have teamed up for a Big Band album, but it works in its own way.  (Or maybe I have poor taste...) The person that posted it has also posted some soviet era surf albums----




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guest377
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« Reply #112 on: September 12, 2013, 08:15:00 pm »

yes in fact I have a jazz album on Melodiya of his.
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« Reply #113 on: September 13, 2013, 01:26:42 pm »

Since this discussion has branched out into Latin-influenced Azerbaijani jazz, here's a little bit of Rafiq Babaev:

  (youtube)

I was recently asked to translate the 'biographies' section of the new Dictionary of Azerbaijani Jazz
(not yet published).  Here's the section (reproduced with the permission of the publishers) on Babaev:

(NB this is NOT my text, and I can't take responsibility for its content or pedestrian style). I only translated the original material.

RAFIQ BABAEV
(1936 – 1994)

Rafiq Babaev was an outstanding leader in the world of Azeri jazz. He was a pianist, arranger and composer, whose name is inextricably linked with the rise of a national jazz style in Azerbaijan. He was a player who created a modern tradition, and encouraged a great number of young players. He always kept abreast of the times.

Even when people hadn't even thought of the idea of jazz-mugham as a genre of Azeri jazz, Rafiq had played his own composition “In The Bayaty-Kiurd Mode” in 1967 at the Tallinn International Jazz Festival – a piece in which he attempted to meld the declamatory style of mugham with jazz improvisation and structure. The radio jazz boffin Willis Conover gave this piece a glowing write-up, noting its mugham roots from the outset.
In the early 1970s, when there was no jazz-rock in Azerbaijan, and musicians all over the USSR were only just beginning to hear it, Babaev produced two amazing jazz-rock reworkings of Azeri folk melodies - “Gara gashyn vesmesi”, which translates roughly as “Dark eyebrows”, and “Dur gyal'”, approximating to “Come to me”. These experiments in jazz-rock prompted young musicians to go off in search of their own ideas for jazz-rock.

In the 1980s, when the role of soloists in the Baku Jazz Festival was becoming so prominent that the other instruments were just chugging away in the background, Rafiq tried the opposite, with a kind of ensemble-based jazz, with all the instruments contributing to the final result in their own significant way. This kind of jazz polyphony was used to great effect by the next generation of musicians – especially those who had taken composition courses.

In his final years, in the 1990s, Babaev experimented extensively with ethno-jazz, trying in each composition to combine jazz not only with mugham, but with all the other musical genres in Azerbaijani folklore. The result was a fascinating multi-layered synthesis, with astonishing freshness of colours – which laid down the basis for the kind of jazz that has followed it until the present day.
During his career Babaev wrote music for films, and for every possible combination of instruments with every kind of sound result.
Rafiq Babaev was born on 31st March 1936 in a family of a Party official called Farzi Babaev, and his wife Shakhbeinim Khanum. However, his father was remembered only anecdotally, since he had been arrested in 1937 for “anti-Party activities” and was shot as an “Enemy Of The People”.

Babaev began his artistic career with the stigma of being a “Son Of An Enemy Of The People”1 over his head.  A musical atmosphere reigned at home – in addition to Rafiq himself, three of his sisters and his elder brother all studied music. It was something that helped make up for their grief, and the extreme privations of their financial situation. Their mother did all she could to give the children the best kind of education and cultural upringing she could manage.

It was Babaev's older brother Oktai who first caught the jazz bug – a quite decent sax-player. An even greater influence were the radio broadcasts of Willis Conover on Voice Of America, in his program of jazz records. Yet even before Conover the brothers had already got their jazz fingers wet. At school in 1950 Rafiq had already formed a tiny jazz group, and played an American jazz piece for his exam at the strictly academic Music Academy in 1954. The culmination of this amusing academic background came in his Graduation Examination in 1959, when he was required to play the First Piano Concerto of Franz Liszt. When he reached the cadenza, instead of playing Liszt's solo passage, he played his own jazz improvisation. Professor Raouph Atakishev turned white on hearing it, declaring that “those notes aren't in Liszt's concerto!”.

While still a student at the conservatoire, Babaev began playing jazz programs in different nightclubs in Baku during the 1950s. In 1957 he gained notice throughout the USSR when he made a triumphant debut in the the World Youth & Student Festival in Moscow.
Overall, his performance in this Festival was a milestone in his career. After the festival, where he'd been heard by both Soviet and foreign musicians, Babaev gave more serious thought to what direction his own musical expression should take.  He began to be less interested in playing covers of Thelonius Monk, Bill Evans and Oscar Peterson, and was increasingly attracted in developing a musical language of his own.

He didn't have to search for long. The ancient strains of Azerbaijan's mugham music were beckoning him already.  After the festival, their moment had arrived. The search for an organic synthesis of jazz and mugham would henceforth occupy the rest of Rafiq's creative career.

This was especially so in the period during which he collaborated closely with the singer Rashid Behbudhov and his theatre songs, as musical director – a role he held, with small gaps, from 1966 to 1983.  He was also involved with mugham during his performances with the vocal group Gaya.

Finally in 1982 Babaev broke the jinx of being a “Son Of An Enemy Of The People” in 1982, and became a member of the Composer's Union of Azerbaijan. He added the job of artistic director and chief conductor of the Radio & Television Variety Symphony Orchestra in 1983.  He carried on his mugham-jazz synthesis exploration in his group Djangi, from 1991 onwards.

Babaev began his searches for this style by trying it out on the strictest festival juries. Everywhere – from Tallinn, Moscow, Kuibyshev to Tbilisi, in addition to walking off with the title of winner, he was showered in plaudits for the distinctive Babaev style. Occasionally it happened that the sounds of Babaev's jazz pieces was so very unusual that even professionals, gathering after the shows, began asking how it was actually possible? The highly-respected Moscow critic Alex Batashev, when Babaev's composition “Held Prisoner By Mugham”, was performed at the XII Moscow International Festival of Youth and Students in 1985, rushed backstage to find Babaev, and embrace him, saying “That was amazing! Fantastic! But tell me – how did you do it?”.

In fact it was done with daily rounds of working like a convict labourer. Babaev came from a background where nothing fell into his hands easily. He had to try things over and over again before they began sounding right. He hated coincidences, even in improvisation, and instead preferred endless thought and rehearsal. This is probably the reason why his music has a logical and intellectual feel.
Rafiq's musicians were as careful and thoughtful as he was himself. The composer and keyboardist Jamil Amirov said that Babaev didn't just work, or rehearse, but most of all, he TAUGHT.  He left behind him a real jazz 'school', whose members list-off as some of the most famous jazz-men in Azerbaijan - J. Amirov, S. Karimi, G. Stepanishev, A. Abbasov, EK Hasanov and Rauf Rain Sultanov, P. Adip, T. Dzhabbarov, B. Aliev, Cafaro, F. Ismailov.

Rafiq put out quite a few disks during his career. In 1966, the State All-Soviet Corporation Melodiya released “Jazz compositions based on melodies of George Gershwin, Louis Bonfil, Antony Hegarty, and Duke Ellington”. They also released Babaev's 1967 performance at the Tallinn Jazz Festival.  In 1970 they put out “Improvisations on tunes in Raouph Gajiev's operetta Cuba, Mon Amour”.  Melodiya also released a posthumous album called “Nostalgia”, put together by Amirov and Kerim.

After his death a number of further discs and records of Babaev's work were issued. The most complete of these was a set of eight cds, issued in 2008 by the Heydar Aliyev Foundation.

Babaev's death was tragic, sudden, and terrifying. He was blown up in a metro train that was bombed by Armenian terrorists on 19th March 1994.
Rafiq Babaev was a People's Artiste of Azerbaijan.
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« Reply #114 on: October 06, 2013, 07:34:04 pm »

Music of Igor Stravinsky


From the collection of Karl Miller

These are two large collections of works by Stravinsky here, totaling more than 25 CDs worth of music.  Rather than reproduce the contents here, I'll suggest you hurry over to the downloads section ASAP!!  I've listed him under Russian composers, but if there ever was an international composer, this was the man.


  • Stravinsky, the Man and the Music, the complete radio series.
  • Music of Stravinsky from Karl's Collection. 


 To my knowledge none of these works have been made commercially available in digital form.


In terms of extra information, let me offer the following. The infamous "mug shot" above is really Stravinsky's visa photo, as his contraversial arrangement of the Star spangled banner occurred in 1944- and it was not clear that he was ever arrested. So the notion that this was his mug shot is clearly an urban legend.   

ALso, a little more about the Jim Svedja radio series-- it is divided into 10 programs, and a set of LPs was pressed for each of the radio stations.  The world Cat listing for this collection is below:

On cover: Educational Broadcasting Associates presents ...
Complete transcriptions of radio broadcasts, featuring various interviews, narrative text, and musical examples by various performers; narrated by Jim Svejda.

14 sound discs : analog, 33 1/3 rpm, stereo. ; 12 in.

  • Program 1: Stravinsky the man (3 sides) --
  • Program 2: The character of the music (3 sides) --
  • Program 3: The Swiss years (3 sides) --
  • Program 4: The French years (3 sides) --
  • Program 5: The creative process (3 sides) --
  • Program 6: Stravinsky in America (3 sides) --
  • Program 7: Stravinsky the conductor (3 sides) --
  • Program 8: The serial years (3 sides) --
  • Program 9: Russian retrospective (3 sides) --
  • Program 10: The final years (3 sides).


This is listed out of stock at http://www.shugarecords.com, but the price for a used version is $1125.


Format 12" LP - 33 rpm
Year Pressed 1977
Record Label Educational Media Associates
Catalog # EMA 103
Country United States







Coming up next-- a staggering 22 disc compilation of works by a very prolific, underrecorded American composer-- two months in the making!!







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« Reply #115 on: October 15, 2013, 10:12:41 pm »

Just listening to the Concerto-Symphony by Alexandrov. Thank you so much for this!
It is a great pleasure to hear my friend the brilliant VIKTOR BUNIN play this. He knew Alexandrov well, having met him through his teacher FEINBERG, whose music Viktor Vladimirovich has done much to promote. He invited me several times to Moscow to play in concerts in the Conservatoire in his teacher's memory. Once Merzhanov came to congratulate me. I have played a few of Alexandrov' pieces. There is one live recording on Danacord of a Nocturne.
A real pleasure to be amongst such generous and learned music-lovers!
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kyjo
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« Reply #116 on: October 15, 2013, 10:17:39 pm »

Just listening to the Concerto-Symphony by Alexandrov. Thank you so much for this!
It is a great pleasure to hear my friend the brilliant VIKTOR BUNIN play this. He knew Alexandrov well, having met him through his teacher FEINBERG, whose music Viktor Vladimirovich has done much to promote. He invited me several times to Moscow to play in concerts in the Conservatoire in his teacher's memory. Once Merzhanov came to congratulate me. I have played a few of Alexandrov' pieces. There is one live recording on Danacord of a Nocturne.
A real pleasure to be amongst such generous and learned music-lovers!

Bobyor, you might be interested to know that many of Alexandrov's piano pieces have been uploaded to YouTube (with score) on the channel of "fyrexianoff". Also, another channel uploaded a recording of his Piano Concerto, op. 174.
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« Reply #117 on: October 15, 2013, 10:24:36 pm »

Hamish Milne recordings? But there's also Yakov Zak! I'll post my first sonata here (not perfect, but acceptable ...)
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kyjo
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« Reply #118 on: October 15, 2013, 11:12:53 pm »

Hamish Milne recordings? But there's also Yakov Zak! I'll post my first sonata here (not perfect, but acceptable ...)

Yes, but there's also non-commercially-available recordings on YT played by the composer, among others.
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« Reply #119 on: October 16, 2013, 05:13:54 am »

Just listening to the Concerto-Symphony by Alexandrov. Thank you so much for this!
It is a great pleasure to hear my friend the brilliant VIKTOR BUNIN play this. He knew Alexandrov well, having met him through his teacher FEINBERG, whose music Viktor Vladimirovich has done much to promote. He invited me several times to Moscow to play in concerts in the Conservatoire in his teacher's memory. Once Merzhanov came to congratulate me. I have played a few of Alexandrov' pieces. There is one live recording on Danacord of a Nocturne.
A real pleasure to be amongst such generous and learned music-lovers!

Yes, and another happy of Viktor Bunin from me - an extraordinary teacher, a wonderful pianist, and a charming man.
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