divendres, 19 de juny de 2015

TANEYEV, Sergei Ivanovich (1856-1915) - John of Damascus, Op. 1

Konstantin Egorovich Makovsky - Mermaids (1885)
Obra de Konstantin Makovsky (1839-1915), pintor rus (1)



- Recordatori de Sergei Ivanovich Taneyev -
En el dia de la commemoració del seu 100è aniversari de decés



Parlem de Pintura...

Konstantin Jegorowitsch Makowski [Константин Егорович Маковский] (Moscou, 20 de juny de 1839 - Petrograd, 17 de setembre de 1915) va ser un pintor rus. El 1851 va entrar a l'Escola de Pintura, Escultura i Arquitectura de Moscou. El 1858 es va matricular a l'Acadèmia de Belles Arts de Sant Petersburg. L'any 1873 va pintar el famós quadre "Els nens que fugen de la tempesta". Més tard va viatjar a Egipte i Sèrbia. El resultat d'aquestes visites van ser pintures com "Els màrtirs búlgars" que va rebre el reconeixement internacional. A principis del 1880 es va inclinar pel retrat, convertint-se en un dels retratistes de moda a Rússia. Més tard va organitzar exposicions personals de les seves pintures. A l'Exposició Universal de París del 1889, va rebre una medalla d'or per les seves obres "La mort d'Ivan el Terrible", "Demon i Tamara" i "El Judici de París". Va morir a Petrograd el setembre de 1915.

Font: En català: No disponible En castellano: Konstantin Makovsky (1839-1915) In english: Konstantin Makovsky (1839-1915) - Altres: Konstantin Makovsky (1839-1915)



Parlem de Música...

Sergei Ivanovich Tanéyev (Vladímir, 25 de novembre de 1856 - Diudkovo, 19 de juny de 1915) va ser un compositor, pianista i pedagog rus. Va ser un brillant alumne que va obtenir la medalla d'or en el Conservatori de Moscou, tenint com a mestres a Txaikovski i a Nicolai Rubinstein, aquest últim fundador del Conservatori. Va tenir una agitada vida cultural i social, ja que va contactar a París amb els escriptors Iván Turgénev i Gustave Flaubert, i amb els compositors César Franck i Camille Saint-Saëns. De tornada a Rússia va exercir la pedagogia fins el 1905, tenint com a alumnes a Scriabin, Rakhmàninov, Glière i Medtner. Va viure una temporada (els estius de 1895 i 1896), a la casa de l'escriptor Lev Tolstoi, on va travar una relació massa íntima amb la seva esposa. Aquesta relació va quedar plasmada per Tolstoi en la seva novel·la La Sonata Kreutzer. Entre les seves composicions destaquen, nou quartets de corda, un quintet amb piano, dos quintets de corda, obres de cambra, quatre simfonies (una d'elles incompleta), un conjunt concertant per a violí, un concert per a piano, i dues cantates, "Sant Joan de Damasc o Un Rèquiem Rus"op. 1 i "A la lectura del salm" op. 36. El compositor Pyotr Ilyich Tchaikovsky, que va ser el seu gran admirador, li va confiar l'estrena dels seus dos primers concerts per a piano. En els seus últims anys va tenir problemes amb l'alcohol, morint de pneumònia el juny de 1915 a Diudkovo, una ciutat propera a Moscou, i poc després d'assistir al funeral del seu alumne Alexander Scriabin.

OBRA:

unless otherwise stated, place of publication Moscow

Vocal:

Stage:
Oresteya [The Oresteia] (musical trilogy, A.A. Venkstern, after Aeschylus), 1887–94, St Petersburg, Mariinsky, 29 Oct 1895 (Leipzig, 1900)

Choral:
with orchestra:
Slava N.G. Rubinshteynu [Glory to N.G. Rubinstein] (Y. Samarin), 4 solo vv, chorus, orch, 1874 [based on Russ. folksong Slava Bogu na nebe]
Ya pamyatnik sebe vozdvig nerukotvornïy [I Have Built myself a Monument not Made by Hands] [Cantata for the Unveiling of the Moscow Pushkin Memorial in 1880] (A.S. Pushkin), E , chorus, orch, 1880, ed. G.L. Yavorsky (1937)
Ioann Damaskin [John of Damascus] (A.K. Tolstoy), cant, chorus, orch, op.1, 1883–4 (1886)
Po prochtenii psalma [At the Reading of a Psalm] (A.S. Khomyakov), cant, 4 solo vv, chorus, orch, op.36, 1912–15, vs (1923), fs ed. I. Iordan, G. Kirkov (1960)

with other accompaniment:
Kvartet chinovnikov [Civil Servants' Quartet], 1v, chorus, str qt, 1879
Apofeoz khudozhnika [Apotheosis of the Artist] (Taneyev), cant, B, chorus, pf, 1881
see also no.1 of 2 Trios, BBB, and no.16 of 16 Choruses below

unaccompanied:
Bozhe! bud' milostiv k nam [God be Merciful unto Us], 1874–5
Sosna [The Pine] (M.I. Lermontov), SATB, 1877 (1940)
Serenada (A.A. Fet), SATB, 1877 (1952)
Venetsiya noch'yu [Venice at Night] (Fet), SATB, 1877, rev. 1880 as no.1 of 3 Choruses, male vv
Fugue on a Russian Folksong, 1879
Niderlandskaya fantasiya na russkuyu temu [Netherlandish Fantasia on a Russian Theme] (textless), 12vv/?solo vv, 1880 [based on no.12 in Balakirev's folksong collection]
Kheruvimskaya [Cherubim's Song], SSATBB, 1880
Ceremonial Chorus for the Arrival of Guests, STBB, 1880
Three Choruses, male vv, 1880 (1881): Venetsiya noch'yu; Noktyurn (Fet); Vesyolïy chas [A Happy Hour] (A.V. Kol'tsov)
Lech' bï v krovati [I Want to Lie in Bed] (Taneyev), comic canon, 1880
Irmos [First Verse] from the First Hymn of Epiphany, SATB, 1881
Two Comic Fugues (K. Prutkov), 1880: Fontan [The Fountain], ABarB, ed. (1981);
Spetsialist podoben flyusu [A Specialist is Like a Gumboil], ATB
Odnazhdï k popad'ye [Once to a Priest's Wife] (Prutkov), BBB, 1880, ed. (1981)
Pesnya korolya Regner [King Regner's Song], male vv, 1881 (1882)
Vechernyaya pesnya [Evening Song] (Khomyakov), male vv, 1881 (?1882)
Fugue, c, SATB/?solo vv, 1883
Three Sacred Pieces, 1883: Khvalite imya Gospodne [Praise the Name of the Lord], 5vv;
Tvoryay angelï svoya [He Who Makes His Angels], 4vv;
Spaseniya sodelal yesi [Though Hast Brought Salvation], 6vv [on a theme from the Ordinary]
Madrigal (Taneyev), SAB, 1884, ed. (1981)
Slava Kirillu i Mefodiyu [Glory to Cyril and Methodius], 1885
Syadu zavtra ya k okoshechku [Tomorrow I Shall Sit by the Little Window] (Taneyev), romance, 4vv/solo vv, 1887
Srazhennïy rïtsar' [The Knight Struck Down] (Pushkin), BBBB, 1887, ed. (1981)
Two Trios (G.R. Derzhavin), BBB, 1887, ed. (1981): Skromnost' [Modesty], with pf;
Raznïye vina [Different Wines]
Ėkho [The Echo] (Pushkin), SATBB, 1888
Three Comic Canons for Leonid Sabaneyev (Esperanto texts), chorus/?solo vv, 1895
Voskhod solntsa [Sunrise] (F. Tyutchev), op.8, by 1897 (Leipzig, 1898)
Iz kraya v kray [From Border to Border] (Tyutchev), op.10, double chorus, 1898–9 (Leipzig, 1899)
Two Choruses, op.15, 1900 (Leipzig, 1904): Zvyozdï [Stars] (Khomyakov);
Al'pï [The Alps] (Tyutchev)
Two Choruses, SATBB: Tï konchil zhizni put', geroy [You Have Finished Life's Journey, O Hero], ?1909;
Solntse nespyashchikh [Sun of the Sleepless] (Byron), 1910, ed. (1981)
Twelve Choruses (Yu.P. Polonsky), op.27, 1909 (1910–11):
Na mogile [On the Tomb]; Vecher [Evening];
Razvalinu bashni [The Tower's Ruin];
Posmotri, kakaya mgla [Behold, what Darkness];
Na korable [On the Boat]; Molitva [Prayer];
Iz vechnosti muzïka vdrug razdalas' [Music Suddenly Sounded from Eternity];
Prometey [Prometheus]; Uvidal iz-za tuchi utyos [From Behind the Cloud I Saw a Rock];
Zvyozdï [Stars]; Po goram dve khmurïkh tuchi [Two Sullen Clouds Among the Mountains];
V dni, kogda nad sonnïm morem [On a Day When Over the Sunny Sea]
Sixteen Choruses (K. Bal'mont), male vv, op.35, 1912–13, nos.1–4, 9–12 (1914): Tishina [Stillness]; Priimaki [Visions];
Sfinks [Sphinx]; Zarya [Dawn];
Molitva [Prayer];
V prostrantsvakh ėfira [In the Expanses of the Ether];
I son i smert' [Both Sleep and Death];
Nebesnaya rosa [The Dew of Heaven];
Myortvïye korabli [Dead Ships];
Zvuki priboya [Sounds of the Surf];
Morskoye dno [The Sea Bed];
Morskaya pesnya [Sea Song];
Tishina [Stillness];
Gibel' [The Wreck];
Belïy lebed' [The White Swan];
Lebed' [The Swan], with vn

vocal ensembles:
with piano; see also choral works that may be performed by solo voices

quartets
Adeli [To Adèle] (A.S. Pushkin), 4 B, 1887, rev. as op.24 no.2
Two Quartets (Pushkin), 2 S, A, T, op.24 (1908): Monastïr na Kazbeke [The Monastery on the Kazbek], 1907;
Adeli [To Adèle], 1887, rev. 1907

trios
Two Trios (A.N. Maykov), T, Bar, B, 1880, ed. (1966): O chyom v tishi nochi tainstvenno mechtayu? [Of What Do I Secretly Dream in the Quiet of the Night?];
Ya v grote zhdal tebya [I Waited for You in the Grotto]
Ne ostïvshaya ot znoyu [Still Sweltering from the Heat] (Tyutchev), S, A, T, 1907 [orig. no.3 of 4 terzettos, the others pubd as op.23], as chorus (1977)
Three Terzettos (Tyutchev), S, A, T, op.23, 1907 (1908): Sonet Mikel-Andzhelo;
Rim noch'yu [Rome at Night];
Tikhoy noch'yu [In the Silent Night]
S ozera veyot [It Blows from the Lake] (Tyutchev, after F. Schiller), S, A, T, op.25, 1881, rev. 1909, also orchd

duets
V vechernem sumrake dolina [The Valley, in the Evening Twilight] (N.P. Ogarev), 2 B, 1877 (1979)
Two Duets (Fet), 2 B, 1879, ed. (1981): Vecher u vzmor'ya [Evening by the Seashore];
Rastut, rastut prichudlivïye teni [The Fantastic Shadows Grow and Grow]
Iz Shillera [From Schiller] (Tyutchev), T, B, 1881
Polden' [Noon] (Tyutchev), A, B, 1881, ed. (1981)
Kak nezhish' tï! [How Spoiled You Are!] (Fet), T, B, 1883, rev. as op.18 no.1
Two Duets (Pushkin), 2 B, 1884: Solovey [The Nightingale], ed. (1981);
Bakhicheskaya pesnya [Bacchic Song], rev. as op.18 no.2
Two Duets, 2 B, 1886, ed. (1981): Nochnoy zefir [The Night Zephyr] (Pushkin);
Vesnoy, volshebnoyu vesnoy [In Enchanted Spring] (N.P. Grekov)
Blizost' vesnï [The Approach of Spring] (V.A. Zhukovsky), S, A, 1891, ed. (1981)
Two Duets (Lermontov), S, A, 1891: Sosna [The Pine] (1952);
Gornïye vershinï [Mountain Summits], ed. (1963)
Two Duets, op.18 (Leipzig, 1906), also orchd: Kak nezhish' tï [How Spoiled You Are!] (Fet), Mez, T, 1883, rev. 1900;
Bakhicheskaya pesnya [Bacchic Song] (Pushkin), T, B, 1884, rev. 1905

songs
with piano unless otherwise stated
Letn'aya noch' [Summer Night] (Grekov), 1874, ed. (1979)
Izmenoy sluga paladina ubil [With Treachery the Servant Slew the Paladin] (Zhukovsky), 1874, ed. (1979)
Luna na nebe golubom [The Moon in a Blue Sky] (N.M. Yazikov), S, 1876, ed. (1979)
Chto tebe v imeni moyom? [What's in My Name for You?] (N.), eclogue, S, 1877
Three Songs, 1877, ed. (1979): C'était au milieu de la nuit (T.S. Sikorskaya, after Sully-Prudhomme);
Moy tyazhkiy grekh [My Grave Sin] (A. Borovikovsky);
Lyudi spyat [The World is Asleep] (Fet), rev. as op.17 no.10
Nakhodka [The Godsend] (V.P. Kolomitsova, after Goethe), 1878 (1922)
Starïy rïtsar' [The Old Knight] (Zhukovsky), ballad, S, c1870–80 (1979)
Iz srednevokovoy zhizni [From Medieval Life] (Taneyev), end of 1870s (1979)
Golos v lesu [A Voice in the Forest] (Maykov), T, 1880, ed. (1965)
Three Songs (Taneyev), v, pf, hp, 1882, ed. (1979): Vstanu ya s voskhodom solntsa [I Rise at Sunrise];
Zhil odnazhdï chelovechek [There Once Lived a Little Man];
Raz vecherkom gulyal ya [One Evening I Strolled]
Ne veter veya s vïsotï [Not the Wind Blowing from the Heights;
Serenade on the Departure of the Marquise de Fige] (A.K. Tolstoy), B, 1884, rev. as op.17 no.5
Kolïshetsya more [The Sea Heaves] (A.K. Tolstoy), B, 1884, ed. (1979)
Iz Gafiz [From Hafiz] (F.I. Maslov), Bar, 1886, ed. (1979)
K ney [To Her] (Fet), 1890, ed. (1979)
Iz Shelli [From Shelley] (Bal'mont, after P.B. Shelley), 1895: Mechtï v odinochestve vyanut [Dreams Wither in Solitude];
Pust' otzvuchit [Let it Sound no More]; rev. as op.17 nos.2–3
Kolibel'naya pesnya [Cradle Song] (Bal'mont, after Shelley), 1896 (1916)
Sonoriloi di vespero [The Evening Bell] (Esperanto text), ?1894–6
Se premas min dolore (Esperanto text, after Lermontov: Molitva [Prayer]), 1896
Two Romances, v, pf, mand, op.9 (Leipzig, 1899) [after choruses of 1877]: Venetsiya noch'yu, 1897;
Serenada (Khomyakov), 1896
Ten Romances, op.17 (Leipzig, 1905): Ostrovok [The Island] (Bal'mont, after Shelley), 1901;
Mechtï v odinochestve vyanut [Dreams Wither in Solitude], 1895, rev. 1905;
Pust' otzvuchit [Let it Sound] (Bal'mont, after Shelley), 1895, rev. 1903;
Blazhennïkh snov ushla zvezda [The Star of the Blessed Ones Again Disappeared] (Bal'mont, after Shelley), 1905;
Ne veter veya s vïsotï [Not the Wind Blowing from the Heights] (A.K. Tolstoy), 1884, rev. 1903;
Kogda, kruzhas', osenniye listï [When the Whirling Autumn Leaves] (Ellis, after L. Stecchetti), 1905;
Noktyurn: Aromatnoy vesenney noch'yu [Nocturne: In the Scented Autumn Night] (N.F. Shcherbina), 1878, rev. 1905;
V dïmke nevidimke [In the Invisible Mist] (Fet), 1883;
B'yotsya serdtse bespokoynoye [The Restless Heart is Beating] (N.A. Nekrasov), 1883, rev. 1905;
Lyudi spyat, 1894
Ten Romances from Ellis's Immortelles, op.26, 1908 (1909): Rozhdeniye arfï [The Birth of the Harp] (after Moore);
Canzone XXXII (after Dante), later arr. with pf trio; Otsvetï [Reflections] (after M. Maeterlinck);
Muzïka (after C. Baudelaire);
Lesa dremuchiye [Dense Woods] (after Baudelaire);
Stalaktitï [Stalactites] (after Sully-Prudhomme);
Fontanï [Fountains] (after G. Rodenbach);
I drognuli vragi [And the Enemy Trembled] (after J.-M. de Heredia);
Menuet (after C. D'Orias);
Sredi vragov [Among the Foe] (after F. Nietzsche)
Four Songs (Polonsky), op.32, 1911 (1911): V godinu utratï [In Time of Loss];
Angel; Moy um podavlen bïl toskoy [My Mind was Crushed by Melancholy];
Zimnïy put' [The Winter Road]
Five Songs (Polonsky), op.33, 1911 (1912): Noch' v gorakh Shotlandii [Night in the Mountains of Scotland]; Svet voskhodyashchikh zvyozd [The Light of the Rising Stars];
Potseluy [The Kiss];
Chto mne ona? [What is She to Me?];
Uznik [The Prisoner]
Seven Songs (Polonsky), op.34, 1911–12 (1912): Posledniy razgovor [The Last Talk];
Ne moi li strasti? [Are they Set on my Passions?];
Maska [The Mask];
Lyubya kolos'yev myagkiy shorokh [Loving the Soft Rustle of the Ears of Corn];
Posledniy vzdokh [The Last Sigh];
Noch' v Krïmu [Night in the Crimea];
Moyo serdtse – rodnik [My Heart is a Spring]

Instrumental:

Orchestral:
Quadrille, D, small orch, 1872–3
Symphony [no.1], e, 1873–4, ed. P. Lamm (1948)
Overture, g, 1874–5
Overture, d, 1875, ed. G. Kirkor (Moscow, 1955)
Adagio, C, ?1875, ed. P. Lamm (Moscow, 1950)
Piano Concerto, E , 1875–6, ed. P. Lamm (1953) [2 movts only]
Symphony [no.2], b , 1877–8, ed. V. Blok (Moscow, 1977) [3 movts only]
Overture on a Russian theme, C, 1882, ed. P. Lamm (1948) [based on no.10 in Rimsky-Korsakov’s folksong collection, op.24]
Canzona, f, cl, str, 1883, ed. P. Lamm, A. Semenov (1947)
Symphony [no.3], d, 1884, ed. B.L. Yavorsky (1947)
Overture to Oresteya, op.6, 1889 (Leipzig, 1897)
Symphony for children’s insts, ?1895
Symphony no.4, c, op.12, 1896–8 (Leipzig, 1901) [orig. pubd as no.1]
Suite de concert, vn, orch, op.28, 1908–9 (Berlin and Moscow, 1910)

Chamber:
String Quartet, d, 1874–6 [2 movts completed], ed. in G. Kirkor, B. Dobrokhotov Kvartetï, iv (1952)
March, 2 pf, hnm, 3 trbn, vc, ob, glock, 1 other inst, 1877
String Trio, D, 1879–80, ed. (1956)
String Quartet, E , 1880, ed. in Kirkor and Dobrokhotov
String Quartet, C, 1882–3, ed. in Kirkor and Dobrokhotov
String Quartet, A, 1883, ed. in Kirkor and Dobrokhotov
String Quartet no.1, b , op.4, 1890 (1892)
Sonatina, A, vn, pf, 1895 [1st movt only; other 3 movts by Morozov, Koreshchenko and Konyus; for I.V. Grzhimali’s silver jubilee]
String Quartet no.2, C, op.5, 1894–5 (Leipzig, 1896)
String Quartet no.3, d, op.7, 1886, rev. 1896 (Leipzig, 1898)
Variations on a Favourite Theme, mand, vn, pf, 1897
String Quartet no.4, a, op.11, 1898–9 (Leipzig, 1900)
String Quartet no.5, A, op.13, 1902–3 (Leipzig, 1903)
String Quintet no.1, G, op.14, 1900–01, rev. 1903 (Leipzig, 1904)
String Quintet no.2, C, op.16, 1903–4 (Leipzig, 1905)
String Quartet no.6, B , op.19, 1903–5 (Leipzig, 1906)
Piano Quartet, E, op.20, 1902–6 (1907)
Trio, D, 2 vn, va, op.21, 1907 (1909)
Piano Trio, D, op.22, 1906–8 (1908)
Trio, E , vn, va, t va, op.31, 1910–11 (1911)
Piano Quintet, g, op.30, 1910–11 (1912)
Sonata, a, vn, pf, 1911, ed. (1948)
String Quartet, c, 1911 [2 movts only], ed. in Kvartetï, iv
String Trio, b [2 movts only], ed. (1952)

Keyboard:
for solo piano unless otherwise stated
Scherzo, e , 1874–5, ed. P. Lamm, V. Shebalin in Sochineniya dlya fortepiano (1953)
Theme and Variations, c, 1874, ed. in Sochineniya
Piano Sonata, E , 1874–5 [1st movt only]
4 Scherzos, F, C, g, d, 1875, ed. in Sochineniya
4 Pieces, ed. in Sochineniya: Quadrille, A, 1879; March, d, 1879; Otdokhnoveniye [Repose], 1880; Kolïbel'naya [Slumber Song], 1881
Variations on a theme of Mozart, E , 2 pf, 1880
March, C, pf 4 hands, 1881, ed. (1981)
Den' rozhdeniya kompozitora [The Composer’s Birthday], 1892 [a joke for Tchaikovsky’s birthday, based on themes from his ballets]
Choral varié, org, 1894 (Paris, 1914)
Prelude, F, 1894–5 (1904), arr. pf 4 hands, 1896
Improvisation, 1896 (1923) [for a set, collab. Arensky, Glazunov and Rachmaninoff]
Prelude and Fugue, g , op.29, 1910 (1911), arr. 2 pf (1914)
Andante semplice, ed. in Sochineniya

Work on tchaikovsky’s compositions:
Pf arrs.:
Sym. no.4, 4 hands (Moscow, 1879);
Sym. no.5, 4 hands, 1888;
Iolanta, vs (Moscow, 1892);
The Nutcracker, solo pf, ?1892;
Count Almaviva’s couplets from The Barber of Seville, vs, 1905

Orchestrations:
Ni slova, o drug moy [Not a Word, O My Friend], op.6 no.2;
Ne otkhodi ot menya [Do not Leave Me], op.27 no.3, 1891;
Strashnaya minuta [The Fearful Minute], op.28 no.6, 1891;
V ogorode, vozle brodu [In the Garden, Near the Ford], op.46 no.4;
Pesn' tsïganki [Gypsy’s Song], op.60 no.7, 1891;
Serenada, op.63 no.6; Noch' [Night]

Completions:
Duet for Romeo and Juliet, completed and orchd (Moscow, 1894);
Andante and Finale, pf, orch, op.79, completed and orchd (Moscow, 1897);
Impromptu, A , pf, completed (Moscow, 1898)

Other arrangements:
2 It. songs: Voca, voca, arr. SATB, pf, 1880;
Addio, mia bella Napoli, arr. SAB, pf, 1880
Transcrs. of 20 Caucasian folktunes, 1885
1st movt of Arensky’s orch Suite, op.7, arr. pf 4 hands, ?1886
Transcrs. of folksongs, 27 Ukr. and 1 Russ., c1880–90
2 Belarusian spring songs arr. ob, hp, ?1907
Vocal score of Arensky’s Gimn iskusstvu [Hymn to Art], 1913

Literatura:

O muzïke gorskikh tatar [On the music of the mountain Tatars], Vestnik Evropï, xxi/1 (1886), 94
Podvizhnoy kontrapunkt strogogo pis'ma [Invertible counterpoint in the strict style] (Leipzig and Moscow, 1909; Eng. trans., 1962)
ed. V.M. Belyayev: Ucheniye o kanone [The study of canon] (Moscow, 1929) 

Font: En català: Sergei Ivanovich Taneyev (1856-1915) En castellano: Sergei Ivanovich Taneyev (1856-1915) In english: Sergei Ivanovich Taneyev (1856-1915) - Altres: Sergei Ivanovich Taneyev (1856-1915)



Parlem amb veu pròpia... (vacances)

The Russian scholar Boris Asaf'yev observed that Taneyev, ‘like no other Russian composer, lived and worked immersed in the world of ideas, in the development of abstract concepts’. Taneyev is, indeed, a lone figure in late 19th-century Russian music, owing nothing to the indigenous Russian tradition established by Glinka, and openly disapproving of contemporary nationalist composers. He was the antithesis of Glinka, for whereas the latter was possessed of a powerful and vivid imagination but was deficient in technique, Taneyev had little imaginative endowment but commanded a compositional skill unsurpassed by any Russian composer of his period. The patient diligence of his approach to composition was the very opposite of the capricious bursts of energy that characterized the work habits of many of his contemporaries. It was his normal practice to do extensive preliminary work on his basic materials, such as working out contrapuntal possibilities, before setting about the main task of composition. His creative mentality is clearly exposed in a letter he wrote to Tchaikovsky while working on The Oresteia:
[My approach] means that not one number is written in its final form until the outline of the whole work is prepared. It is written, you might say, concentrically, not by composing the whole out of the separate, successive parts, but by going from the whole to the details: from the opera to the acts, from the acts to the scenes, from the scenes to the separate numbers … Thus one may perceive the most important points in the drama on which the attention of the composer must be most concentrated, determine the length of scenes and numbers according to their importance, plan the modulatory scheme of the acts, define the orchestral sounds, and such like.
Accordingly, his scores are among the most orderly and polished in Russian music. His inclination to contrapuntal techniques and his studies of the great contrapuntists of the past fortified his skill, resulting in textures which, however complex, are always engineered with precision and polish. He often used contrapuntal procedures as an enrichment of his harmonic palette, and despite the lack of individuality in his melodic fund, his skill in building melodic paragraphs and in devising interesting phrase structures is admirable. In an early work like the Canzona for clarinet and strings (1883) the lyricism and waltz proclivities of his teacher Tchaikovsky are clearly reflected, but his style was to develop a more broadly based eclecticism which ultimately achieved an illusion of individuality through its constant capacity to avoid commitment to the style of any one composer, however close certain passages may be to the sound worlds of masters like Tchaikovsky and Brahms (whose music, however, he claimed to dislike).

The fastidiousness of his craftsmanship is evident in his songs, many of which are admirable compositions, but his gifts are seen to better advantage in his accomplished handling of large-scale forms, particularly in his fluent sonata structures, as in the first movement of his C minor Symphony (1898), usually considered his finest instrumental work. The slow movement is also an impressive piece, revealing a warm lyricism deployed on an impressive scale, while the scherzo shows his capacity for delightful, if restrained, capriciousness. It was natural that a composer of Taneyev’s leanings should be drawn increasingly to chamber music. Nor is it surprising that one who thrived on counterpoint should wish to augment the linear resources of the string quartet, and to write, besides six numbered quartets, three string quintets. The first of these (1901, revised 1903) is typical of his chamber music, opening with a vast sonata structure which exhibits a thoroughly Germanic handling of thematic and tonal mechanisms. Despite that, his penchant for contrapuntal thinking is revealed in the constant thematic interactions of the first movement, and even more explicitly in the variation finale, which concludes with a parade of contrapuntal expertise in a fugue on three subjects. His contrapuntalism reached its apogee in his last work, the choral-orchestral At the Reading of a Psalm, a cantata which some regard as his masterpiece.

But his most ambitious work was The Oresteia, which, despite the retention of the original designation ‘trilogy’, is in fact an opera in three acts. Its subject suggests his antipathy both to the graphic realism and to the fairy-tale fantasy that dominated contemporary Russian opera, and though it has the stage-picture manner typical of the Russian tradition, this comes less from commitment to the principles that guided Glinka or Musorgsky than from his lack of interest in the events of the plot (significantly, for instance, the offstage murders of Aegisthus and Clytemnestra have no effect upon the musical flow), which are purely incidental to the broader themes of fate, revenge and expiation that are the fundamentals of Aeschylus’s drama. Taneyev employed musical styles and dramatic conventions deriving from French grand opera, but overlaid these with an epic vein which makes his loftier musical intentions clear. The care with which he composed the piece is reflected in the final result, which is a splendidly efficient score. Nevertheless, the conventional character and inequality of his musical invention causes the achievement to fall short of the intent. Taneyev had none of Tchaikovsky’s gift for full-blooded melody, and his lyrical passages sound like his master’s at their weakest; nor had he any trace of Musorgsky’s ability to capture a character or action within an unforgettable musical invention. His music envelops the tale in a noble aura instead of illuminating it by uncovering the souls and feelings of human beings caught in a train of events which is their destiny. In The Oresteia he was usually at his best when composing a passage in which his resourcefulness as a composer was exercised (as in some of the chromatic sections which avoid stock progressions and combinations), or when the dramatic situation demanded the construction of a large musical span. On such occasions he sometimes produced music that has real distinctiveness.

Taneyev, Sergey Ivanovich, composer (Grove Music Online)

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Informació addicional... 

TANEYEV, S. - Orchestral and Choral works

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4 comentaris:

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  2. Suuuuuuuuuuuuuper gracias amigo!!!!!!!!!!!!!!! Taneyev,el Brahms ruso,un genio,amigo de Tolstoi,todo dicho.Tapirman.

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  3. Hello my friend! Can you please revive this link? thanks!

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