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Alla Vladimirovna Grigor′yeva

(b Moscow, 3/Feb 16, 1910; d Moscow, Dec 25, 1988). Russian composer, pianist and teacher. He graduated from the Moscow Conservatory (1936) having studied composition with Myaskovsky, with whom he remained as a postgraduate. His name is listed on a marble plaque as one of the most talented students of the Conservatory. In his early years, besides composing, Golubev was a choral conductor, pianist and on the editorial board of Muzgiz, the state music publishers. From 1944 to the end of his life he taught composition and polyphony at Moscow Conservatory, becoming a professor in 1947. Among his students were Eshpay, Golovin, Kholminov, Todor Popov and Schnittke.

Golubev's connections with the musical traditions of both Russia and Western Europe determined the aesthetic values of his music. Skill in polyphony, taste and professionalism were important qualities to this composer, for whom classical logic was essential to his musical thinking. In his large-scale forms the composer aimed, by means of architectural proportions and other Beethovenian symphonic principles, to give the maximum prominence to his ideas, incorporating bold strokes, dynamic development of the musical material and dramatic integrity (5th, and 7th symphonies and the piano concertos). His chamber works are characterized by mastery of the technical and expressive possibilities of particular instruments, virtuoso working of the most complex textures, often enriched with polyphonic motifs, and a subtly original harmonic language. His knowledge of folklore – Russian, Ukrainian, and of the peoples of the far north – is evident in the oratorio ...

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Dorothea Redepenning

(Sergeyevich)

(b Sontsovka, Bakhmutsk region, Yekaterinoslav district, Ukraine, 11/April 23, 1891; d Moscow, March 5, 1953). Russian composer and pianist. He began his career as a composer while still a student, and so had a deep investment in Russian Romantic traditions – even if he was pushing those traditions to a point of exacerbation and caricature – before he began to encounter, and contribute to, various kinds of modernism in the second decade of the new century. Like many artists, he left his country directly after the October Revolution; he was the only composer to return, nearly 20 years later. His inner traditionalism, coupled with the neo-classicism he had helped invent, now made it possible for him to play a leading role in Soviet culture, to whose demands for political engagement, utility and simplicity he responded with prodigious creative energy. In his last years, however, official encouragement turned into persecution, and his musical voice understandably faltered....