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Jonathan Powell

revised by Christopher Hepburn

(b Obolsunovo, Ivanovo region, March 9, 1888; d nr Logachyovo, Smolensk region, Oct 6, 1914). Russian composer and pianist. He composed and performed his first compositions at the age of six, being initially taught by his mother. In 1892 the factory at which his father laboured as a chemical engineer closed and the family was forced to move. In 1899 his family settled in Logachyovo, Vladimir district, a village near Novospasskiy where Glinka had collected folksong. Stanchinsky studied at the Smolensk Gymnasium and took music lessons privately with A.F. Borkus. From 1904 onwards, he made frequent visits to Moscow where he took private lessons with Josef Lhévinne and Konstantin Eiges (piano), Zhilyayev (harmony and counterpoint), and Grechaninov (composition). Programmes from his school concerts include piano works by Bach, Beethoven, Schumann, Chopin, Liszt, and Grieg. Gretchaninov subsequently introduced Stanchinsky to Sergey Taneyev and in 1907, he entered the Moscow Conservatory where he continued his piano studies with Taneyev and Igumnov and theory studies with Gretchaninov. While a student at the Conservatory, he composed works based on Bach, a piece on the ...


Susana Salgado

son, he began violin lessons at the age of nine with Stolyarsky and later studied with M.T. Hait. He continued violin studies with Sergei Korguyev and Auer at the St Petersburg Conservatory ( 1912–17 ); among his other teachers were Vasily Kalafati, Maximilian Steinberg, Nikolay Tcherepnin and Nikolay Sokolov. In 1919 he won by competition the post of leader of the Petrograd State Academic Theatre orchestra, but he did not take up the appointment. In 1923 he settled in Buenos Aires, where in 1929 he was a founder-member of the Grupo Renovación, devoted to studying


Dorothea Redepenning

he took courses to train as a concert pianist, changing from Alexander Winkler to the highly regarded Anna Yesipova, the teacher of many outstanding Russian pianists. At the same time he began to study conducting with Nikolay Tcherepnin, the only lecturer at the conservatory whom he took really seriously; he also respected him as an analyst. Tcherepnin even taught him, he said, to appreciate the orchestral sound of Haydn and Mozart. He took his examinations in both these practical disciplines in the spring of 1914 . For the piano examination he played his own First


Maria Eckhardt, Rena Charnin Mueller and Alan Walker

org); NLE i/17† intended as kbd work, but pubd in MW (1936) for chorus (source lost); see also J36 A295 197a 60a 1195 Toccata ?1879 NLE i/12† A296 207a 297 1212 Variation, prélude à la polka de Borodine 1880 Hamburg: Rahter, 1881 (rev.); Leipzig: Belaieff, 1893 (rev.); Bonn: in Tcherepnin paraphrase, 1959 (facs.) [NLE ii/15] variation on the ‘Chopsticks’ theme, composed for the 2nd edn of the set by Borodin, Cui, Lyadov and Rimsky-Korsakov; s 256 was renumbered as s 207a 256 297 1213 Variation über das Thema [Chopsticks] 1880 A297 573a 113/1 1215 Seconda mazurka