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Rita McAllister and Iosif Genrikhovich Rayskin

the conservatory failed, so it was not until after his graduation in 1912 that, encouraged by Glazunov, he became a full-time music student. At the St Petersburg Conservatory ( 1913–18 ) he studied composition with Sokolov, orchestration with Steinberg and score-reading with Nikolay Tcherepnin. His compositional style was thus formed in the nationalist tradition, and, more particularly, within the school of Rimsky-Korsakov. After graduating from the conservatory Shaporin became actively involved in the progressive artistic life of Petrograd: he allied himself with

Article

Genrikh Orlov

revised by Lyudmila Kovnatskaya

Warsaw, and completed his studies there in 1906 . He then studied in the faculty of history and philology and in the faculty of law at the St Petersburg University ( 1906–10 ); he also graduated from the composition classes of Lyadov (fugue), Kalafati (harmony), Vītols (form), Nikolay Tcherepnin (score reading) and Steinberg (orchestration) at the St Petersburg Conservatory ( 1908–14 ). At this time, he showed an interest in the artistic association Mir iskusstva , and met its members; he later ( 1911–12 ) worked as a pianist with Diaghilev’s company, being accepted

Article

conscientious editorial work: he unearthed and completed the Overture-Symphony on Russian Themes by Glinka ( 1937 ), and produced the best existing version of Musorgsky’s unfinished opera Sorochintsy Fair ( 1931–2 ), superseding previous restorations by Lyadov, Cui, Sakhnovsky and Nikolay Tcherepnin. Works ( selective list ) Stage Solntse nad step′yu [The Sun over the Steppes] (op, 3, Ya. Galitsky), op.27, 1939–59, Moscow, The Actors’ House, 9 June 1958 Zhenikh iz posol′stva [The Bridegroom from the Embassy] (musical comedy, 3, V. Ardov), 1941–2

Article

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