Anatoly Lyadov ‒ 3 Morceaux, Op.11
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- Опубліковано 1 лип 2024
- Anatoly Lyadov (1855 - 1914), 3 Morceaux, Op.11 for solo piano (1886)
Performed by Olga Solovieva
00:00 - No. 1 Prelude in B minor
02:51 - No. 2 Mazurka in Dorian Mode
04:55 - No. 3 Mazurka in F-sharp minor
While Lyadov's technical facility was highly regarded by his contemporaries, his unreliability stood in the way of his advancement. His published compositions are relatively few through his natural indolence and a certain self-critical lack of confidence. Many of his works are variations on or arrangements of pre-existing material (for example his Russian Folksongs, Op. 58). He did compose a large number of piano miniatures, of which his Musical Snuffbox of 1893 is perhaps most famous.
Like many of his contemporaries, Lyadov was drawn to intensely Russian subjects. Much of his music is programmatic; for example his tone poems Baba Yaga Op. 56, Kikimora Op. 63, The Enchanted Lake Op. 62. These short tone poems, probably his most popular works, exhibit an exceptional flair for orchestral tone color. In his later compositions he experimented with extended tonality, like his younger contemporary Alexander Scriabin.
It has been argued that Lyadov never completed a large-scale work. However, many of his miniatures have their place in the repertory. In 1905 Lyadov began work on a new ballet score, but when the work failed to progress, he shifted gears to work on an opera instead. Lyadov never finished the opera, but sections of the work found realization in the short tone poems Kikimora and The Enchanted Lake.
In 1909 Sergei Diaghilev commissioned Lyadov to orchestrate a number for the Chopin-based ballet Les Sylphides, and on 4 September that year wrote to the composer asking for a new ballet score for the 1910 season of his Ballets Russes; however, despite the much-repeated story that Lyadov was slow to start composing the work which eventually became The Firebird (famously fulfilled by the then relatively inexperienced Igor Stravinsky), there is no evidence that Lyadov ever accepted the commission.
The pianistic work of Lyadov definitely needs more appreciation and recognition.
Wow, thank God. Finally my compositions are making their way around.
they deserve to
I would hope so
Lol
You are still alive!
lol
Un seul mot : magnifique ! 🤩
Mr. Lyadov is master fof neuance…. master of dreams.... colorist, incomparable, a joy
Потрясающие композиции и исполнение! Спасибо.
Лядов - гений!Игра восхитительна.Браво!!!
Want to hear more of these unique friendly compositions.
De beaux morceaux
Delightful.
Que linda!🙏🏻❤️💐👏🏻👏🏻👏🏻🇧🇷🖖🏻
I loved!
Bravo, bravíssimo!!
🎼💕🎶💕🎶😊👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽
Wonderful!
Well crafted, well played.
Many thanks.
Greetings and Love!Jazznet Spandau! 4.21
ロシアの憂愁と、当時の作曲家のショパン熱が融合してとても素敵です。
溢れ出る才能。しかしそれを上回る怠けグセと消極性。ダラダラしてる内に色々チャンスを逃し、棒に振る。
根暗な人だったんだろうか？
小品しかないけど、いい曲ばかりで…何回聴いても飽きないんだよなあ。
こんなに冴えた美学なのに、、勿体ない。
Excelente. Una belleza.
Dare I call this a masterpiece?
Bravo bravo bravo genius miniature
Excelente.
Favorite no.1.
Great
Очарование.
Thank you, Olga! I'm embarrassed to say I've never heard this composer's music. At first it has a derivative, conservative gloss, but then some surprising harmonic progressions and rhythmic upsets forced me to stop and really listen. There's the wonderful submediant I never tire of, and the mazurkas have a fresh, affectionate wink I've never encountered in that great triple-metered form.
The performance of the prelude here is very rigid compared to the rubato of my favorite performances
Кто играет?
Ольга Соловьёва
@@unclessoda5275 Спасибо 🤗