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97:, and on one of these trips, he became acquainted with Tchaikovsky, who was greatly pleased with Catoire's set of piano variations. Tchaikovsky told the younger composer that, "it would be a great sin if he did not devote himself to composition". It was during this visit to Moscow that Catoire was introduced to the publisher Jurgenson. Catoire continued to study piano with Klindworth in Berlin throughout 1886, and simultaneously studied composition and theory with
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Catoire's family, friends, and colleagues were not sympathetic to his choice of career in composition, so in 1899, after a series of disappointments, he withdrew to the countryside and nearly gave up composing altogether. After two years of withdrawal from society, and having broken off almost all
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in mathematics in 1884 with outstanding honours. Upon graduating, he worked for his father's commercial business, only later becoming a full-time musician. It was at this time that
Catoire began taking lessons in piano and basic harmony from Klindworth's student, V. I. Willborg. These lessons
131:. This single lesson resulted in three piano pieces which were later published as Catoire's op.2. With Lyadov, Catoire studied counterpoint and wrote several pieces, including the lovely Caprice op.3. Lyadov's lessons concluded Catoire's formal schooling.
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Prélude As-Dur ; Op. 12, Quatre
Morceaux: Chant du Soir, Méditation, Nocturne, Etude fantastique; Op.34, Poème No.1 e-moll , Poeme Op. 34 No.2 C-Dur. Anna Zassimova. CD „Vergessene Weisen“ – Russian Music at the turn of the 20th Century.
116:) the string quartet which he had written in Berlin for Rüfer. They all agreed that the work was musically interesting but lacking in texture. On Tchaikovsky's recommendation, Catoire went to
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Op. 19 Three poems for Voice and Piano: no.1, Lied for voice and piano on F. Tiutchev's "Как над горячею золой..."; no.2, Lied for voice and piano on F. Tiutchev's "Silentium! (Молчание!)"
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Catoire returned to Moscow in 1887. He declined to make a debut as a concert pianist, despite
Klindworth's recommendation. Catoire met Tchaikovsky again, and he showed him (along with
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with a request for composition and theory lessons. In a letter to Rimsky-Korsakov, Tchaikovsky later described
Catoire as, "very talented... but in need of serious schooling."
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resulted in the composition of a piano sonata, some character pieces, and a few transcriptions. The most famous of these transcriptions was the piano transcription of
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Op. 6 Six
Morceaux for piano (1897): 1. Rêverie, A major 2. Prélude, G♭ major, 3. Scherzo, B♭ major 4. Paysage, A major 5. Intermezzo, B♭ major 6. Contraste, B minor
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Anna
Zassimova: G. L. Catoire. Poem for Violin and Piano Op. 20. On Artistic Interpretation. Editorial of the Moscow State Pedagogical University. Moscow, 2000
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Anna
Zassimova: The Piano Works of G. L. Catoire in the Contemporary Pianist's Repertory. Editorial of the Moscow State Pedagogical University. Moscow, 2001
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Op. 29 Seven Songs (1915): no.3, Lied for voice and piano on F. Tiutchev's "Сей день, я помню..."; no.6, Lied for voice and piano on F. Tiutchev's "Полдень"
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Op. 11 Lieder: no.1, Lied for voice and piano on
Lermontov's "Песнь Русалки"; no.4, Lied for voice and piano on A. Tolstoy's "Не ветер, вея с высоты..."
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and
Laurent Breuninger have recorded the complete violin music. His music has a certain semblance to the works of Tchaikovsky, the early works of
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70:) from whom he learned to appreciate Wagner. He became one of the few Russian 'Wagnerite' composers, joining the Wagner society in 1879.
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Anna
Zassimova: The Correspondence between P.I. Tschaikowsky and G.L. Catoire. Edition 15 of the Tschaikowsky Society Tübingen, 2008
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Op. 34 Quatre Morceaux for piano (1,2,4: composed 1924-6; 3: composition of youth) (pub. 1928): 1. Poeme 2. Poeme 3. Prelude 4. Etude
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Op. 9 Lieder: no.1 Lied for voice and piano on Apukhtin's "Опять весна"; no.4, Lied for voice and piano on Apukhtin's "Вечер"
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Op. 2 Trois Morceaux for piano (pub. 1888): 1. Chant intime, E major 2. Loin du Foyer, E♭ major 3. Soiree d'Hiver D major
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connections with musical friends, the opus 7 Symphony emerged in the form of a sextet as a result of this seclusion.
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Op. 12 Quatre Morceaux for piano (pub. 1901): 1. Chant du soir 2. Meditation 3. Nocturne 4. Etude fantastique
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Anna Zassimova: Georges Catoire – Life, Music, Significance. . Publishing House Ernst Kuhn, Berlin, 2011. .
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Op. 10 Cinq Morceaux for piano (pub. c1899): 1. Prelude 2. Prelude 3. Capriccioso 4. Reverie 5. Legende
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Op. 1 Four Lieder: no.4, Lied for voice and piano on Lermontov's "Нет, не тебя так пылко я люблю..."
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in late 1885 to continue his lessons with Klindworth. Throughout 1886, he made brief trips to
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https://www.jpc.de/jpcng/classic/detail/-/art/Anna-Zassimova-Vergessene-Weisen/hnum/9989961
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Today Catoire is very little known, although a few recordings exist of his piano works by
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Catoire String Quartet, Op.23 & Piano Trio, Op.14 Soundbites and discussion of works
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WoO Concert transcription of J.S. Bach's Passacaglia in C minor for piano (pub. 1889)
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Op. 13 Mcyri (or Mtsyri) – Symphonic Poem (after Lermontov's "The Novice") (1899)
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Works for Violin & Piano (Laurent Breuninger, Anna Zassimova. cpo 777 378-2)
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Op. 33 Six poems by Vladimir Soloviev for voice and piano (1916) (pub. c1924)
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https://www.jpc.de/jpcng/classic/detail/-/art/sonata-reminiszeca/hnum/8333103
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Poems for voice and piano. Yana Ivanilova, soprano, Anna Zassimova, piano.
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Op. 5 "Rusalka" cantata for solo voice, women's chorus, orchestra (1888)
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Op. 16 String Quintet in C minor (two violins, viola, and two cellos)
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Op. 32 Six poems by Balmont for voice and piano (1916) (pub. c1924)
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Rimsky-Korsakov gave Catoire one lesson before passing him to
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Not satisfied with his lessons with Willborg, Catoire went to
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Piano Music (Anna Zassimova, Hänssler Classic, Antes Edition)
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Op. 20 Violin Sonata no. 2 "Poeme" (single-mvt work) (1906)
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Op. 4 String Quartet (lost; reworked into a String Quintet)
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Op. 36 Valse for piano (composition of youth) (pub. 1928)
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Op. 25 Prelude and Fugue in G minor for piano (pub. 1914)
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After returning to Moscow, Catoire became quite close to
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later published at the recommendation of Tchaikovsky).
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From 1919 Catoire was professor of composition in the
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Op. 15 Violin Sonata No.1 in B minor (in 3 movements)
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Op. 31 Piano Quartet in A minor (1916) (pub. c1928)
179:Georgy Catoire is the uncle of author and musician
294:Op. 24 Chants du Crepuscule for piano (pub. 1914)
526:People from the Russian Empire of French descent
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264:Op. 14 Piano Trio in F minor (1900) (pub. 1902)
300:Op. 26 Elegie for violin and piano (pub. 1916)
291:Op. 23 String quartet in F sharp minor (1909)
276:Op. 18 Three Poems for female Choir and Piano
273:Op. 17 Quatre Preludes for piano (pub. c1909)
208:Morceaux Op. 6 Reverie, Contraste, Paysage.
231:Op. 3 Caprice for piano G♭ major (pub. 1886)
331:Op. 35 Tempest etude for piano (pub. 1928)
246:Op. 8 Vision (Etude) for piano (pub. 1897)
198:Piano music (Marc-Andre Hamelin, Hyperion)
441:International Music Score Library Project
411:"Revived Masterpieces - Catoire Ensemble"
386:Hyperion Records | Catoire: Chamber Music
153:had great regard for Catoire's students.
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285:Op. 21 Piano Concerto (1909) (pub. 1912)
398:Hyperion Records | Catoire: Piano Music
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437:Free scores by Georgy L'vovich Catoire
374:Planet Tree Music Festival: commentary
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316:Op. 30 Valse for piano (pub. 1916)
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491:19th-century male musicians
457:Catoire Biography in French
310:Op. 28 Piano Quintet (1914)
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243:Op. 7 Symphony in C minor
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73:Catoire graduated from
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162:Alexander Goldenweiser
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20:Georgy Lvovich Catoire
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376:at www.planettree.org
342:Selected bibliography
160:, Anna Zassimova and
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187:Selected discography
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