488:, the publisher and impresario who now headed the "Mighty Handful", shared Taneyev's outrage over the incident and volunteered to publish the score himself. Prior to its publication, Taneyev "revised and signally improved the orchestration, which had not been uniformly satisfactorily... hereafter, Taneyev began to avail himself of Glazunov's advice in orchestration; of course he made rapid strides in that field". Note the "of course". Glazunov had been Rimsky-Korsakov's student in orchestration as well as composition.
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439:"At the rehearsal of the concert he publicly declared to Balakirev: 'Mily Alekseyevich! We are dissatisfied with you.' I picture to myself Balakirev constrained to swallow a rebuke of this sort. Honest, upright and straightforward, Taneyev always spoke sharply and frankly. On the other hand, Balakirev, of course, could never forgive Taneyev his harshness and frankness with regard to his own person."
734:'s, half mathematician, half humorist". Among Taneyev's unpublished works are reportedly various parodies, including "Quartets of Government Officials", "humorous choruses, comic fugues and variations, toy symphonies, a mock ballet for Tchaikovsky's birthday with an absurd scenario, and music which is an ingenious contrapuntal pot-pourri of themes from Tchaikovsky's works".
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The task of every
Russian composer consists in furthering the creation of national music. The history of western music gives us the answer as to what should be done to attain this: apply to the Russian song the workings of the mind that were applied to the song of western nations and we will have our
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I spend a great deal of time on preparatory work, and less time on final composition. Some items I have not finished within the last few years. Important themes which are repeated in the opera, are used by me objectively, without any reference to a particular situation, for studies in counterpoint.
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The following decade showed a marked change in opinion, Rimsky-Korsakov writes. Taneyev now appreciated
Glazunov, respected Borodin's work, and regarded only Mussorgsky's compositions with disdain. Rimsky-Korsakov ascribed this change to a new period in Taneyev's activity as a composer. Previously he
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Taneyev began showing
Tchaikovsky what he considered to be faults, thereby sending Tchaikovsky into even greater despair. Tchaikovsky grabbed the music and wrote across the page with a red pencil: "Awful muck." Still not satisfied with this punishment, he tore the sheet of music in half and threw it
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Taneyev was a fastidious and diligent craftsman with an unrivaled technique. Tchaikovsky realized that the opinions of such a man, whose own taste and competence were so high, yet whose self-scrutiny was so exacting, were to be respected, and in consequence came greatly to appreciate criticism from
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and its consequent effect on the Moscow
Conservatory led Taneyev to resign from the staff there. He resumed his career as a concert pianist, both as soloist and chamber musician. He was also able to pursue composition more intensely, completing chamber works with a piano part which he could play in
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Despite
Tchaikovsky's notoriously thin skin when it came to criticism, he could not take any lasting offense at such transparent honesty, especially when Taneyev's assessments could show a great deal of perception. Even if the manner in which Taneyev presented his comments made them sting all the
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at his home, with
Taneyev at the piano, was quite another matter. The opera, he writes, "astonished us all with pages of extraordinary beauty and expressiveness". He added that Taneyev's working methods "ought to result in a dry and academic composition, devoid of the shadow of an inspiration; in
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Before setting out for the real expounding of a composition, Taneyev used to precede it with a multitude of sketches and studies: he used to write fugues, canons, and various contrapuntal interlacings on the individual themes, phrases, and motives of the coming composition; and only after gaining
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Taneyev graduated in 1875, the first student in the history of the
Conservatory to win the gold medal both for composition and for performing (piano). He was also the first person ever to be awarded the Conservatory's Great Gold Medal. That summer he travelled abroad with Rubinstein. That year he
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Taneyev's frankness came at a price, however, and that price for
Tchaikovsky was forbearance in the face of a forthrightness that frequently reached the point of absolute bluntness. This meant that, while Tchaikovsky appreciated Taneyev's views and welcomed them, he did not always like them. The
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I think he was unnerved by the overt frankness with which
Taneyev reacted to Tchaikovsky's works: Taneyev believed that one must indicate precisely what one finds to be 'faults,' while strong points would make themselves evident. He was hardly fully justified in his conviction: composers are a
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As a consequence
Taneyev took an intellectual approach in his characterization of the music of his teacher, Tchaikovsky. Nevertheless, Taneyev's compositions reveal his mastery of classical composition technique, so that his style could be said to reflect the European, and especially German,
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Taneyev's rationale for this process stemmed from his belief that truth and moral integrity in music were synonymous with its objectivity and purpose. He viewed classical concepts of composition as perfect examples of a compositional technique devoid of anything casual or extraneous.
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thorough experience in its component parts did he take up the general plan of the composition and the carrying out of this plan, knowing by that time, as he did, and perfectly, the nature of the material he had at his disposal and the possibilities of building with that material.
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191:, who had famously lambasted the work less than a year earlier (5 January), but who had by that time come to appreciate its merits. Tchaikovsky was clearly impressed by Taneyev's performance; he later asked Taneyev to be soloist in the Russian première of his
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141:. His first piano teacher at the Conservatory was Edward Langer. After a year's interruption in his studies, Taneyev studied again with Langer. He also joined the theory class of Nikolai Hubert and, most importantly, the composition class of
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should function. Tchaikovsky prized spontaneity in musical creativity. Taneyev, in contrast, thought musical creativity should be both deliberate and intellectual, with preliminary theoretical analysis and preparation of thematic materials.
415:, Taneyev made a piano transcription of the entire work. On finishing his transcription, he gave it to Tchaikovsky, who then made his own alterations to it. (This transcription was published in 1892.)
247:. He would later also teach piano and composition. He served as Director from 1885 to 1889, and continued teaching until 1905. He had great influence as a teacher of composition. His pupils included
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or even of Rimsky-Korsakov himself. However, Rimsky-Korsakov's study of counterpoint, which Taneyev learned of from Tchaikovsky, may have prompted Taneyev to revise his opinion of that composer.
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nervous lot and they are often particularly dissatisfied with themselves. Tchaikovsky was just such a person: he worried himself almost sick over each work and often tried even to destroy them...
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on the floor. Then he ran out of the room. Despondently Taneyev picked up the music and told me: "Pyotr Ilyich takes everything to heart. After all, he himself asked me to give my opinion..."
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603:, and from there it is only a step to complex instrumental types. The Europeans took centuries to get there, we need far less. We know the way, the goal, we can profit by their experience.
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Gradually, from this chaos of thoughts and sketches something orderly and definite begins to emerge. Everything extraneous is discarded. That which is unquestionably suitable remains.
703:, originally conceived in 1882, as his major achievement. This work, which the composer entitled a 'musical trilogy' rather than an opera, was closely modeled on the original plays of
539:), the result of 20 years of labor. In it, the laws of counterpoint are broken down, explained, and brought into focus as a branch of pure mathematics. Taneyev used a quotation from
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Taneyev also saw a synthesis of counterpoint and folk-song as the means of creating large-scale musical structures that would follow Western rules of thematic development in
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Taneyev became the most trusted musician among Tchaikovsky's friends. The two developed a romantic relationship that would last until Tchaikovsky's death. The symphonic poem
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studied composition with Taneyev as a child and met Tchaikovsky through him. To Sabaneyev, Tchaikovsky really did seem afraid of Taneyev in some ways. He also suggests why:
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Taneyev was also a scholar of notable erudition. In addition to music, he studied—for relaxation—natural and social science, history, mathematics, plus the philosophies of
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String Quartets 1 and 4. Performed by the Leningrad Taneyev Quartet. Reissue of a Melodiya LP on Northern Flowers NF/PMA 9933 (and the other quartets, in five volumes.)
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was published posthumously. During the 20th century, several books were published, which deal with either theoretical or pedagogical issues related to his theory.
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Taneyev contracted pneumonia after attending the funeral of Scriabin, in Moscow, on 16 April 1915. While he was recovering, he succumbed to a heart attack in
301:. The latter developed an attachment to the composer that embarrassed her children and made Tolstoy jealous, although Taneyev himself remained unaware of it.
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interweaves in the music of Rachmaninoff and Medtner stem directly from Taneyev's teaching. Scriabin, on the other hand, broke away from Taneyev's influence.
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Taneyev's focus on strict counterpoint strongly influenced the way he composed his music. He described this process, while discussing his dramatic trilogy
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447:" or "The Five." Rimsky-Korsakov recalls what he considered Taneyev's glaring conservatism in the 1880s. Taneyev reportedly showed "deep distrust" in
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on 17 October 1895. Taneyev wrote a separate concert overture, based on some of the opera's major themes, which was conducted by Tchaikovsky in 1889.
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had given a dreadful performance at the concerto's Russian première in St Petersburg three weeks earlier. The conductor on the later occasion was
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694:). In his choral works the composer combines the melodic basis of the traditional Russian musical style with remarkable contrapuntal writing.
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as its inscription: "No branch of study can claim to be considered a true science unless it is capable of being demonstrated mathematically".
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Concert Suite for Violin & Orchestra; Entr'acte; and Oresteya Overture. Performed by the Helsinki Philharmonic Orchestra conducted by
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Taneyev. In fact, Taneyev became the only one of Tchaikovsky's friends encouraged by the composer to be absolutely frank about his works.
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sums up his general frame of mind: "I know you are absolutely sincere and I think a great deal of your judgment. But I also fear it."
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Symphony No. 2; and Symphony No. 4. Performed by the Russian State Symphony Orchestra conducted by Valeri Polyansky (Chandos 9998)
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proved quite the reverse—for all its strict premeditation, the opera was striking in its wealth of beauty and expressiveness."
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Rimsky-Korsakov considered many of Taneyev's compositions to be "most dry and laboured in character." A private hearing of
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own national music. Begin with elementary contrapuntal forms, pass to more complex ones, elaborate the form of the Russian
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Nor was this the only time Taneyev shared strong opinions about the St Petersburg based nationalist music group known as "
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Sergei Taneyev String Quartet No.2 & String Quintets Opp.14 & 16 sound-bites and biographical information
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during a rehearsal of a concert to commemorate the unveiling of a monument to the pioneering Russian composer
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A museum dedicated to Taneyev is located in Dyudkovo. There is also a section dedicated to Taneyev at the
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Tchaikovsky was not the only one with whom Taneyev was frank, though some were less appreciative of it.
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Trio in E-flat major, Op. 31; Trio in B minor; and Trio in D major. Performed by the Belcanto Strings (
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concerts as well as some choruses and a substantial number of songs. His last completed work was the
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Piano Trio in D; Piano Quartet in E. Performed by the Barbican Piano Trio with James Boyd (viola). (
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Rimsky-Korsakov described Taneyev's compositional process similarly, but with more telling detail:
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published during his lifetime, and at least one incomplete), a concert suite with violin and a
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When Tchaikovsky resigned from the Moscow Conservatory in 1878, Taneyev was appointed to teach
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199:. After Tchaikovsky's death, Taneyev edited sketches by Tchaikovsky that he completed with an
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He began taking piano lessons at the age of five with a private teacher. His family moved to
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397:. Taneyev started playing through part of the manuscript at the piano. "With characteristic
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Along with beauty and expressiveness, Taneyev's music could also show a whimsical streak.
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Taneyev would continue this series of contrapuntal exercises until he had exhausted every
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2006:
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Sergei Ivanovich Taneev's 'Doctrine of the Canon': A translation and commentary (Russia).
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Tchaikovsky's use of the word "fear" was not exaggerated. The music writer and composer
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895:, by Sergei Taneyev. 1st edition. Moscow & Leipzig, Beliaeff, 1909. (available via
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359:, Op. 32, one of Tchaikovsky's most famous orchestral works, is dedicated to Taneyev.
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Piano Quintet in G minor, Op. 30; and Piano Trio in D major, Op. 22. Performed by
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for a short time and was acquainted with outstanding Russian writers, including
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Sergei Ivanovich Taneev's "Doctrine of the Canon": A translation and commentary
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Sergei Ivanovich Taneev's "Doctrine of the Canon": A translation and commentary
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Beattie Davis, Richard, "The Beauty of Belaieff" (G Clef Publishing, 2007).
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more, Tchaikovsky was painfully grateful for his fellow-musician's candor.
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110:, to a cultured and literary family of Russian nobility. A distant cousin,
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126:, while Sergei would gravitate toward a more cosmopolitan outlook, as did
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of recording of Taneyev's Symphonies Nos. 2 & 4 by Michael Carter in
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The Russian Piano Quartet: Taneyev's Piano Quartet in E major, Op. 20;
594:. This goal had eluded both "The Five" and Tchaikovsky. Taneyev wrote:
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993:(Westport, Connecticut: Greenwood Press, Publishers, 1977, 1957), 244.
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Overture, Op. 6. Performed by the Philharmonia Orchestra conducted by
118:, was highly influential at court. Alexander was drawn closely to the
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Taneyev was also the soloist at the Moscow première of Tchaikovsky's
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Compositionally, Taneyev and Tchaikovsky differed on how they felt
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145:. In 1871, Taneyev studied piano with the Conservatory's founder,
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in 1865. The following year, the nine-year-old Taneyev entered the
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1454:(Westport, Connecticut: Greenwood Press, Publishers, 1977, 1957).
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Rimsky-Korsakov also writes that, after the fiasco regarding the
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orientation of the Moscow Conservatory, rather than the Russian
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possibility. Only then would he actually begin composing music.
224:. During his travels in Western Europe in 1876 and 1877, he met
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The New Grove Dictionary of Music and Musicians, Second Edition
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600:
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279:
459:"had made him laugh". He may not have had a high opinion of
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Sabaneyev recalled Tchaikovsky's coming to Taneyev with his
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751:'s Polovtsian Dances. Performed by the Ames Piano Quartet (
535:(however, in the 1962 english edition this term appears as
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also made his debut as a concert pianist in Moscow playing
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and vocal music. Among the choral works are two cantatas,
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postscript to a letter Tchaikovsky wrote to Taneyev about
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had been absorbed mainly in research for his treatise on
42:
1566:
Sergei Taneyev: Tchaikovsky's Heir or the Russian Bach?
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Tchaikovsky Through Others' Eyes (Russian Music Series)
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Tchaikovsky Through Others' Eyes (Russian Music Series)
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During the summers of 1895 and 1896, Taneyev stayed at
967:(New York: Dodd, Mead & Company, 1966, 1962), 244.
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Symphony No. 1; and Symphony No. 3. Performed by the
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Russian Music and Its Sources in Chant and Folk-Song
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Russian Music and Its Sources in Chant and Folk-Song
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863:, by Sergei Taneyev. 1962 edition, Branden Pub. Co.
160:, and would become known for his interpretations of
666:, and other orchestral works; an organ composition
1410:(ed.) Stanley Sadie, "Taneyev, Sergey Ivanovich",
843:. (Melodiya MA 12411; reissued on Olympia OCD 128)
531:Taneyev published a gigantic two-volume treatise,
1397:(New York: Dodd, Mean & Company, 1966, 1962).
1354:(New York: W.W. Norton & Company, 1973), 132.
561:, in a letter to Tchaikovsky dated 21 June 1891:
172:. In March 1876 he toured Russia with violinist
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1468:(St. Petersburg, 1909), published in English as
1207:(St. Petersburg, 1909), published in English as
980:(New York: W.W. Norton & Company, 1983), 15.
1432:, (New York: W.W. Norton & Company, 1983).
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730:writes, "Taneyev had a dual nature rather like
524:. Eventually, he became one of the greatest of
74:13 November] 1856 – June 19 [
1400:Belina, Anastasia. "The Master of Moscow", in
1320:(Moscow, 1951), 173. As quoted in Bakst, 246.
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1482:(New York: W.W. Norton & Company, 1973).
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1094:(New York:Charles Scribner's Sons, 1973), 82
1078:"P.I.Tchaikovsky State House-Museum in Klin"
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1057:
1055:
1036:
861:Convertible Counterpoint in the Strict Style
409:Soon after Tchaikovsky completed his ballet
1211:(New York: Knopf, 1925, 3rd ed. 1942), 383.
650:and other chamber works, including a piano
2681:Romantic composers from the Russian Empire
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1619:
1514:Sergey Taneyev, Cantata "John of Damascus"
1499:(New York: Charles Scribner's Sons, 1973).
1332:
1302:: CS1 maint: location missing publisher (
1292:. University of Arizona. pp. 350–351.
1271:: CS1 maint: location missing publisher (
839:String Quartets 8 and 9. Performed by the
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1579:International Music Score Library Project
1133:(New York: Dodd, Mead & Company), 214
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533:Moveable Counterpoint in the Strict Style
496:Taneyev's specialized field of study was
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1523:Netherlands Radio Philharmonic Orchestra
1443:Hanson, Lawrence and Hanson, Elisabeth,
1430:Tchaikovsky: The Crisis Years, 1874-1878
1404:, January–February 2007, pp. 62–65.
1316:Tchaikovsky, Pyort and Taneyev, Sergei,
1129:Hanson, Lawrence and Hanson, Elisabeth,
978:Tchaikovsky: The Crisis Years, 1874-1878
41:
16:Russian composer and pianist (1856–1915)
2676:Opera composers from the Russian Empire
2661:Music educators from the Russian Empire
737:
638:His compositions include nine complete
500:. He engrossed himself in the music of
418:
114:, was also a composer, whose daughter,
67:[sʲɪrˈɡʲejɪˈvanəvʲɪtɕtɐˈnʲejɪf]
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1541:of concert performance of 'Oresteia' (
1472:(New York: Knopf, 1925, 3rd ed. 1942).
1414:, 29 vols. (London: Macmillan, 2001).
893:Подвижной контрапунктъ строгаго письма
614:List of compositions by Sergei Taneyev
316:, completed at the beginning of 1915.
183:in December 1875. He was chosen after
2671:Musicologists from the Russian Empire
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1447:(New York: Dodd, Mead & Company).
1445:Tchaikovsky: The Man Behind the Music
1285:
1254:
1146:(Indiana University Press, 1999), 215
1131:Tchaikovsky: The Man Behind the Music
881:, 1915 (available in English through
427:, recalling a clash Taneyev had with
78:June 6] 1915) was a Russian
65:
1261:. University of Arizona. p. 33.
455:was merely a clever dilettante, and
2492:Tchaikovsky and the Belyayev circle
690:(Op. 36, sometimes regarded as his
13:
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1248:
652:prelude and fugue in G-sharp minor
642:(plus two partially completed), a
14:
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1597:"Tanjeff, Serge Ivanovitch"
1506:
1461:(Indiana University Press, 1999).
1395:A History of Russian-Soviet Music
965:A History of Russian-Soviet Music
792:(cello) joined in the quintet by
2691:20th-century classical composers
2686:19th-century classical composers
2656:Pianists from the Russian Empire
2597:
2588:
2587:
1205:Letoppis Moyey Muzykalnoy Zhizni
1170:Tchaikovsky Through Others' Eyes
1157:Tchaikovsky Through Others' Eyes
809:Russian State Symphony Orchestra
207:Tchaikovsky Third Piano Concerto
2711:Burials at Novodevichy Cemetery
2696:20th-century classical pianists
2646:Russian male classical pianists
1466:Letopis Moyey Muzykalnoy Zhizni
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1366:
1357:
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707:and was first performed at the
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2641:People from Vladimirsky Uyezd
1585:Free scores by Sergei Taneyev
1183:Tchaikovsky: The Crisis Years
1118:Tchaikovsky: The Crisis Years
1105:Tchaikovsky: The Crisis Years
1004:Tchaikovsky: The Crisis Years
931:
90:, music theorist and author.
21:Eastern Slavic naming customs
2706:Burials at Donskoye Cemetery
2651:Russian male opera composers
2636:People from Vladimir, Russia
1589:Choral Public Domain Library
1402:International Piano Magazine
1286:Grove, Paul Richard (1999).
1255:Grove, Paul Richard (1999).
885:as part of the dissertation
7:
2535:Gothic Revival architecture
1537:September 28, 2007, at the
478:'s production of Taneyev's
10:
2737:
2721:Moscow Conservatory alumni
2476:Neue Zeitschrift für Musik
1651:List of Romantic composers
1464:Rimsky-Korsakov, Nikolai,
1452:A History of Russian Music
1450:Leonard, Richard Anthony,
1387:
1381:As quoted in Leonard, 207.
1203:Rimsky-Korsakov, Nikolai,
991:A History of Russian Music
989:Leonard, Richard Anthony,
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19:In this name that follows
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314:At the Reading of a Psalm
59:Серге́й Ива́нович Тане́ев
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2701:Pyotr Ilyich Tchaikovsky
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537:convertible counterpoint
205:and were premièred as a
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70:; 25 November [
51:Sergey Ivanovich Taneyev
668:Chorale with variations
425:Nikolai Rimsky-Korsakov
349:Taneyev and Tchaikovsky
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1575:Free scores by Taneyev
1457:Poznansky, Alexander,
1142:Poznansky, Alexander,
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451:'s early appearances.
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193:Second Piano Concerto
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419:Taneyev and The Five
181:First Piano Concerto
158:First Piano Concerto
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253:Sergei Rachmaninoff
238:Camille Saint-Saëns
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760:Vladimir Ashkenazy
719:reality, however,
449:Alexander Glazunov
445:The Mighty Handful
339:Tchaikovsky Museum
255:, Jacob Weinberg,
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240:, amongst others.
202:Andante and Finale
189:Nikolai Rubinstein
147:Nikolai Rubinstein
120:nationalist school
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2072:Fanny Mendelssohn
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749:Alexander Borodin
747:'s Rhapsody; and
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682:1 (also known as
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514:Johannes Ockeghem
486:Mitrofan Belyayev
476:Mariinsky Theatre
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664:piano concerto
633:Mily Balakirev
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1426:Brown, David
1411:
1408:Brown, David
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855:Bibliography
826:
819:10390), 2004
790:Lynn Harrell
725:
720:
715:
713:
698:
696:
683:
667:
660:the last one
637:
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288:
277:
265:Julius Conus
242:
234:César Franck
211:
200:
185:Gustav Kross
178:
174:Leopold Auer
151:
132:
97:
50:
49:
36:
28:
2631:1915 deaths
2626:1856 births
2525:Romanticism
2307:Tchaikovsky
2242:R. Schumann
2237:C. Schumann
2222:Saint-Saëns
2117:Niedermeyer
2007:Leoncavallo
1977:Kalkbrenner
1752:Bortkiewicz
1496:Tchaikovsky
1363:Baskt, 245.
1341:Bakst, 246.
1194:Holden, 169
1155:Poznansky,
1092:Tchaikovsky
1033:Bakst, 245.
1024:Bakst, 244.
831:Neeme Järvi
798:Nobuko Imai
786:Vadim Repin
629:nationalist
592:sonata form
512:masters as
508:, and such
324: [
295:Leo Tolstoy
195:and of his
128:Tchaikovsky
88:composition
33:family name
2620:Categories
2513:Background
2414:Intermezzo
2347:Wieniawski
2327:Vieuxtemps
2292:R. Strauss
2217:Rubinstein
2142:Paderewski
2112:Mussorgsky
2107:Moszkowski
2082:Mercadante
1168:Pozansky,
932:References
850:CDSA 6882)
656:symphonies
572:polyphonic
506:Palestrina
502:J. S. Bach
332:Zvenigorod
306:revolution
273:polyphonic
226:Émile Zola
63:pronounced
25:patronymic
2127:Offenbach
2102:Moscheles
2097:Moniuszko
2092:Meyerbeer
2047:Marschner
2032:MacDowell
1847:Donizetti
1792:Cherubini
1782:Chaminade
1707:Beethoven
1692:Balakirev
1682:Atterberg
1660:musicians
1298:cite book
1267:cite book
954:, 18:558.
952:New Grove
800:(viola) (
784:(piano),
745:Paul Juon
705:Aeschylus
692:swan song
461:César Cui
435:, wrote:
304:In 1905,
261:Paul Juon
170:Beethoven
29:Ivanovich
2593:Category
2570: ←
2449:Symphony
2312:Thalberg
2277:Spontini
2252:Sibelius
2247:Scriabin
2232:Schubert
2227:Sarasate
2192:Respighi
2187:Reinecke
2147:Paganini
2057:Massenet
2052:Masarnau
2037:Madetoja
1982:Kreisler
1972:Kalivoda
1917:J. Gomis
1902:Glazunov
1897:Giuliani
1787:Chausson
1777:Chadwick
1767:Bruckner
1545:, 2006).
1535:Archived
883:ProQuest
827:Oresteia
804:4775419)
777:6341003)
721:Oresteia
716:Oresteia
700:Oresteia
559:Oresteia
481:Oresteia
399:pedantry
373:and the
321:Dyudkovo
155:Brahms's
124:The Five
100:Vladimir
80:composer
2583:→
2545:Science
2424:Mazurka
2399:Ballade
2332:Voříšek
2302:Tárrega
2297:Taneyev
2257:Smetana
2212:Rossini
2167:Puccini
2162:Prudent
2122:Nielsen
2087:Méreaux
2062:Medtner
2027:Lysenko
1997:Lachner
1962:Joachim
1942:Herbert
1862:Farrenc
1827:Delibes
1802:Crusell
1747:Borodin
1737:Berwald
1727:Berlioz
1717:Bennett
1712:Bellini
1697:Bazzini
1677:Arensky
1606:. 1920.
1587:in the
1581:(IMSLP)
1577:at the
1564:Article
1519:YouTube
1388:Sources
1181:Brown,
1116:Brown,
1067:, 25:67
1063:Brown,
976:Brown,
950:Brown,
922:Taneiev
817:Chandos
686:), and
654:; four
510:Flemish
330:, near
311:cantata
284:Spinoza
245:harmony
84:pianist
55:Russian
37:Taneyev
2603:Portal
2540:Poetry
2392:Genres
2337:Wagner
2317:Tobias
2182:Reicha
2157:Popper
2137:Pacini
2132:Onslow
2042:Mahler
2022:Lumbye
1987:Kuhlau
1967:Joplin
1957:Hummel
1947:Hérold
1937:Halévy
1922:Gounod
1907:Glinka
1887:Franck
1882:Foster
1852:Dvořák
1842:d'Indy
1832:Delius
1812:Czerny
1797:Chopin
1772:Busoni
1757:Brahms
1732:Bertin
1722:Bériot
1549:Review
1532:Review
1488:702069
1486:
1436:
1418:
918:Taneev
867:
848:Dutton
770:959-2)
768:Ondine
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753:Dorian
672:choral
658:(only
646:, two
520:, and
271:. The
267:, and
236:, and
166:Mozart
135:Moscow
23:, the
2530:Chess
2362:Ysaÿe
2342:Weber
2322:Verdi
2272:Spohr
2267:Sousa
2152:Paine
2067:Méhul
2017:Loewe
2012:Liszt
1992:Kuula
1952:Holst
1932:Grieg
1912:Gomes
1892:Franz
1877:Foote
1872:Field
1867:Fauré
1857:Elgar
1837:Denza
1762:Bruch
1742:Bizet
1702:Beach
1687:Auber
1672:Alkan
1318:Pisma
1185:, 162
1172:, 216
1159:, 215
1006:, 15.
904:Notes
897:IMSLP
608:Music
601:fugue
552:Fugue
548:Canon
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299:Sofia
280:Plato
2419:Lied
2357:Wolf
2207:Rode
2197:Ries
2177:Raff
2002:Lalo
1667:Adam
1484:OCLC
1434:ISBN
1416:ISBN
1304:link
1273:link
1120:, 15
1107:, 15
865:ISBN
762:and
550:and
343:Klin
282:and
220:and
168:and
162:Bach
94:Life
76:O.S.
72:O.S.
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