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Op.61 |
1912 |
Twenty-four
pieces for two pianos four hands |
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dedicated to Jewgeni Michailovich Semenkovich |
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booklet I |
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1. Prélude |
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2. Six variations about an individual theme |
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3. Ostinato |
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4. Summer evening |
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5. Folk song |
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6. Folk dance |
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booklet II |
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7. In the woods |
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8. The nymph |
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9. Notturno |
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10. At the creek |
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11. Woods ghost (fantastic dance) |
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12. The hunt |
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booklet III |
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13. Oriental prélude |
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14. Dream dance |
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15. The Muezzin |
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16. Oriental dance |
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17. Surna [oriental wind instrument like an oboe] |
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18. At the mosque |
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booklet IV |
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19. In the fields |
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20. The rye rocks in the wind |
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21. Cornflowers |
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22. The Lark |
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23. Song of the reapers |
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24. The wind |
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Op. 62 |
1912 |
Seven romances for voice and piano |
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1. Ty mne byla sestroj (You were
a sister for me) |
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Text by Konstantin Dmitrjevich Balmont (1867 - 1942) |
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dedicated to Elisabeth Ivanowna Musatowa-Kulshenko |
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2. Osennija (Fall) |
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Text by
W. Achramovich |
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dedicated to Anna Michailowna Saz |
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3. Ot plamenu strastej (By
the flame of the feelings ...) |
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Text by
Wl. Solovjev |
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dedicated to Alexandra Nikolajewna Sperling |
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4. I plakala ona (And she has
cried) |
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Text by
W. Straschev |
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dedicated to Jewgeni Ivanovich Dolinino |
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5. Kogda ja prozreval (When
my eyes opened) |
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Text by
A. Block |
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dedicated to Grigori Alexandrovich Altschewski |
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6. Oseni dykhaniem gonimy (The
fall chases with cold breath) |
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Text by
Maxim Gorki |
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dedicated to Vera Manuilowna Beljajewa-Tarasevich |
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7. Kto volny, vas ostanovil (Who
stopped you waves ) |
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Text by
Alexander S. Pushkin (1799-1837) |
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dedicated to Wasili Alexandrovich Zwetkov |
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Op. 63 |
1913 |
Twelve romances
for voice and piano |
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1. Duyut vetry (The winds blow) |
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Text by Aleksei Wasiljevich Kolzov (1808-1842) |
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dedicated to Anton Kasimirovich Dobkevich |
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transcribed
by L. Schochin
for mixed choir and piano |
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2. Kogda tebja klejmjat (If
one talks about you) |
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Text by Myrrha Lochvitzkaja (1869 - 1905) |
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3. Svecha gorit i merknet (The
candle burns) |
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Text by Konstantin Dmitrjevich Balmont (1867 - 1942) |
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4. Esli b schast'e moe (If
I were lucky) |
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Text by Myrrha Lochvitzkaja (1869 - 1905) |
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dedicated to Vera Manuilowna Beljajewa-Tarasevich |
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5. Kolybel'naya pesnaya (Cradle
song) |
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Text by
Valery Jakowlevich Brjusow (1873-1924) |
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dedicated to Elena Jakovlevna Zvetkova |
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6. Slovno, kak lebedi (Really, like
swans) |
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Text by
K. Slutschevski |
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dedicated to Lidia Robertowna Mankowska |
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7. Noch i burja (Night and storm) |
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Text by
N. Ogarev |
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dedicated to Roman Andrejevich Romanov-Dobrshansko |
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8. Da, eto byl lish' son (Yes, it
was only a dream) |
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Text by Myrrha Lochvitzkaja (1869 - 1905) |
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9. Grjadoj klubitsja beloju (In
rows the wafts of mist roll) |
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Text by Aleksei Konstantinovich Tolstoi (1817-1875) |
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dedicated to Konstantin Nikolajevich Michailow |
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10. Ljublju tebja (I love you) |
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Text by Myrrha Lochvitzkaja (1869 - 1905) |
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11. Svet pobedit (The
light wins) |
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Text by
Petr Jakubovich |
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12. Otchalila lodka (The boot left) |
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Text by
Aleksej Nikolajevich Apuchtin (1841-1893) |
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dedicated to Elena Adolfovna Dobkevich |
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Op. 64 |
1921 |
The Zaporozhe Cossaks Symphonic ballet-piece |
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(after the painting
of Ilya Efimovich Repin), in F major * |
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dedicated
by the composer to Ivan Narodno |
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* Composer's comment concerning the score: "The symphonic ballet "The Zaporozhe
Cossaks" presents an illustration of a famous
historical episode of the 17th century, as the warlike Cossacks of the
Zaporozhe Setschi [self-governed organization of the Ukrainian Cossacks in the
16-18th year] under the Kosch-Ataman Ivan Dmitrijevich Serko [Kosch is a camp
of the Zaporozhe Cossacks] responded with a mocking letter to a terrible
letter from the Turkish sultan Mahmout IV. , in which he demanded, that they
should subordinate to his rule. The symphonic ballet has the following
movements: Prelude --. Writing and reading out loud the letter -- . Laughter
scene -- . Dance and great cheerfulness -- ". |
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3, 3, 3, 3 - 4, 3, 3, 1 - timpani, percussions, strings. |
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duration: 17 minutes |
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Première: December
23, 1925, Odessa, conductor: the composer; |
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September 26, 1926,
Moscow, conductor: the composer. |
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transcribed
by the composer
for piano |
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Op. 65 |
1912 |
Khrizis
Mimes ballet in three acts (twelve scenes) |
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Libretto N. Mill after a subject of Pierre Louy's |
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Première: November
17 / 30, 1912, Moscow, International Theatre, |
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production Alexander A. Gorski,
director - N. Mill. Choreographic group |
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Rabenek und Miljukowa; |
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12. Mai 1921, Moscow, Bolshoi Theatre. production Alexander A. Gorski, |
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set-designer - A. A. Arapow. |
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1925 |
Second revision |
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1925 |
transcribed
by the composer
for piano |
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Op. 65a |
1925 |
Suite No. 1 from the ballet Khrizis for symphonic orchestra |
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1. Introduction |
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2. Dreams |
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3. Plays |
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4. At the brook |
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5. Round dance |
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6. Merry dance |
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7. Dance of Kise |
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8. Dance of Khrizis |
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9. Dance of Teofis |
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10. The betrayal |
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duration 30 minutes |
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Op. 65b |
1925 |
Suite No. 2 from the ballet Khrizis for symphonic orchestra |
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1. Menaden |
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2. Khrizis and the Egyptens |
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3. The secret |
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4. Pir and Khrizis |
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5. Little Juggler |
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6. Dance of Pasifan |
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7. Dance of Seven Flowers |
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8. Dance of the two courtesans |
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9. Dance of Ecstasy |
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10. The years (musical picture) |
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duration 35 minutes |
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Op. 66 |
1911-1915 |
Trisna
Symphonic Poem in
F sharp minor |
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(Funeral ceremony;
after Alexander Pushkin: Song of the wise Oleg) |
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duration
30 minutes; unfinished |
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Op. 67 |
1927 |
Quartet No. 3 for
two violins, viola and cello in D minor |
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dedicated to
the State Quartet R. M. Glier * |
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I. Allegro moderato |
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II. Vivace |
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III. Larhetto |
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IV. Fugue (Allegro molto energico) |
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duration 27 minutes |
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Première: March 29,
1927,
Moscow, State Quartet R. M. Glier |
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* members of the Quartet: S.I. Kalinovski, A.S. Targonski, |
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M.N. Luzki, K.S. Block |
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Op. 68 |
1922 |
The comedians
Ballet in
three acts with prologue |
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Libretto by A.P. Petrovski after the piece of Lope de Vega (1562-1635) |
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"The sheeps spring" [Fuente Ovejuna] |
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1930 |
Second revision |
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Premiere: April 5, 1931, Moscow, Bolshoi Theatre |
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conductor - Ju.F. Feier, production
by A.I. Tschekrygin, director - A.P. Petrowski |
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set-designer
- B.R. Erdmann |
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transcribed
by the composer
for piano |
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1935 |
Third revision -
Ballet "The Daughter of Castille". |
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Libretto Alexej Schischinadse. Première: May 28, 1955, Moscow, |
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Musical Theatre
"K.S. Stanislawski and W. I. Nemirovich-Dantschenko", |
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conductor - W. Edelmann, ballet master - Alexej Schischinadse |
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Op. 68a |
1930 |
Suite No. 1 from the Ballet The comedians |
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for
symphonic orchestra |
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1. Prelude. Scene -- expectation of young people |
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2. Sevilla
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3. Dance of the children |
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4. Dance of the brides |
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5. Dance of the groomes |
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6. Dance of the Conchitas |
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7. Dance with guests |
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8. Wedding dance |
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9. Appearance of the rulers. Dance of the guards. |
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duration 29 minutes |
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Première: 1932, Moscow,
conductor - Ju. F. Feier |
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Op. 68b |
1930 |
Suite No. 2 from the Ballet The comedians |
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for symphonic orchestra |
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1. Fair |
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2. Gypsy dance |
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3. Aragon Chota
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4. Malagenin [woman from Malaga] |
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5. Acrobat dance |
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6. Moorish dance |
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7. Dance of the Clowns |
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8. Dance of the Conchitas |
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9. Scene of the pained Conchitas |
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10. Final |
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duration
31 minutes |
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Première: 1930,
Swerdlovsk,
conductor: the composer |
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Op. 69 |
1923-1925 |
Shakh-Senem Opera in
four acts (five scenes). |
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Libretto M.P. Galperin |
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Première: March 17,
1927, Baku |
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(in Russian language), conductor - A. W. Pawlow-Arbenii, |
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director
- A. W. Warlamow, |
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Interpreters of the
leading roles: Bachrambek - W. A. Nikolski, |
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Shakh-Senem - W. M. Krasnizkaja, Aschig Garib - I. Lopatin |
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1926-1934 |
Second revision |
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Libretto Dshafar Dshabarly and M. P. Galperin |
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Première: May 4, 1934, Baku
(in Azerbaidschan language), |
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conductor: the composer,
director - I. N. Prostorow, Ballet master - |
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W. A. Kononovich, set-designer - S. B. Wirasaladse. |
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Interpreters of the
leading roles: Bachrambek - W. A. Nikolski, M. T. Bagirow; |
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Shakh-Senem - Sch. Ch. Mamedowa, U. Ch. Achmedowa; |
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Aschig Garib - Bjul-Bjul (M. Mamedov), G. A. Gadschibabekov; |
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April 5,1938, Moscow
(Decade of the Azerbaidschan culture), |
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conductor
- A. G. Gasanov, director - A. R. Iskenderov, |
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set-designer
- M. M. Sagijan, G. Chalykow. |
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Op. 69a |
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Suite from the Opera
Shakh-Senem for
symphonic orchestra |
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1. Ouverture |
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2. Intermezzo |
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3. Bacchanalia |
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4. Appearances (ghosts) |
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5. Persian dance |
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6. Dance of the boys |
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7. Procession of the women |
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8. Final-Scene |
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duration
33 1/2 minutes |
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Première: 1933, Moscow,
conductor: the composer |
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1923-1926 |
Ouverture of the Opera Shakh-Senem |
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dedicated to
Schewket-Chanum Mamedowa |
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3 (III - l. flute), 3, 3, 3, - 4, 3, 3. 1, - timpani, little timpani, triangle,
tambourine, |
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cymbal, gong, little
bell, 2 harps, strings. |
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duration
15 minutes |
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First concert
performance: January 8, 1933, Moscow, conductor: the composer |
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transcribed
by the composer for piano four hands |
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Op. 70 |
1926-1927 |
The Red Poppy
Ballet in three acts (eight scenes) with final scene |
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[solemn crowd scene
at the end of the performance] |
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Scenario by Michail I. Kurilko |
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dedicated to
Jekaterina Wasiliewna Geltzer |
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Première: June 13, 1927,
Moscow, Bolshoi Theatre der USSR, |
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conductor - Ju. F. Feier, directors - Lev. A. Laschtschilin (I.
and III. act) and
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Vassili D. Tichomirov (II.
act), set-designer - M. I. Kurilko |
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Interpreters of the
leading roles: Tao-Choa - Ekatarina Wasiljewna Geltzer, |
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sovjet captain - W. D. Tichomirow,
boatswain - W. I. Zaplin, |
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boss - L. K. Mazkevich,
Dance with the ribbon - A. M. Messerer, |
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dance of the acrobat - G. K. Farmanjantz |
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100th performance in
the Bolshoi Theatre of the USSR on December 23, 1928. |
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January 20, 1929,
Leningrad, National Academic Theatre for opera and ballet, |
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conductor
- A. W. Gauk, directors - F. W. Lopuchow, W. I. Ponomarjev, |
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L. S. Leontjev, set-designer - B. M. Erbstein. |
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transcribed
by the composer
for piano two hands |
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1949 |
Second revision |
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Scenario Michail I. Kurilko
and A. N. Ermolajewa. |
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Première: December
27, 1949. Leningrad, S. M. Kirow-Theatre for Opera and |
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Ballet, conductor - E. A. Dubowskoi, director R. W. Sacharow, |
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set-designer
- Ja. S. Stoffer. |
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December 30, 1949, Moscow,
Bolshoi Theatre of the USSR, |
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conductor - Ju. F. Feier,
director - L. M. Lawrowski, set-designer - M.I. Kurilko. |
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Interpreters of the
leading roles: Tao.Choa - E. W. Geltzer, G. S. Ulanowa, |
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O. W. Lepeschinskaja; captain - A. R. Tomski, A. I. Radunski, |
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boss - W.W. Smoltzow; Ma Li-tschen - M. M. Gabovich, Ju. G. Kontratow |
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1955 |
Third revision - Ballett
The Red Flower |
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Première: November
24, 1957,
Moscow. Bolshoi Theatre of the USSR, |
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conductor
- Ju. F. Feier, director - L. M. Lawrowski, Bühnenbild - M. I. Kurilko |
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May 2, 1958, Leningrad,
Theatre for Opera and Ballet "S. M. Kirow", |
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conductor
- E. A. Dubowskoi, director - A. L. Andrejew, stage set - |
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M. P. Bobischov |
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Op. 70a |
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Suite No. 1 from the Ballet The Red Poppy |
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for
symphonic orchestra |
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1. Hero dance of the coolis |
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2. Scene and dance with golden fingers |
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3. Dance of the Chinese |
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4. Phoenix |
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5. Waltz |
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6. Dance of the sailors ("little apple") |
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3 (III - l. flute), 3, 3, 3, - 4, 3, 3, 1 - timpani, triangel, tambourine, big and
small |
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drums, cymbal, gong,
two little gongs, bells, xylophone |
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celesta, 2
harps, strings |
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Op. 70b |
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Suite No. 2 from the ballet The Red Poppy |
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for
symphonic orchestra |
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1. Scene of the Chinese women |
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2. Entrance and dance with cups |
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3. The suffering of Tao-Choa |
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4. Intermezzo |
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5. Adagio |
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6. Procession |
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7. Dance with bellows |
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Première: October
28, 1950,
Moscow, conductor: the composer |
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