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.
13 июл 2024
