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| russian piano school: Fundamentals of Piano Technique - The Russian Method Olga Conus, Leon Conus, 2016-12-01 (Piano Instruction). Fundamentals of Piano Technique was developed by Leon Conus (1871-1944) and Olga Conus (1890-1976) during many decades of teaching and performing, and through association with the most prominent Russian musicians of the time including Rachmaninoff, Scriabin, and Medtner. The exercises in this method are concise and efficient, focusing on the elements of good playing: control, touch, nuance, and musicianship. This book can be used by students at all levels of development, and with all shapes and sizes of hands. The preparatory exercises allow students to begin using the book within their first year of lessons. A systematic approach allows the hands to develop gradually, avoiding dangerous tension or muscle damage. Topics include: preparatory exercises; extension exercises; five-finger exercises; flexibility of the thumb; trill exercises; scales & arpeggios; wrist development; double notes; and more. |
| russian piano school: Russian Technical Regimen - Introduction and Guide Alexander Peskanov, 2005-07 Willis |
| russian piano school: Basic Principles in Pianoforte Playing Josef Lhevinne, 2013-04-09 Written at the height of his career, this little book by the inward poet of the piano is a clear statement of principles based on his lifelong experience in performance and teaching. |
| russian piano school: Self-Portrait with Russian Piano Wolf Wondratschek, 2020-09-08 A legendary literary figure who initiated a one-man Beat Generation in his native Germany, Wolf Wondratschek “is eccentric, monomaniacal, romantic—his texts are imbued with a wonderful, reckless nonchalance.”* Now, he tells a story of a man looking back on his life in an honest Portrait of the Artist as an Old Man. Vienna is an uncanny, magical, and sometimes brutally alienating city. The past lives on in the cafes where lost souls come to kill time and hash over the bygone glories of the twentieth century—or maybe just a recent love affair. Here, in one of these cafes, an anonymous narrator meets a strange character, “like someone out of a novel”: a decrepit old Russian named Suvorin. A Soviet pianist of international renown, Suvorin committed career suicide when he developed a violent distaste for the sound of applause. This eccentric gentleman—sometimes charming, sometimes sulky, sometimes disconcertingly frank—knows the end of his life is approaching, and allows himself to be convinced to tell his life story. Over a series of coffee dates, punctuated by confessions, anecdotes, and rages—and by the narrator’s schemes to keep his quarry talking—a strained friendship develops between the two men, and it soon becomes difficult to tell who is more dependent on whom. Rhapsodic and melancholic, with shades of Vladimir Nabokov, W. G. Sebald, Hans Keilson, and Thomas Bernhard, Wolf Wondratschek's Self-Portrait with Russian Piano is a literary sonata circling the eternal question of whether beauty, music, and passion are worth the sacrifices some people are compelled to make for them. “A romantic in a madhouse. To let Wondratschek’s voice be drowned in the babble of today’s literature would be a colossal mistake.” —*Patrick Süskind, international bestselling author of Perfume: The Story of a Murderer |
| russian piano school: Sonatina Album Louis Kí_hler, Allan Small, 2005-05-03 Originally compiled and edited by Louis Kí_hler, this edition contains some of the most popular keyboard sonatinas, rondos and other works (including symphonic transcriptions) of Beethoven, Clementi, Haydn, Kuhlau and Mozart, among others. In clarifying this edition, editor Allan Small has removed impractical fingerings and unnecessary accidentals found in other editions. |
| russian piano school: The Art of Piano Playing Genrikh Gustavovich Neĭgauz, 1989 |
| russian piano school: Play Piano in a Flash Scott Houston, 2004-01-14 As seen on public television stations nationwide, a revolutionary new approach to playing non-classical music on the piano. Have you ever wished you could play the piano Well, now you can! Scott The Piano Guy Houston teaches you to play the way the pros play, in a style enormously simpler than traditional classical piano and with an absolute minimum of note-reading. By focusing on playing the melody with the right hand (one note at a time) and simple chords with the left hand, Houston gives you the tools you need for a lifetime of musical enjoyment. Best of all, your tour guide to this adventure forces you to have fun along the way! |
| russian piano school: Junior Hanon Charles-Louis Hanon, Allan Small, A slight condensation of Hanon's first exercises. The simplification in layout and range make the exercises appear less difficult to a young student. |
| russian piano school: The Lost Pianos of Siberia Sophy Roberts, 2020-02-06 A SUNDAY TIMES BEST PAPERBACK OF 2021 * Shortlisted for the 2021 Stanford Dolman Travel Book of the Year prize * A critically-acclaimed Sunday Times, Spectator and Independent Book of 2020 * Now with colour photography by Michael Turek 'Richly absorbing... An impressive exploration of Siberia's terrifying past.' Guardian 'Evocative and wonderfully original.' Colin Thubron __________ Siberia's expansive history is traditionally one of exiles, bitter cold and suffering. Yet there is another tale to tell. Dotted throughout this remote and beautiful landscape are pianos created during the boom years of the nineteenth century. They tell the story of how, ever since entering Russian culture under the influence of Catherine the Great, piano music has run through the country like blood. How these pianos made the journey into this snow-bound wilderness in the first place is remarkable. That they might be capable of making music in such a hostile landscape feels like a miracle. The Lost Pianos of Siberia is an absorbing story about a piano hunt - a quixotic quest through two centuries of Russian history and eight time zones stretching across an eleventh of the world's land surface. It reveals not only an unexpected musical legacy, but profound and brave humanity in the last place on earth you might expect to find it. __________ What readers are saying about The Lost Pianos of Siberia: ***** 'You know a book's good when, on finishing it, you just want to start again.' ***** 'Beautifully written, full of compelling anecdotes celebrating Siberia's extraordinary history.' ***** 'The most unusual and intelligent way to tell a travel story.' |
| russian piano school: Music Theory for Young Musicians Sophia Gorlin, 2013-02-22 This Music Theory for Young Musicians in the Style of Russian School of Piano Playing multi-volume collection of books is targeted to pre-college students of all levels, both children and adults, and is drawn largely from the materials the author has developed for her own students over the years.This collection was originally conceived as a supplement to the Russian School of Piano Playing (Russian Piano School) book series. A number of piano teachers, both Russian and American, who use the Russian Piano School method, have noted the need for a comprehensive music theory supplement since the three books of the series provide very scarce theory information. This Music Theory is intended to fill this gap, though it can be used effectively with any piano method. Moreover, the Music Theory books have evolved beyond their original conception as a supplement to the Russian Piano School books, incorporating more advanced concepts and skills than those found in the Russian Piano School series, which stops at intermediate levels.What makes these Music Theory books unique:*This collection is expected to be one of a kind written in English language for the following important reasons: 1) The author applies European and Russian music school musical terminology and classifications in the books; 2) The author offers her own terms and classifications; 3) The author provides some unique illustrations, charts and graphics; 4) Such advanced concepts as tonality, functionality , chromaticism, enharmonicism, all forms of resolutions and modulations, and all forms of cadences/chord progressions have never been included in any pre-college or college introductory courses; therefore, the books of intermediate and advanced levels are extremely helpful for those students who plan to continue their musical education in college. *This Music Theory collection uniquely combines textbook and workbook (theory and practice), teacher and student book components in each volume, providing greater ease of instruction for both teachers and students at every level. *This Music Theory books contain a broad anthology of repertoire at every level. It include not only excerpts/fragments, but also complete music pieces that are offered for analysis and performance. *This Music Theory collection uniquely develops the student's analytic and logical skills through detailed analysis of its large number of musical examples. This is accomplished by accompanying each musical example with a number of questions about various musical components that lead the student to his/her own conclusion about the uniqueness of a concrete musical work. With every analysis of a musical example, the student's attention is drawn to the style and genre of a musical piece, to the historical period in which it was composed and to the background (nationality) of a composer.*Starting with Level 2, each book includes additional biographical articles about the composers and musical genres, either in footnotes or in the appendix/endnotes; this forms a concise encyclopedia for the student to turn to when he/she needs to answer the questions about genres or composers backgrounds.*The books include a number of unique comparison exercises. *This collection presents, through the performance tips found throughout the books, the important connection between theory concepts and piano performance. A student's attention is consistently brought to the new music terms as they are introduced in the musical examples. This helps the student to comprehend and memorize important musical terms in relation to performance.The unique teaching tools offered in this Music Theory series will encourage students to look more closely and deeply at the music, and will intensify their ability to read music quickly and effectively. Upon completion of the theory training in these books, a student should be able to sketch a musical image in his/her mind just by looking at the score, before he/she even begins to play it. |
| russian piano school: Piano Playing, with Piano Questions Answered Josef Hofmann, 1920 |
| russian piano school: Preparatory Exercises Aloys Schmitt, 1922 |
| russian piano school: The Art of Piano Playing George Kochevitsky, 1995-11-16 So many of the great pianists and teachers have come out of Poland and Russia (Rubinstein, Anton as well as Arthur, Leschetizky, Paderewski, the Lhevinnes, Gilels, Richter, and others), yet we know little about their methods of learning and teaching. George Kochevitsky in The Art of Piano Playing supplies some important sources of information previously unavailable in the United States. From these sources, tempered by this own thinking, Kochevitsky formulated a scientific approach that can solve most problems of piano playing and teaching. George Kochevitsky graduated in 1930 from Leningrad Conservatory and did post-graduate work at Moscow Conservatory. After coming to the U.S., he taught privately in New York City, gave a number of lectures, and wrote for various music periodicals. |
| russian piano school: Famous Pianists and Their Technique Reginald R. Gerig, 1990 This work includes summaries and excerpts from the works of C.P.E. Bach, Bartok, Beethoven, Brahms, Hummel and Debussy. |
| russian piano school: The Russian Piano School Christopher J. Barnes, 2007 An insight into the views on technique and interpretation of several of the twentieth century's greatest Russian teachers and performers. |
| russian piano school: Sergei Rachmaninoff School of Musicianship and Technique Andrew Adams, 2012-10-15 Based on an article written in 1923 by legendary Russian pianist and composer Sergei Rachmaninoff (1873-1943), this volume presents the series of chords, arpeggios, and scales that Rachmaninoff himself studied as a young man. The Preface contains a short history explaining Rachmaninoff's use of this exercise and demonstrates that similar studies were included in some of the earliest keyboard methods dating to the eighteenth century. More than finger exercises, these patterns encourage harmonic thinking and reflect the modern approach to piano technique with its emphasis on engaged practice. Having its roots in the earliest history of keyboard pedagogy, and practiced and promoted by Sergei Rachmaninoff, Josef Lhèvinne, Franz Liszt, and other legendary pianists, the exercises in this volume are a true link to the Golden Age of piano performance. Without question, diligent study will greatly improve every dedicated student's musicianship and technique. |
| russian piano school: Easy Classics to Moderns Denes Agay, 1956 Easy Classics to Moderns Compiled and Edited by Denes Agay These 142 pieces by the masters of piano literature date from the second half of the 17th century to the present day. |
| russian piano school: Our Piano Teacher Katherine E. Koester, 2020-04-08 What makes a student continue with piano lessons their entire educational career? A great experience with music and teachers! This book can be read multiple times in a year! Our Piano Teacher is like a scrapbook of memories, relived and celebrated with each reading. The experiences learned from music and teachers have far-reaching life benefits for both students and adults. Readers can relate as students grapple with a myriad of challenges that are overcome with excellent coaching and hard work to produce soaring satisfaction year after year. You'll feel the endearing qualities of Our Piano Teacher, who is patient, kind, does not keep track of wrongs, does not boast, and has a special essence that keeps people begging to learn more! Music truly reaches all areas of educational subjects with its history and worldwide span. Our Piano Teacher celebrates teaching. |
| russian piano school: Stravinsky's Piano Graham Griffiths, 2013-02-21 An unprecedented exploration of Stravinsky's use of the piano as the genesis of all his music - Russian, neoclassical and serial. |
| russian piano school: Learning Environments and Learning Achievement in the Russian Federation Tigran Shmis, Maria Ustinova, Dmitry Chugunov, 2019-12-12 This book presents the main findings of a study on school learning environments and student outcomes, which the World Bank conducted in 2019 in three regions of the Russian Federation. Using data collected through the OECD School User Survey and the pilot “Trends in Mathematics and Science Study†? (TIMSS), the book analyzes how a school’s infrastructure and learning environment may affect the progress and success of students in math and science. It also delves into teaching practices, analyzing their impact on learning and highlighting the important nexus between learning environments and teaching methods. The book concludes by recommending areas in which focused attention by educational authorities could improve educational policy and help maintain high-quality learning environments. The book will be useful for educators, school principals, architects, and policy makers who are involved in school infrastructure projects and are interested in increasing their knowledge of school design planning. |
| russian piano school: The Russian Technical Regimen for the Piano, Exercise Volume IV: Arpeggios and Block Chords , 2005-07 Willis |
| russian piano school: Hanon for the Developing Pianist (Music Instruction) , 2001-11-01 (Educational Piano Library). Drawing on the original G. Schirmer edition, this new G. Schirmer edition in the Hal Leonard Student Piano Library was created with today's developing pianist in mind. This fresh look at Hanon's popular studies includes innovative student worksheets, 'virtuoso' variation suggestions, informative historical and biographical facts, and chromatic-scale exercises. |
| russian piano school: Music Theory for Young Musicians in the Style of Russian School of Piano Playing Mrs Sophia Gorlin, 2013-06-10 This Music Theory for Young Musicians in the Style of Russian School of Piano Playing multi-volume collection of books is targeted to pre-college students of all levels, both children and adults, and is drawn largely from the materials the author has developed for her own students over the years.This collection was originally conceived as a supplement to the Russian School of Piano Playing (Russian Piano School) book series. A number of piano teachers, both Russian and American, who use the Russian Piano School method, have noted the need for a comprehensive music theory supplement since the three books of the series provide very scarce theory information. This Music Theory is intended to fill this gap, though it can be used effectively with any piano method. Moreover, the Music Theory books have evolved beyond their original conception as a supplement to the Russian Piano School books, incorporating more advanced concepts and skills than those found in the Russian Piano School series, which stops at intermediate levels.What makes these Music Theory books unique:•This collection is expected to be one of a kind written in English language for the following important reasons: 1) The author applies European and Russian music school musical terminology and classifications in the books; 2) The author offers her own terms and classifications; 3) The author provides some unique illustrations, charts and graphics; 4) Such advanced concepts as tonality, functionality , chromaticism, enharmonicism, all forms of resolutions and modulations, and all forms of cadences/chord progressions have never been included in any pre-college or college introductory courses; therefore, the books of intermediate and advanced levels are extremely helpful for those students who plan to continue their musical education in college. •This Music Theory collection uniquely combines textbook and workbook (theory and practice), teacher and student book components in each volume, providing greater ease of instruction for both teachers and students at every level. •This Music Theory books contain a broad anthology of repertoire at every level. It include not only excerpts/fragments, but also complete music pieces that are offered for analysis and performance. •This Music Theory collection uniquely develops the student's analytic and logical skills through detailed analysis of its large number of musical examples. This is accomplished by accompanying each musical example with a number of questions about various musical components that lead the student to his/her own conclusion about the uniqueness of a concrete musical work. With every analysis of a musical example, the student's attention is drawn to the style and genre of a musical piece, to the historical period in which it was composed and to the background (nationality) of a composer.•Starting with Level 2, each book includes additional biographical articles about the composers and musical genres, either in footnotes or in the appendix/endnotes; this forms a concise “encyclopedia” for the student to turn to when he/she needs to answer the questions about genres or composers backgrounds.•The books include a number of unique comparison exercises. •This collection presents, through the performance tips found throughout the books, the important connection between theory concepts and piano performance. A student's attention is consistently brought to the new music terms as they are introduced in the musical examples. This helps the student to comprehend and memorize important musical terms in relation to performance.The unique teaching tools offered in this Music Theory series will encourage students to look more closely and deeply at the music, and will intensify their ability to read music quickly and effectively. Upon completion of the theory training in these books, a student should be able to sketch a musical image in his/her mind just by looking at the score, before he/she even begins to play it. |
| russian piano school: Fundamentals of Piano Practice Chuan C. Chang, 2016-01-06 This is the first book that teaches piano practice methods systematically, based on mylifetime of research, and containing the teachings of Combe, material from over 50 pianobooks, hundreds of articles, and decades of internet research and discussions with teachersand pianists. Genius skills are identified and shown to be teachable; learning piano can raiseor lower your IQ. Past widely taught methods based on false assumptions are exposed;substituting them with efficient practice methods allows students to learn piano and obtainthe necessary education to navigate in today's world and even have a second career. See http://www.pianopractice.org/ |
| russian piano school: Hiding in the Spotlight Greg Dawson, 2009-06-27 Summoning all the colors of a Chopin prelude, Dawson has painted a vivid picture of his mother (Mona Golabeck) as a young girl whose musical genius enables her to survive the Holocaust. |
| russian piano school: The Russian Piano School Sarah R. Gilliard, 2017 The intent of this paper is to examine the technique and teaching practices used within the Russian piano method through the perspective of Russian-trained teachers living in America. This work provides a means to understand the demands of the students along with their family, the different types of instruction pertaining to the different piano methods used, and the vital importance of technique, form, and artistry within the Russian culture. Three in-depth, semi-structured interviews were conducted individually with Russian trained students and teachers who now live in America. Three main threads arose from these interviews, including the music schooling system in Russia, the importance of tradition and lineage in piano, and the intense dedication it takes from the first lesson to be considered successful--Abstract. |
| russian piano school: Piano Makers in Russia in the Nineteenth Century Anne Swartz, 2016-02-15 Piano Makers in Russia in the Nineteenth Century is a richly detailed thematic study of the history of the piano in Russian society from its beginnings with the European artisans who settled in St. Petersburg in the early decades of the century through the transition to Russian-owned family firms. The piano played a defining role in the shaping of Russia's musical culture in the nineteenth century, as artisans and entrepreneurs provided the foundation for the great tradition of the Russian virtuoso in the performance and the composition of piano music. It also helped bring about a transformative change in the material culture as the piano expanded its reach from the court and the nobility to include music enthusiasts from all social classes and Russian families in their homes. This historical study brings to light the impact of neglected piano artisans in nineteenth-century Russia, and presents a fresh view of the social and economic ties between the state and the piano-manufacturing artisans in an era largely defined by handcrafting and entrepreneurship. It contributes significantly to current issues surrounding the role of the piano and the entrepreneur-artisans in the urban centers of imperial Russia and represents an expansion of what is currently known about the piano builders who established workshops in Russia beginning in the late 1830s and 1840s, well before the heyday of the virtuoso in that country. Rare documents, including letters, memoirs, gazettes, exhibition catalogs, music journals, and administrative reports, form the nucleus of this book and provide fascinating insights about state and private patronage and the class/economic issues related to the affordability and prestige of the piano in Russia. Issues surrounding the transformation of the music industry in Russia, the role of women as patrons and performers, the exportation of instruments to the Russian Far East, and the complex system of tariffs and trade protection that benefited domestic piano manufacturers provide this book's thematic links. Conclusions indicate that while favorable tariff laws and state-imposed economic policies benefited the family-owned firms in the nineteenth century, they remained in effect in the decades after the nationalization of the piano industry in 1917. |
| russian piano school: Defining National Piano Schools Wojciech Wisniewski, 2016-03-08 This book is the result of a six-year investigation into the phenomenon of 'national piano schools' with a particular focus on establishing a definition of it. The book describes the current state of national schools and their evolution - particularly in the twentieth and twenty-first centuries. From references in topic related literature to Russian, Austro-German and French piano schools, as well as other less well documented ones, the author identifies key areas through which they may be defined. The book describes current perceptions of national piano schools, collected through interviews with contemporary piano professionals and an internationally distributed questionnaire. To add another dimension to the topic, the author explores issues related to teacher-student lineages across the ages as one of the supposedly main carriers of piano tradition. As a result, this book proposes a definition of a national piano school in terms of three broad areas: national characteristics, traditions of interpretation, and individual personality. The descriptions derived from the literature, interviews and questionnaire data resulted in various national piano schools (most notably Russian, French, German and American) being identifiable in such areas as: history, political circumstances, cultural and compositional heritage, language, conditioning, instrument type, key archetypes, generalized personality traits, technique, sound, aesthetics, phrasing, repertoire and individual personality. The changes in national schools are summarized as conforming to a trend towards unification and homogeneity, and the author presents a case that currently their unique character is much less pronounced, in some cases, as suggested by the data, to the extent of complete extinction. A nice addition to this book is the inclusion of the author's custom designed 'genealogical trees of pianism', presented here, in full, in Appendix A. This publication is a near-verbatim reproduction of the author's doctoral research of the same title. The decision to publish in book form was driven by the goal of introducing this academic research to a wider audience, and ensuring that the work invested in this study would foster further discussion. |
| russian piano school: The Bet Anton Chekhov, 1958-01-01 |
| russian piano school: Encyclopaedia Britannica Hugh Chisholm, 1910 This eleventh edition was developed during the encyclopaedia's transition from a British to an American publication. Some of its articles were written by the best-known scholars of the time and it is considered to be a landmark encyclopaedia for scholarship and literary style. |
| russian piano school: Standard Wirebound Manuscript Paper (Green Cover, Pack Of 5) , 1986-02 |
| russian piano school: Discovering Color Behind the Keys Rada Bukhman, 2013-03 This book is a unique and exclusive guide for both piano teaching and piano learning. It includes essential basic concepts of the Russian Piano School, a pedagogy that is rarely found in English piano literature. The book gives an overview of the most important goals a teacher should set while developing a young musician. Besides examining a variety of means used for musical expression, it explores in detail how to approach each element of piano technique: from preliminary physical exercises away from the piano, to separate work on each finger, to mastery of articulation and motor skills. Helpful photo-illustrations and carefully-crafted technical instructions complement the exercises. In addition to detailed exploration of methods and practical techniques for acquiring musical and technical skills, the book provides a highly original and carefully selected variety of piano repertoire in all genres and styles. The broad selection includes pieces by Bach, Mozart, Beethoven, Tchaikovsky, Schumann, Weber, Kullak, Maykapar, Sviridov, Lokshin and others. The musical scores are either carefully edited or verified as original composers' notes. The repertoire covers the first few years of a child's music education and will serve as a great help to both music teachers and students. Colorful art and supplementary historical overviews make this musical journey exciting and educational. Piano teachers and their students will find the book extremely helpful for everyday use and in preparation for exams, performances and competitions. |
| russian piano school: Scales, Chords and Arpeggios for Piano : the Brown Scale Book Frederick Harris Music Co, University of Toronto. Royal Conservatory of Music of Toronto, 1977 |
| russian piano school: Little Pianist. Book for Teachers. Victor Shevtsov, 2014-10-31 The Little Pianist//First Steps Book for Teachers is a detailed explanation of the essence of the Russian piano playing and teaching approach. The most notable features of the Russian Piano School are beautiful tone, refined touch and articulation and the emphasis on the singing qualities of the melody. All this requires flexibility and freedom of all playing habits. The teaching strategies and carefully selected repertoire allows to focus on developing in students the ability to relax hand and to keep it flexible. We understand how important it is to start working on this essential technical device from the very beginning of teaching beginners and to keep working on it throughout all the years of training young musicians. Only freedom and flexibility of playing movements allow to produce beautiful tone, to coordinate different articulations and lay the foundation for all technical skills of the pianist. The book consists of four sections: I. Basic methodical guidelines - a detailed explanation of the main ideas and approaches of the Russian piano School and unique teaching strategies that help teachers to use Little Pianist // First Steps with maximum effectiveness. II. Step-by-step instructions for the Introductory level. III. Teaching tools and strategies for Level One. IV. Instructions for Level two including detailed comments on the repertoire pieces. |
| russian piano school: Contemporary Russian Piano School Blanc Wan, 2016 This chapter aims to deconstruct their current curriculum for technical exams, and analyses a number of etudes and technical excises. It should be of interest to note that this section considers the tutor books used throughout the student period, leading to the solid technical foundation with which generations of Russian pianists seem to have been equipped. Chapter five looks closely at the long melodic line in the performance of Russian pianists and explores the effectiveness of long lines in Romantic music. It does, however, suggest this particular feature has been 'embedded' into their playing unconsciously, which has influenced some of their performance decisions. The sixth chapter, as its title suggests, focuses on the cantabile sound quality in Russian performances - another noticeable feature of the Russian musical aesthetics. The ways in which Russian pianists construct their tonal layers at different levels can be studied in depth and can be examined from a number of different angles. It proves helpful to use Tchaikovsky's B flat minor Piano Concerto, Op. 23, and Mozart's Piano Sonata in F major KV 332, as case studies to furnish examples. Finally, a concluding chapter draws together the strands of the preceding discussion. In sum, the thesis reconsiders the modem 'Russian Piano School' in relation to the globalisation of teaching and practice, and concludes with suggestions for further study. |
| russian piano school: Russian Piano School Vol.16 , 1996 |
| russian piano school: The Musician , 1912 |
| russian piano school: Natasha's Dance Orlando Figes, 2014-02-11 History on a grand scale--an enchanting masterpiece that explores the making of one of the world's most vibrant civilizations A People's Tragedy, wrote Eric Hobsbawm, did more to help us understand the Russian Revolution than any other book I know. Now, in Natasha's Dance, internationally renowned historian Orlando Figes does the same for Russian culture, summoning the myriad elements that formed a nation and held it together. Beginning in the eighteenth century with the building of St. Petersburg--a window on the West--and culminating with the challenges posed to Russian identity by the Soviet regime, Figes examines how writers, artists, and musicians grappled with the idea of Russia itself--its character, spiritual essence, and destiny. He skillfully interweaves the great works--by Dostoevsky, Stravinsky, and Chagall--with folk embroidery, peasant songs, religious icons, and all the customs of daily life, from food and drink to bathing habits to beliefs about the spirit world. Figes's characters range high and low: the revered Tolstoy, who left his deathbed to search for the Kingdom of God, as well as the serf girl Praskovya, who became Russian opera's first superstar and shocked society by becoming her owner's wife. Like the European-schooled countess Natasha performing an impromptu folk dance in Tolstoy's War and Peace, the spirit of Russianness is revealed by Figes as rich and uplifting, complex and contradictory--a powerful force that unified a vast country and proved more lasting than any Russian ruler or state. |
| russian piano school: Voicing the Ineffable Siglind Bruhn, 2002 The relationship between music and religion has long been a clearly delineated one. Up to the late Middle Ages, music employed for ritual expressions of faith in sacred contexts was contrasted with secular music, then mostly played in open spaces. The former was believed to aid in the communication of divine truths, while the latter was suspected of arousing sensuality and thus potentially leading away from the spiritual perspective of life. In subsequent centuries, music entered first the courtly salons, then the concert hall and the home. Such music, created for virtuoso performance or for the enjoyment in private chambers, occasionally made room for an expression of religious experiences outside the dedicated spaces of worship. This aspect is particularly intriguing in instrumental music, where allusions to extra-musical messages are at best hinted at in titles or explanatory notes, and in those cases of vocal music where it can be shown that the musical language adds significant nuances to the verbal text. On the basis of various case studies that transcend a music-analytical approach in the direction of the hermeneutic perspective, this volume explores in which ways the musical language in itself, independently of an explicitly sacred context, communicates the ineffable. The discussion focuses on the musical means and devices employed to this effect and on the question what the presence of religious messages in certain works of secular music tells us about the spirituality of an era. |
| russian piano school: Plunderphonics, 'pataphysics & Pop Mechanics Andrew Jones, 1995 Where new music collides with contemporary pop (as opposed to jazz or classical), Plunderphonics explains the implications of the new wave of sonic appropriation. |
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Russia, [b] or the Russian Federation, [c] is a country spanning Eastern Europe and North Asia. It is the largest country in the world, and extends …
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