Word: prokofievs
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...might be that the name is used here merely as an impressive version of Sergei Taneyev; the former was the transcription used by Russian transliteraters at the turn of the century. Semantics aside, though, Tanajeff has not achieved the mastery of composition that his fellow Russians, like Tchaikovsky and Prokofiev, attained. Tanejeff (1856-1915) wrote a trio for violin, cello and piano that makes one wonder how he was able to take Tchaikovsky's old position as professor of instrumentation at the Moscow Conservatory when the old genius died. Certainly, the trio is no outstanding work. Any recording...
...father of an associate professor of music and director of the electronic music program at Harvard. The piece lasts a mere five minutes but has enough zest to make up for the Tanayev (which isn't all that bad). In fact, Alexander Tcherepnin's father, Nikolai Tcherepnin, taught Prokofiev, although the trio was composed before Alexander had written his most mature works, stemming from his interest in the music of Japan and Shanghai in the 1930s...
Piano Recital--Wanda Paik, pianist; music of Beethoven Mozart, Cuopin and Prokofiev; Naumburg Room, Fogg Art Museum...
...Leningrad and 97 in Moscow before it offended the delicate sensibilities of the Soviet commissars, who denounced it in Pravda as "Muddle Instead of Music." Shostakovich, the only important 20th century Russian composer who worked entirely under the Soviet system (Rachmaninoff and Stravinsky eventually settled in America, and Prokofiev spent many years abroad), found himself labeled an "enemy of the people" and for a while even feared for his life. It took him more than a year to restore his reputation as a good Soviet citizen with his Fifth Symphony. Meanwhile, Lady Macbeth, a brief candle, disappeared from the stage...
What made BartÓk's music so unusual, so unsettling? Other composers-Stravinsky, Prokofiev -were rhythmically tricky; still others-Schoenberg, Webern-were even less conventionally melodic. With BartÓk the difference lay in his rejection of the German musical models that had long been dominant. Visiting the dying composer in New York one day, Dorati recalls finding him engrossed in a copy of Edward Grieg's Piano Concerto. Asked why he was studying such a romantic score, BartÓk said that Grieg was important because he had "cast off the German yoke...