Anatoly Lyadov - Three Preludes Op. 36 (Rapetti) скачать в хорошем качестве

Anatoly Lyadov - Three Preludes Op. 36 (Rapetti)

Pianist: Marco Rapetti Composed in 1895 0:00 - Con moto 0:49 - Allegro 1:53 - Moderato Lyadov and his style Anatoly Lyadov (1855-1914 b. St. Petersburg) is one of the least played geniuses of Russian music. His neglect makes some sense given his stylistic choices. One of which is that he accepted conservatory education and western innovations, refusing to take such as radical a stance as "the five" when crafting his own music [1]. This kept him securely away from that camp. On the other hand, his love of counterpoint and western romanticism [1] placed him more in tune with the likes of Tchaikovsky, the Rubinstein brothers, and Taneyev. Unfortunately, Lyadov never achieved the widespread success of Tchaikovsky, the precise, scholarly brilliance of Taneyev or the exacting critical mind of the Rubinstein brothers. What Lyadov offers instead is, of course, unique. But even though Lyadov played a significant role in Russian music's retreat from nationalism [2], he is still often undervalued when compared to the other giants of his time. Sometimes, Lyadov's music gets lost in the sea of Russian nationalist music because of how similar his music can sound to the ambient output of the time. Lyadov, much like Taneyev, formed a style based on a synthesis of Russian nationalist elements like folk music and church modes and more western elements like tight form, counterpoint, and the rich romantic inheritance passed down by Chopin and Schumann [1]. Fairy tales, literature, and Russian realist art also played a significant role in filling Lyadov's mind with inspiration [1]. As time went on and nationalism declined, Lyadov filled a stylistic void. As Glazunov and Arensky came to be known, Lyadov also arose a "founding member of this 'first generation' of symbolist composers [3]. Late in life, he went on to be inspired by the French impressionists and by Scriabin, using the mystic chord in in some of his later works [1]. Throughout his career as a composer, Lyadov had a rich treasury of artistic influences to draw from, which lead to a varied and unique output but, most importantly, an output worth listening to. Three Preludes Con moto - A nice little Chopinesque prelude that uses 3-against-5 to keep the texture and the melody more separated harmonically. Like in most of Lyadov's preludes thus far, the challenge here is in picking out the melodic elements from the stream-like figurations in the right hand. Allegro - This middle piece offers contrast from the first, more breezy piece. Here, we have a stormy atmosphere, but despite this, the first two pieces share quite a bit of similarities. They both utilize polyrhythms (in this case 3 against 2), a fast-paced stream of notes in the right hand, and subtle melodies embedded in the quick figurations. In this piece, however, there is more melodic emphasis placed on the left hand which also occasionally uses octaves to add drama. The sudden explosion of the cadence after some light finger-work in higher registers cancels out the upward-soaring coda that seems to promise some respite. Moderato - In this set, the slow piece is left for the end, contrasting the other two pieces. The slow bell-like sounds and clear melodies combined with the absence of polyrhythms make this a much calmer listen. The consistent rocking of the chords with the scattered texture imply something like a carefree stroll or a sleigh ride. Bibliography [1] X. Zhang. A Study of the Piano Works by Anatol Lyadov. Doctoral Work. Arizona State University, 2018. [2] M. Montagu-Nathan. A History of Russian Music. Sagwan Press. 2015. [3] A. Masrow. “Contexts of Symbolist Music in Silver Age Russia 1861-1917”. Southern Methodist Univ. 2008. imslp: https://imslp.org/wiki/Category:Lyado...