Anatoly Lyadov - Four Preludes Op. 39 (Rapetti) скачать в хорошем качестве

Anatoly Lyadov - Four Preludes Op. 39 (Rapetti)

Pianist: Marco Rapetti Composed in 1895 0:00 - Con moto 1:17 - Adagio 2:57 - Andante* 4:28 - Allegro Impetuoso* 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. Four Preludes Con moto - More stream-like 5 against 3. Not much new to say here. Before continuing on, however, one should note that Lyadov has a tendency to employ key-hiding by using parallel majors/minors and by switching natural and melodic minors [1]. This is something to watch out for in the score. Sometimes there is more going on than it may seem. Adagio - A very slow, atmospheric piece. A little bit of chromaticism in the melody goes a long way toward rescuing this little prelude from complete banality. Lyadov has a tendency to employ key-hinding by using parallel majors/minors and by switching natural and melodic minors [1]. The texture modulates along with the needs of the melody, but besides breathing out an eerie song with some unexpected melodic jumps, the prelude holds little surprises. Andante - The addition of 16th notes in the right hand combine well with the arpeggios in the left hand to create a texture unique among these preludes. The atmosphere that results is fantastic and leaves plenty of room for contemplation. See Gamma1734's performance too:    • Anatoly Lyadov - Prelude, Op.39/3 [1895]   - I think his playing captures the spirit better. Allegro Impetuoso - Here is the firecracker piece that stands out among the rest of the pieces. It is loud, it is forceful, and it is fast. In other words, it has all the qualities of a showpiece. Something Zhang points out in his work is the frequent use of the augmented 2nd to "improve the melodic tension." Lyadov's use of the spaced out, explosive chords contrasts well with the climbing arpeggios that are interspersed throughout. 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...