National Schools
From DIMA
Author : Ecaterina Banciu
From the beginning of the 19th century the role of music in the aesthetic and philosophical configuration of Romanticism foreshadows a national culture:
- accentuation of patriotic sentiments
- consciousness of national values
- aspiration for independence
- discovering the treasure of the folk music
- tendency towards universality by enriching the artistic spirit with the original specific
- equalizing the particular contribution of the nations
Russian School
MIHAIL IVANOVICI GLINKA (1804 - 1857)
Glinka is considered the "father of Russian music". His musical studies were modest; he was talented and learned in the company of his musician friends. He travelled a lot, to Vienna, Paris, Berlin and Italy.
Works
Symphonic works
-1836 (32) The Gipsy from Moldavia, music for stage
-1839 (35) Waltz-Fantasia, for orchestra (revised 1856)
-1845 (41) Jota Aragonesa, Spanish Overture no.1
-1848 (44) Nuntial Song (Kamarinskaya), fantasia for orchestra
Chamber works
-1822 (18) Variations on a Theme from Mozart, for piano
-1826 (22) Trio Pathétique, for piano, clarinet and bassoon, or piano, violin and cello (1824-7)
-1830 (26) Quartet in F Major
-1833-4 (29-30) Sextet for piano and strings
-1847 (43) A Greeting to My Native Land for piano
Vocal
-1840 (36) A Farewell to Saint Petersburg, cycle of songs
Vocal-symphonic works
-1826 (22) Memorial cantata
Operas
-1836 (32) A Life for the Tsar, opera (original title: Ivan Susanin)
-1839 (35) Valse-Fantaisie, for orchestra (revised 1856)
-1842 (38) Ruslan and Lyudmila, opera
-1847 (43) A Greeting to My Native Land for piano
ALEXANDER SERGHEYEVICH DARGOMYZHSKY (1813-1869)
He studied piano, violin and viola in his childhood. The novelty of his style consists in the lyricism in the style of romances and dramatic character in the melodic recitative.
- Works
Symphonic works
-1861-3 (48-50) Baba-Yaga, fantasia for orchestra, Finnish Fantasia Kazaciok
Chamber works
- Tarantella Slave for piano four-hands
Vocal
-19 songs, 15 vocal duets
Operas
-1847 (34) Esmeralda, opera (possibly in 1839)
-1856 (43) Rusalka, opera
-1867 (54) The Triumph of Bacchus, ballet-opera
-1872 The Stone Guest, opera (completed by Cui, orchestration by Rimsky-Korsakov)
Chronological works
-1847 (34) Esmeralda, opera
-1856 (43) Rusalka, opera
-1861-3 (48-50) Baba-Yaga, fantasia for orchestra
-1867 (54) The Triumph of Bacchus, ballet-opera
| -1872 The Stone Guest, opera |
Vladimir Vasilievici Stasov (1824-1906)
Prominent personality in the history of the Russian art, critic, scholar, archaeologist, art historian, was a close friend of Glinka and the other Russian composers. From 1860 he became the theoretician and leader of the The Five - Balakirev, Mussorgsky, Rimsky-Korsakov, Borodin and Cui. He wrote on the Russian composers (Glinka, Borodin, Mussorgsky) and on the foreign ones (Berlioz, Schumann, Liszt, Wagner).
MILY BALAKIREV (1837 - 1910)
Self-taught, Balakirev studied music and attended courses in mathematics at the University of Khazan. He founded in 1862 the Free School of Music and became known as the father of The Five.
- Works
Symphonic works
-1858 (21) Ouverture on Russian themes
-1866-98 (29-61) Symphony no. 1 in C Major
-1867 (30) Ouverture on Czech Themes, Tamara, symphonic poem (1867-82)
-1884 (47) Russia, symphonic poem
-1907-08 (70-1) Symphony no. 2 in D Minor
Concert works
-1852 (15) Grande Fantasie on Russian Folk Songs for piano and orchestra
-1855 (c18) Concerto for piano no. 1 în F# Minor
-1861 (24) Concerto for piano no.2, completed by Liadov
Chamber works
-1852 (15) Septet for flute, clarinet, strings and piano
-1854 (17) Quatruor, string quartet (1854-5)
-1855-6 (18-19) Octet for flute, oboe, horn, strings and piano
-1869 (32) Islamey, fantasia for piano
-1905 (68) Sonata for piano in B Minor
Vocal
-Three Forgotten Songs
-1858-65 (21-8) 20 songs
-1895-6 (58 9) 10 songs
-1903-4 (66-7) 10 songs
ALEXANDER BORODIN (1833 – 1887)
Borodin attended courses in medicine and surgery and was a member of the Chemical Society in Paris. In Heidelberg and Pisa he continued his career in chemistry along with the one in music.
- Works
Symphonic works
-1862-7 (29-34) Symphony No. 1 in E flat Major
-1869-76 (36-43) Symphony No. 2 in B Minor
-1880 (47) În the Steppes of Central Asia
Concert works
-1847 (14) Concerto for flute and piano in D Major
Chamber works
-1879 (42-6) String Quartet No. 1 in A major
-1881 (48) Quartet n2. 2 in D Major
-1885 (52) Petite Suite for piano, Scherzo în A-flat Major for piano
-1886 (53) Serenata alla Spagnola
Vocal
Vocal-symphonic works
Operas
-1867 (34) Bogatyri
-1869-87 (36-54) Prince Igor, opera (completed by Rimsky-Korsakov and Glazunov)
CESAR CUI (1835 - 1918)
He studied military engineering; the meeting with Balakirev will turn his career towards composition. Beginning in 1864 he wrote articles on music.
Works
Symphonic works
-1857 (22) Scherzo for orchestra, no. 1 and 2
-1881 (46) Marche solenelle
Concert works
-1883 (48) Suite Concertante, for violin and orchestra
-1886 (51) Deux Morceaux, for cello and orchestra
Chamber works
-1859 (24) Tarantella
-1890-1913 (55-78) Quartet in C Minor, Quartet in D Major, Quartet in E-Flat Major
-1897 (62) Cinq petite duos for flute, violin and piano
-1911 (76) Sonata for violin in D Major
Operas
-1858 (23) The Prisoner of Caucasus
-1859 (24) The Mandarin’s Son
-1869 (34) William Ratcliffe
-1875 (40) Angelo
-1888-9 (53-4) Le Filibustier
-1899 (64) The Saracen
-1903 (68) Mademoiselle Fifi
-1907 (72) Matteo Falcone
-1911 (76) The Captain’s Daughter
MODEST MUSSORGSKY (1839 - 1881)
Destined for a military career, Mussorgsky entered the Cadet School of the Guards and received a commission with the Russian Imperial Guard. At 24 he left the Regiment for a career in music.
- Works
Symphonic works
-1858 (19) Scherzo for orchestra
-1861 (22) Alla marcia notturna, for orchestra, Scherzo and Finale for the Symphony in D Major (1861-2)
-1867 (28) Symphonic Intermezzo in the Classic Style
-1880 (41) Turkish March for orchestra
Chamber works
-1857 (18) Souvenir d’enfance, for piano
-1858 (19) Edipo, for mixed choir (1858-60)
-1859 (20) Impromptu passioné, for piano
-1867 (28) St. John’s The Night on the Bare Mountain, for piano
-1874 (35) Pictures from an Exhibition, for piano
-1874 (35) Jesus Navin, for alto, bass, choir and piano (1874-7)
-1880 (41) Five Russian Folksongs for men’s choir
-1867 (28) Meditation, for piano, Une larme, for piano, Au village, for piano
Vocal
-1868 (29) The Nursery, cycle of songs (1868-72)
-1874 (35) two cycles of songs Winter Journeys: Without Sun , songs and Dances of Death (1875-7)
-1879 (40) Song of the Flea
Vocal-symphonic works
-1859 (20) Marcia di Sciamie, for soloists, choir and orchestra
-1867 (28) La disfatta di Sennacherib, first version for choir and orchestra
Operas
-1868 (29) Zenitha (Marriage), opera (private performance)
-1868 (29) Zenitha (Marriage), opera (private performance)
-1869 (30) Boris Godunov, opera, first version with piano (revised in 1872)
-1872 (33) Khovanshchina, opera
-1874 (35) The Fair at Sorochyntsi, opera
NIKOLAI RIMSKY-KORSAKOV (1844 - 1908)
He entered the Naval College in Sankt Petersburg, his piano teacher introducing him to Balakirev; he will join the members of The Five. At 27 is offered the position of professor of composition and orchestration at St. Petersburg Conservatory.
- Works
Symphonic works
-1861-5 (17-21) Symphony no. 1 in E-flat Major
-1866 (22) Overture on Russian Themesi , Symphony no. 3 in C Major (1866-73)
-1867 (23) Sadko, symphonic poem, Fantasy on Serbian Themesi for orchestra, (25) Antar, symphonic suite
-1879 (35) Sinfonietta on Russian Themes, for orchestra (1879-80)
-1887 (43) Capriccio espagnol, for orchestra
-1888 (44) Şcheherazade, symphonic suite
-1905 (61) Variations on a Russian folksong, for orchestra
Concert works
-1882-3 (38-9) Concerto for piano in C# Minor
-1886 (42) Fantasy on Russian Themes for violin and orchestra
-1903 (59) Souvenir de trois chants polonais, for violin and orchestra
Chamber works
-1875 (31) Quartet no. 1, Three pieces for piano, 6 fugues
-1876 (32) String Sextet, Quintet for piano and brass
-1878 (34) Variations on the theme B-A-C-H, for piano, Four Pieces for piano
-1897 (53) Trio with piano
-1903 (59) Serenade, for cello and piano
Vocal
-1897 (53) three cycles of songs: In Spring, To the Poet, By the Sea
Vocal-symphonic works
-1888 (44) Russian Easter
Operas
-1878 (34) May Night
-1892 (48) Mlada
-1895 (51) Christmas Eve
-1898 (54) Mozart and Salieri
-1899 (55) The Tsar’s Bride
-1900 (56) The Tale of Tsar Saltan
-1902 (58) Kashchey the Immortal
-1903 (59) The Invisible City of Kitezh (1903-5)
-1906-7 (62-3) The Golgen Cockerel
ALEXANDER SCRIABIN
Bibliographical notes
Following Chopin, Tchaikovsky and Liszt, Alexander Scriabin is the first composer of the 20th century in whose works the joining of the aesthetical-musical message and the piano technique are in perfect balance. Although his compositions evolved along the years towards new sonorous universes, Scriabin remains yet profoundly marked by the achievements and the fundamental features of the Russian school of composition, together with more conservative personalities such as Glazunov, Rachmaninov, Medtner and others.
Even since the age of three the musical talent of the future musician was remarked, who used to improvise at the piano. Later, Anton Rubinstein predicted him a brilliant career.
At eleven he had as teacher for a short while the composer and theoretician G. Konius, at the time a student at the Conservatory, and at 13 he entered the class of the renowned pedagogue Nikolai Zverev, teacher at the Lower school of the Moscow Conservatory.
When Scriabin entered the stage of the Russian music, in 1892, the Conservatories in Moscow and St. Petersburg had already passed through a quarter of a century of intense activity and remarkable composing experiences. In St. Petersburg, the Beliaev Circle was attempting to fulfill its mission of forming the musicians within a revolutionary spirit. Rimski-Korsakov was connection between this continuity of the Russian school, on the one hand as a colleague of Mussorgsky and Borodin, and on the other as leader of the Beliaev Circle. In this respect, he had the duty to supervise the development of a new generation, aware of itself and original at the same time, but difficult to master.
This is the environment in which young Scriabin began his composing activity among other members of the Beliaev Circle such as Liadov and Glazunov. These features are afterwards seen along Scriabin’s entire work, even in the moment of a maximum estrangement from the tonal-functional system. Up to a certain time, Scriabin was in a way the acknowledged exponent of this school of composition, losing the followers and supporters on his way to the mysteries he would plunge into along the passing of the years. This path, however far it would have brought him, presents nonetheless continuity in overcoming certain moments of composition and the conquest of new ones.
This way, the passing from the tonal system to the partially tonal one, and even atonal, is accomplished with subtle movements, being difficult to define, if not even impossible, a turning point in this direction. Scriabin himself did not acknowledge any break or breach in this matter. He conceived his works from the beginning to the end as having in the background the same material. Because of this, dividing his works in periods based on the stylistic evolution leaves room for another criterion, which we may call a psychological criterion.
The early works, up to the Symphony No. 1 op. 26, marked by Chopin’s influence, are re-directed by a new impulse, or better said by a creative idea, that of the mystery, which will have in its turn a process f permanent awareness. Scriabin’s flame of the ideal – or of the negative ideal – represents until his last works a moving force, which urges the composer to reach new stages of the unknown: the one of the sensual pleasure and the devil’s temptation, the moments of juncture with the music of Liszt (the time between 1901-1905), of weakness, of ecstasy and divine creation (1905-1909), of sublimation of the phenomena of nature (1909-1912), and finally, of a magical regnum (1912-1914).
Triumphant in the Divine Poem (which presents the artistic-musical influences of Wagner’s Gesamtkunstwerk), these diabolical crises continue to unsettle Scriabin even during the much later period when he wrote the two Poems for Piano "Etrangetée" op.63 and the Sonata no.9 op.68. Together with the Symphony No. 3, his last period of composition shows the assimilation of many theological-philosophical dogmas and of several ideas originating in the Russian symbolist poetry. Before his premature death in 1915, Scriabin had worked on a gigantic project entitled Mysterium, by which the composer would have liked to create a possibility of transcendental union of mankind. Although only some of his works are partially shadowed by the diabolical side, they all reveal a state of sublime spiritual exaltation.
Works for piano
The works of Scriabin encompass only two genre domains: the ones of the music for piano and the symphonic music. Approaching them exclusively represented a risk – the one of navigating on the already known seas and of stranding in banality – and at the same time an act of bravery – in the attempt to surpass the familiar, the common -, both genres being carried in the near past Romantic era to previously unknown heights of technical and expressive mastery.
A concert piano player of notable elegance and nobility, Scriabin dedicated to his instrument most part of his compositions, of the 74 works, 67 being pieces for piano (preludes, studies, mazurkas, nocturnes, waltzes, poems, sonatas and other miniatures with or without a program) realized in a great variety of forms and genres, having an unmistakable original expression.
At first impregnated by the spirit of Chopin – the works written until the age of 20 - Scriabin’s style evolved continuously both in the performance field, as well as in the compositional one, of the musical language, becoming one of the most original in the musical landscape of the first decades of the 20th century.
Scriabin’s musical works evolved in three distinct periods. In the first one Scriabin was explicitly influenced by Chopin. Afterwards, he became interested in philosophy, becoming acquainted with several philosophical systems, without involving himself deeply in either of them. Reading Goethe, Nietzsche, Schopenhauer and Shelling, Scriabin decided to formulate his own system, which wanted to reflect as accurately as possible his own view of the world. The Wagnerian idea on the total opera ("Gesamtkunstwerk") attracted him from the start. Like Wagner, Scriabin did not consider the music as a pure art, in itself. This idea seemed absurd for him. The music must express something, so that the concept of the total opera could constitute a synthesis of philosophy, religion and art, which, by trans-substantialization into sound, permitted the reaching of ecstasy. The music could become thus a way of rediscovering the magic powers.
It is interesting the division into periods of the works for piano in the view of the musicologist Eaglefield Hull, as follows:
The 1st period: from op. 1 to op. 18 – young age pieces, of accumulation; still significant, being polished works, which do not reveal a beginner’s hand;
The 2nd period: from the Sonata no. 2 op. 19 to op. 49 – these compositions reveal the entire personality and genius of the composer;
The 3rd period: from op. 51 to op. 74 – Scriabin’s genius in its fullness; the most mature works which illustrate the explorations and innovations of his musical language.
LIST OF WORKS FROM THE FIRST PERIOD
'(until 1903, when Scriabin wrote Sonata No. 4 op. 30')
| Year of composition | Title |
| 1883 | Canon in D minor |
| 1884 / 1885 | Nocturne in A-flat major |
| 1886 | Sonata-Fantasy in G# Minor |
| 1886 | Waltz in G# minor |
| 1886 | Waltz in D-flat Major |
| 1887 | Egoroff variations in F minor |
| 1886 / 1889 | Mazurka in F major |
| 1886 / 1889 | Mazurka in Bminor |
| 1887 / 1889 | Sonata in E-flat minor |
| 1889 | Feuillet d’Album in A-flat major |
| 1889 / 1892 / 1893 | Fantasy for two pianos in C Major |
| 1891 | "Keistut und Birut" – Aria for voice |
| 1892 | Fugue in E minor |
| 1893 | Romance for voice and piano in F # major |
| 1893 / 1894 / 1897 | Romance for horn and piano in C Major |
| 1896 / 1897 | Symphonic Poem in D minor |
| 1898 | Variations of a Russian Folksong for string quartet in G Major |
| 1905 | Feuillet d’Album in F-sharp major |
| Year of composition | Title | OP |
| 1885 | Waltz in F minor | Op. 1 |
| 1887 / 1889 | 3 Morceaux | Op. 2 |
| 1889 | 10 Mazurkas | Op. 3 |
| 1885 | Waltz in F minor | Op. 4 |
| 1890 | 2 Nocturnes | Op. 5 |
| 1891 / 1892 | Sonata no.1 in F Minor | Op. 6 |
| 1891 / 1892 | 2 Impromptus a la Mazur | Op. 7 |
| 1894 | 12 Etudes | Op. 8 |
| 1894 | 2 Morceaux for the left hand | Op. 9 |
| 1894 | 2 Impromptus | Op. 10 |
| 1888 / 1896 | 24 Preludes | Op. 11 |
| 1895 | 2 Impromptus | Op. 12 |
| 1895 | 6 Preludes | Op. 13 |
| 1895 | 2 Impromptus | Op. 14 |
| 1895 / 1896 | 5 Preludes | Op. 15 |
| 1894 / 1895 | 5 Preludes | Op. 16 |
| 1895 / 1896 | 7 Preludes | Op. 17 |
| 1896 | Allegro de concerto in B-flat minor | Op. 18 |
| 1892 / 1897 | Sonata-Fantasy no.2 in F # minor | Op. 19 |
| 1896 | Piano Concerto in F # minor | Op. 20 |
| 1897 | Polonaise in B-flat minor | Op. 21 |
| 1897 | 4 Preludes | Op. 22 |
| 1897 / 1898 | Sonata no.3 in F# minor | Op. 23 |
| 1898 | Reverie for orchestra in E minor | Op. 24 |
| 1898 / 1900 | 9 Mazurkas | Op. 25 |
| 1899 / 1900 | Symphony no.1 in E Major | Op. 26 |
| 1900 | 2 Preludes | Op. 27 |
| 1900 / 1901 | Fantaisie in B minor | Op. 28 |
| 1901 | Symphony no.2 in C minor | Op. 29 |
| 1903 | Sonata no.4 in F # Major | Op. 30 |
| 1903 | 4 Preludes | Op. 31 |
| 1903 | 2 Poems | Op. 32 |
| 1903 | 4 Preludes | Op. 33 |
| 1903 | Poeme tragique in B-flat Major | Op. 34 |
| 1903 | 3 Preludes | Op. 35 |
| 1903 | Poeme satanique in C Major | Op. 36 |
| 1903 | 4 Preludes | Op. 37 |
| 1903 | Waltz in A-flat Major | Op. 38 |
| 1903 | 4 Preludes | Op. 39 |
| 1903 | 2 Mazurkas | Op. 40 |
| 1903 | Poeme in D-flat Major | Op. 41 |
| 1903 | 8 Etudes | Op. 42 |
Czech School
BEDŘICH SMETANA (1824 - 1884)
At age 4 he played well the violin; at ten he held his first a piano recital. Smetana studied composition in Prague; in 1848 he founded the Prague Conservatory. His composing style follows the ones of Liszt and Wagner.
- Works
Symphonic works
-1848-9 (24-5) Festive Overture in D Major
-1853-4 (29-30) Festive Symphony, in E Major
-1858 (34) Richard III, symphonic poem, Wallenstein’s Camp, symphonic poem (1858-9)
-1860-1 (36-7) Hakon Jarl, symphonic poem, Solemn Prelude in C Major for orchestra
-1874 (50) Ma Vlast (My Country), six symphonic poems:
- Vysehrad
- Vltava
- Sarka
- From Bohemian Woods and Fields
- Tabor
- Blanik
- Chamber works
-1855 (31) Trio with piano in G minor
-1862 (38) On the Seashore, for piano, String Quartet no. 1, From My Life, in E minor
-1878 (54) Czech Dances
-1882 (58) String Quartet no. 2 in D minor
- Operas
-1863 (39) The Brandenburgers in Bohemia, opera
-1866 (42) The Bartered Bride, opera
-1868 (44) Dalibor, opera
-1874 (50) The two Widows, opera
-1876 (52) The Kiss, opera
-1878 (54) The Secret, operă
-1881 (57) Libuse, opera
ANTONIN DVOŘAK (1841 -1904)
Dvořak studied singing, the violin, piano and organ, ant at 16 will enter in Prague the courses of an organ school. Between 1866-1871 is violinist in the orchestra of the theatre established in 1862 by Smetana. Here he will become familiar with the works of Liszt, Schumann and Wagner. In 1890 and 1891 will receive the doctor honoris causa title of Cambridge University and Prague University, and starting from 1892 will be for three years the Director of the National Conservatory of Music in New York.
Works
- Symphonic works
-1865 (24) Symphony no.1 in C minor, Symphony no. 2 in B-flat Major
-1872 (31) May Night, nocturne for orchestra
-1873 (32) Symphony no. 3in E-flat Major
-1874 (33) Symphony no. 4 in D minor
-1875 (34) Symphony o 5 in F major
-1877 (36) Symphonic Variations for orchestra
-1878 (37) Slavonic Dances, for orchestra, Slavonic Rhapsodies, for orchestra, Serenade in D minor, for orchestra
-1879 (38) Festival March, Czech Suite, in D major
-1880 (39) Symphony no. 6 in D major
-1881 (40) Legend, for orchestra
-1883 (42) Husitska, overture, Scherzo Capriccioso for orchestra
-1885 (44) Symphony no. 7 in D minor
-1886 (45) Slavonic Dances, for orchestra
-1889 (48) Symphony no. 8 in G major
-1891 (50) Nature, Life and Love, cycle of overtures, In Nature’s Realm; Carnaval; Othello (1891-2)
-1893 (52) Symphony no. 9 in E minor, From the New World, String Quintet in E-flat major
-1895 (54) Suite for orchestra
-1896 (55) Four symphonic poems
-1897 (56) The Hero’s Song, symphonic poem
- Concert works
-1865 (24) Cello Concerto in A major
-1873 (32) Romance, for violin and orchestra
-1876 (35) Piano Concerto in G minor
-1879 (38) Violin Concerto in A minor (1879-80)
-1879 (38) Mazurka for violin and orchestra, Cello Concerto in B minor
- Chamber works
-1861 (20) String Quartet in A minor
-1862 (21) String Quartet no. 1 in A major, Quintet with clarinet , Cypřiše, ten love songs for string quartet, later for voice and piano
-1870 (29) Alfred, voice and piano, Dramatic (Tragic), Overture, Notturno, in B-flat major, for strings, String Quartet in B-flat major, String Quartet in D major, String Quartet in E minor
-1872 (31) Quintet with piano in A major
-1873 (32) String Quartet in F minor, String Quartet in A minor, Serenada, octet, Sonata for violin in A minor
-1874 (33) Quartet in A minor
-1875 (34) Serenada for strings in E major, String Quintet, with double bass, in G major , Quartet with piano in D major, Trio with Piano in B-flat major, Moravian Duets
-1876 (35) String Quartet in E major, Trio with piano in G minor, Four songs for mixed choir
-1877 (36) String Quartet in D minor
-1878 (37) String Sextet in A major, Bagatelles for 2 violins, cello and harmonium (or piano)
-1879 (38) String Quartet in E-flat major, Polonaise in E-flat major
-1880 (39) Sonata for violin in F major
-1881 (40) String Quartet in C major
-1883 (42) Trio for piano in F minor
- Vocal
-1880 (39) seven Gipsy Songs
- Vocal-symphonic works
-1857-9 (16-18) Missa in B-flat major
-1876 (35) Stabat Mater
-1885 (44) The Spectre’s Bide, cantata
-1886 (45) St Ludmila, oratorio
-1892 (51) Te Deum
- Operas
-1871 (30) Král a uhliř (King and Charcoal Burner)
-1877 (36) Šelma sedlák (The Cunning Peasant)
-1901 (60) Rusalka, operă
Northern School
EDVARD HAGERUP GRIEG (1843 -1907)
Grieg began the study of piano with his mother, an excellent pianist. He afterwards attends the Leipzig Conservatory (1858-62) with I. Moscheles, M. Hauptmann, E.Fr. Richter and C. Reinecke. He will be impressed by Schuman’s works and is encouraged and appreciated by Liszt.
- Symphonic works
-1865 (22) In Autumn, concert overture
-1872 (29) Sigurd Jorsalfar, stage music
-1875 (32) Peer Gynt, stage music
-1898 (55) Symphonic Dances, for orchestra
- Concert works
-1869 (26) Concerto for piano in A minor
- Chamber works
-1865 (22) Sonata for violin no.1
-1867 (24) Lyric pieces for piano, vol. I, Sonata for violin no. 2
-1878 (35) String Quartet in G minor
-1881 (38) Norwegian Dances
-1883 (40) Lyric pieces for piano, vol. II
-1884 (41) Lyric pieces for piano, vol. III
-1885 (42) Holberg Suite, for strings or piano
-1887 (44) Sonata for violin no. 3
-1888 (45) Lyric pieces for piano, vol. IV
-1891 (48) Lyric pieces for piano, vol. V
-1893 (50) Lyric pieces for piano, vol. VI
-1895 (52) Lyric pieces for piano vol. VII
-1896 (53) Lyric pieces for piano, vol. VIII
-1898 (55) Lyric pieces for piano vol. IX
-1901 (58) Lyric pieces for piano, vol. X
- Vocal
-1880 (37) two Elegiac Melodies
-1862 op.2 (4 German Songs),
-1864 op.4 (6 v), op.5 (4 Songs on poems by H.Chr. Andersen),
-1862 op. 10,
-1870 op. 15,
-1869 op. 18 (two notebooks),
-1872 op.21(4 songs on poems by Bjornson),
-1876 op.25 (6 songs on poems by Ibsen), op.26,
-1882 op.33 (two notebooks),
-1869-85 op.39,
-1886 op.44,
-1889 op.48 and 49,
-1894 op.58 (cycle Norge),
-1894 op. 59 and 60,
-1895 op.61 (7 Children’s Songs),
-1900 op. 69 and 70
- Vocal-symphonic works
-1871 (28) Foran Sydens Kloster, for solo soprano, alto, choir and orchestra
- Operas
-1873 (30) Olav Trygvason, (unfinished)
JEAN SIBELIUS (1865 -1957)
Sibelius studied the violin and after law courses at Helsinki, starting from 1886 will continue his violin playing technique at the Helsinki Conservatory. He continued his studies in Berlin (1889-90) and Vienna (1890-91).
- Symphonic works
-1890-1 (25-6) Overture in A minor, Overture in E major
-1891 (26) Ballet Scenes
-1892 (27) En Saga, symphonic poem (revised 1901), Kullervo, symphonic poem
-1893 (28) Karelia, overture, Karelia, suite for orchestra, The Swan of Tuonela, for orchestra
-1894 (29) Spring Song, symphonic poem
-1895 (30) Cassazione, for orchestra), Lemminkäinen and the Maidens of Saar, Lemminkäinen in Tuonela, Lemminkäinen’s Return
-1898 (33) King Christian II, music for stage, Symphony no.1 in E minor (1898-9)
-1899 (34) Historical Scenes, Suite no. 1, three orchestral pieces
-1900 (35) Finlandia, symphonic poem
-1901 (36) Symphony no. 2 in D Major, Portaits, for strings, Romance, for strings
-1904 (39) Kuolema, stage music, including Valse Triste, Symphony no. 3 in C Major (1904-07)
-1905 (40) Pelléas et Mélisande, stage music
-1906 (41) Pohjola’s Daughter, symphonic fantasy
-1907 (42) Belshazzar’s Feast, suite for orchestra
-1911 (46) Symphony no. 4 in A minor, Rakastava Suite for orchestra, Valse romantique, for orchestra, Canzonetta, for strings
-1912 (47) Scènes historiques, Suite No 2, three orchestral pieces, two serenades for violin (1912-13)
-1913 (48) Scaramouche, pantomime, Il Bardo, symphonic poem
-1914 (49) The Oceanides symphonic poem, Symphony no. 5 in E-flat major (1914-15)
-1918 (53) Our Fatherland, cantata for mixed choir and orchestra
-1919 (54) Pastoral Scenes, for orchestra, Valse lyrique, Pastoral Scenes, Valse chevaleresque, Pastoral Scenes
-1922 (57) Suite caractéristique (Vivo, Lento, Commodo)
-1923 (58) Symphony no. 6 in D minor
-1924 (59) Symphony no. 7 in c major (one movement)
-1925 (60) Tapiola, symphonic poem
-1926 (61) The Tempest, stage music
-1929 (64) Symphony nr. 8 (destroyed)
- Concert works
-1903 (38) Concerto for violin in D minor
-1917 (52) Humoresque, for violin and orchestra
- Chamber works
-1881-2 (16-17) Trio with piano in F minor, Quartet with piano in E minor
-1885 (20) String Quartet in E-flat major
-1888 (23) Theme with Variations for quartet in C# minor
-1889 (24) Quintet with piano, Quartet in B-flat major, Suite for violin, viola and cello, Sonata for violin in F major
-1901 (36) Portraits, for strings
-1905 (40) Not with Lammentation, for mixed choir
-1908 (43) String Quartet in five parts, Voces Intimae
-1921 (56) Suite mignonne, for flute and strings, Suite champetre, for strings
- Vocal-symphonic works
-1902 (37) The Origin of Fire, for baritone, men’s choir and orchestra
-1906 (41) Liberated Queen, cantata for mixed choir and orchestra
-1918 (53) Fatherland, cantata for mixed choir and orchestra
-1919 (54) Song of the Earth, cantata for mixed choir and orchestra
-1920 (55) Ode to the Earth, cantata for mixed choir and orchestra
- Operas
-1896 (31) The Maiden in the Tower, (unpublished)
Spanish School
ISAAC ALBENIZ (1860 -1909)
Albeniz studied the piano with Liszt, d’Indy and Dukas, but Fauré contributed the most in his musical upbringing (1893). The novelty of his style consists in combining antique modes with complex harmonies, in flamenco sonorities, ornamented with acciaccaturas.
- Symphonic works
-1887 (27) Rhapsodia Española, for orchestra
-1899 (39) Catalonia, orchestral rhapsody
- Concert works
-1887 (27) Concerto for piano
- Chamber works
-1886 (26) Recuerdos de Viaje, for piano, Torre Bermeja, for piano, 1889 (29) Suite española, for piano
-1896 (36) Cantos de España, for piano España, for piano
-1906-9 Iberia. Cycle for piano
-1908 (48) Navarra, for piano
- Operas
-1893 (33) The Magic Opal, opera
-1894 (34) San Antonio de la Florida, opera
-1895 (35) Enrico Clifford, opera
-1896 (36) Pepita Jimenez, opera
-1906 (46) Merlin, opera
ENRIQUE GRANADOS (1867 – 1916)
Granados began the musical studies in his home town and afterwards in Barcelona. In 1883 he wins a piano competition and studies harmony with Felipe Pedrell. He is sent to continue his studies in Paris; he returns after two years in Barcelona, where he founded the Barcelona Conservatory.
Symphonic works
-Elisenda, suite
-Navidad, suite
-Arab Suite
- Gallega Suite
-Marcha de los Vencidos
-La Nit del Mort, symphonic poem
-Serenata, for orchestra
-Tres Danzas Espagnoles, for orchestra
- Chamber works
-1911 (43) Goyescas, for piano
-Serenata, for two violins and piano
-Trova, for cello and piano
-Trio for piano, violin and cello
-Oriental, for oboe and strings
-Cant de las Estrelle, for choir, organ and piano
- Operas
-1898 (31) Maria del Carmen, opera
-1916 (48) Goyescas, opera
MANUEL DE FALLA (1876 - 1946)
De Falla attended the Madrid Conservatory; was awarded the first prize at the piano competition at his school of music (1905) with La vida breve. In Paris he will befriend Debussy, Ravel, Dukas, Stravinski and Albeniz.
- Symphonic works
-1940 (67) Homenaje, pour le tombeau de Debussy, orchestral version
- Concert works
-1909 (33) Nights in the Gardens of Spain, for piano and orchestra (1909-15)
-1923-6 (47-50) Concerto for harpsichord, flute, oboe, clarinet, violin and cello
-1934 (58) Fanfare
Chamber works
-1908 (32) Pieces espagnoles, for piano
-1919 (43) Fantasia betica, for piano
-1921 (45) Hommage pour le tombeau de Debussy, for guitar
-1935 (59) Pour le tombeau de Paul Dukas, for piano
- Vocal
-1909 (33) Trois melodies, songs
-1922 (46) Seven Spanish Folksongs
- Operas
-1913 (37) La Vida Breve, opera
-1915 (39) El Amor Brujo, ballet
-1919 (43) El sombrero de tres picos, ballet
-1922 (46) El Retablo de Maese Pedro, opera
French School
CÉSAR FRANCK (1822 -1890)
César at the age of 12 began his first concert tour as a pianist together with his brother, a violinist. From 1837 he attended the courses of the Paris Conservatory, and between 1842-1843 will continue his concerts. After 1843 he will combine his pedagogical career with the one of organist and choir master.
- Symhonic works
-1846 (24) Ce qu’on entend sur la montagne, symphonic poem (1846)
-1876 (54) Les éolides, symphonic poem
-1882 (60) Le chasseur maudit, symphonic poem
-1884 (62) Les djinns, symphonic poem for piano and orchestra
-1888 (66) Symphony in D minor (1886-8)
-1889 (67) String Quartet in D major
-1890 (68) Chorals for organ
- Pieces for organ
-1878 (56) Cantabile for organ, Fantaisie in A Major for organ, Piece heroique, for organ
-1880 (58) L’Organiste, 55 pieces for harmonium
-1890 (68) Chorales for organ
- Concert works
-1885 (63) Symphonic Variations, for piano and orchestra
- Chamber works
-1840 (18) Three trios with piano in F# minor, B-flat major, B minor, Op 1
-1842 (20) Trio with piano no. 4 in B major
-1843 (21) Andante quietoso for violin and piano in A major
-1872 (50) Panis Angelicus, for solo tenor, organ, harp, cello and double bass
-1879 (57) Quintet with piano in F minor
-1884 (62) Les djinns, symphonic poem for piano and orchestra, Prélude, Chorale et Fugue for piano
-1886 (64) Sonata for violin and piano in A major
-1887 (65) Prelude, Chorale et Finale for piano
-1889 (67) String Quartet in D major
- Vocal-symphonic works
-1846 (24) Ruth, cantata
-1858 (36) Ave Maria, motet
-1865 (43) Tower of Babel, oratorio
-1874 (52) Redemption, cantata
-1879 (57) Beatitudes, cantata
-1881 (59) Rebecca, for soloists, choir and orchestra
-1888 (66) Psyché, symphonic poem with choir
- Operas
-1851-2 (29-30) Le valet de ferme
-1882 (60) Hulda, (1882-5)
-1888 (66) Ghisèle (1888-90)
EDOUARD LALO (1823 - 1892)
Lalo studied the violin at the Conservatory of Lille and Paris. He worked for several years as a string player and teacher in Paris.
- Symphonic works
-1872 (49) Deux Aubades, for small orchestra, Divertissement, for small orchestra
-1875 (52) Allegro Symphonique
-1881 (58) Rhapsodie norvégienne
-1882 (59) Ballet Suites no. 1 and 2, Namouna
-1884 (61) Scherzo
-1886 (63) Simfonia in G minor
- Concert works
-1872 (49) Concerto for violin in F major
-1873 (50) Symphonie espagnole, for violin and orchestra
-1876 (53) Concerto for cello
-1889 (66) Concerto for piano in G minor
- Chamber works
-1855 (32) String Quartet in E-flat major
- Operas
-1888 (65) Le Roi d’Ys, opera
CAMILLE SAINT-SAËNS (1835 -1921)
Camille Saint-Saëns began the study of piano at the age of seven and had his first public performance at 10. He entered the Paris Conservatory in 1848 and studies composition with Halévy starting from 1851.
- Symphonic works
-1855 (20) Symphony no. 1 in E-flat major
-1871 (36) Le rouet d’Omphale, symphonic poem, Marche héroique, for orchestra
-1873 (38) Phaeton, symphonic poem
-1874 (39) Danse macabre, symphonic poem
-1877 (42) La Jeunesse d’Hercule, symphonic poem, Suite for orchestra
-1878 (43) Symphony no. 2 in A minor
-1886 (51) Symphony no. 3 in C minor, with organ and two pianos
-1902 (67) Coronation March
- Concert works
-1858 (23) Concerto for piano no.1 in D major
-1859 (24) Concerto for violin no. 1 in A minor
-1868 (33) Concerto for piano no. 2 in G minor
-1869 (34) Concerto for piano no. 3 in E-flat major
-1870 (35) Introduction et Rondo Capriccioso, for violin and orchestra
-1873 (38) Concerto for cello no. 1 in A minor
-1875 (40) Concerto for piano no. 4 in C minor
-1879 (44) Concerto for violin no. 2 in C major
-1880 (45) Concerto for violin no. 3 in B minor
-1886 (51) Le Carnaval des animaux, for two pianos and orchestra
-1895 (60) Piano Concerto No 5 in F major
-1902 (67) Concerto for cello no. 2 in D minor
- Chamber works
-1855 (20) Quintet with piano in A La major
-1863 (28) Trio with piano no. 1 in F major
-1866 (31) Suita in D minor for piano, cello (violin or viola)
-1885 (50) Sonata for violin and piano no. 1 in D minor
-1892 (57) Trio with piano no. 2 in E minor
-1896 (61) Sonata for violin no. 2 in E-flat major
-1900 (65) String Quartet in E minor
- Works for organ
-1857 (22) Fantaisie for organ no. 1
-1894 (59) Préludes et fugues for organ
-1897 (62) 7 Improvisations for organ
-1898 (63) Préludes et fugues for organ
-1918 (83) Fantesia no. 3 for organ
- Vocal
-1870 (35) Melodies persanes, 6 songs
-1915 (80) La cendre rouge, 10 songs
- Vocal-symphonic works
1876 (41) Le Déluge, oratorio
1913 (78) The Promised Land, oratorio
- Operas
-1872 (37) La Princesse jaune, opera
-1877 (42) Samson and Delilah, opera
EMMANUEL CHABRIER (1841 -1894)
He studied the piano since the age of six, and since two of his teachers were Spanish, he enjoyed their type of music at an early age. He studied law in Paris and worked for the Ministry of the Interior between 1861and 1880.
- Symphonic works
-1883 (42) España, rhapsody for orchestra
-1888 (47) Marche joyeuse, for orchestra
- Works for piano
-1860 (19) Impromptu in C major for piano
-1880 (39) Dix Pieces pittoresques, for piano
-1883 (42) Trois valses romantiques, duo for piano
-1885 (44) Habanera, for piano
- Operas
-1877 (36) L’étoile, opera
-1879 (38) Une Education manquée, operetta
-1886 (45) Gwendoline, opera
-1887 (46) Le Roi malgré lui, opera
GABRIEL FAURÉ (1845 - 1924)
He entered at the age of nine the Niedermeyer School; he was a student of Saint-Saëns (since 1865). He will be appointed as teacher at the Niedermeyer School, and afterwards will be conductor and organist at St. Madeleine (1877) and professor of composition at the Paris Conservatory (1896).
Symphonic works
-1875 (30) Suite for orchestra, Allegro Symphonique, for orchestra
-1884 (39) Symphony in D minor (unpublished)
-1888 (43) Caligula, stage music
-1889 (44) Shylock, stage music
-1898 (53) Pelléas et Mélisande, stage music
-1901 (56) La voile du bonheur, stage music
-1920 (75) Masques et Bergamasques, suite for orchestra
- Concert works
-1878 (33) Concerto for violin
-1881 (36) Ballade for piano and orchestra
-1882 (37) Romance, for violin and orchestra
-1919 (74) Fantaisie, for piano and orchestra
- Chamber works
-1876 (31) Sonata for violin in A major
-1878 (33) Concerto for violin
-1879 (34) Quartet with piano no.1 in C minor
-1880 (35) Berceuse, for violin and piano
-1881 (36) Le Ruisseau, for two vocal soloists and piano
-1883 (38) Elegy, in C minor, 4 Valse-caprices for piano (1883-94), 5 Impromptus (1883-1910), 13 Nocturnes (1883-1922), 13 Barcarolles (1883-1921)
-1886 (41) Quartet with piano no. 2 in G minor, Petite piece, for cello and piano
-1893 (48) Dolly Suite, duet with piano
-1895 (50) Romance, for cello and piano
-1897 (52) Theme with Variations for piano
-1898 (53) Andante for violin and piano, Papillon, for cello and piano, Sicilienne, for cello and piano, Fantaisie, for flute and piano
-1904 (59) Impromptu for harp
-1906 (61) Quintet with piano in D minor
-1908 (63) Sérénade, for cello and piano
-1910 (65) 9 Préludes
-1917 (72) Sonata for violin no. 2 in E minor and E major
-1918 (73) Sonata for cello no.1 in D minor, Une Chatelaine et sa tour, for harp
-1919 (74) Fantaisie, for piano and orchestra
-1921 (76) Quintet with piano no. 2 in C minor
-1922 (77) Sonata for cello no.2 in G minor
-1923 (78) Trio with piano in C minor
-1924 (79) String Quartet
- Vocal
-1870 (25) Puisqu’ici-bas, duet for two sopranos, Tarentella, duet for two sopranos
-1873 (28 Cantique de Jean Racine, Le Ruisseau, for two soloists and piano
-1891-2 (46-7) La bonne chanson, nine songs
-1893 (48) Dolly Suite, duet with piano
-1906 (61) Le chanson d’Eve, cycle of songs (1906-10)
-1915-18 (71-3) Le jardin clos, 8 songs
-1919 (74) Mirages, 4 songs
-1922 (77) L’horizon chimérique, songs
- Vocal-symphonic works
-1875 (30) Les Djinns, for choir and orchestra
-1882 (37) La Naissance de Vénus, for soloists, choir and orchestra
-1887 (42) Requiem, Pavane, with choir ad libitum
- Operas
-1900 (55) Promethée, lyric tragedy
-1913 (68) Pénélope, opera
ERNEST CHAUSSON (1855 - 1899)
Chausson studied law at the University of Paris and entered the Conservatory as a student of Massenet in composition and of Franck at the organ.
- Symphonic works
-1882 (27) Viviane, symphonic poem
-1886 (31) Solitude dans les bois, for orchestra
-1890 (35) Symphony in B-flat major
-1898 (43) Soir de fete, symphonic poem
- Concert works
-1891 (36) Concerto for piano, violin and string quartet
-1896 (41) Poème, for violin and orchestra
- Chamber works
-1882 (27) Trio with piano in G minor
-1897 (42) Quartet with piano in A major
-1899 (44) String Quartet in C minor (unfinished)
- Vocal
-1882 (27) Poeme de l’amour et de la mer, for voice and piano (1882-92)
-1887 (32) Chant Nuptial
-1897 (42) Chant funèbre
- Choral
-1880 (25) Jeanne d’Arc, for choir
-1897 (42) Ballata după Dante
- Vocal-symphonic works
-1886 (31) Hymne Vedique, for choir and orchestra
- Operas
-1880 (25) Les Caprices de Marianne, opera
-1884-5 (29-30) Hélene, opera
-1895 (40) Le Roi Arthus, opera, (1903)