Pianophilia

I also add my thanks for the Rathaus, one of the numerous composers from the Schreker circle which were totally neglected due to the Nazis and now reciscovered bit by bit.

And he is a good example why I won't classify the composers after nationality in a database: German Wikipedia credits him as an "Austrian-Polish" composer who was born in a town which now is Ukrainian. But gladly he died in New York, so he clearly was American

One more Karol RATHAUS
Landscape in 6 colors op. 51 (1942)
Manuscript copy, published by the author! One more Irina ELCHEVA
Suite "Palekh" .The village emerged as a leading centre of the Russian icon- and mural-painting in the 19th century. http://en.wikipedia.org/wiki/Palekh

alfor wrote: One more Irina ELCHEVA
Suite "Palekh" .The village emerged as a leading centre of the Russian icon- and mural-painting in the 19th century.

Elcheva Suite "Palekh".pdf

http://en.wikipedia.org/wiki/Palekh

for the industrious or Sibelius-endowed, Rusfno has a midi of an Irina Elcheva piece at http://rusfno.h17.ru/ht/ElchI.html.

Victor TRAMBITSKY
3 Round-Dances (published 1946) 5 Round-Dances (published 1966; contains slightly edited versions of the 3 dances above plus 2 new ones.) Simple, but effective ideas. Might be suited as encores.

Many thanks, Alfor. I have wondered what his music is like for some time. I think he was born in Brest, on the Russian border, not in Bretagne.

from Grove, by Gojowy:

Trambitsky, Viktor Nikolayevich

(b Brest, 31 Jan/11 Feb 1895; d Leningrad [now St. Petersburg], 13 Aug 1970). Russian composer. He studied the piano with Treskin in Vilnius and in 1915 became a pupil of Kalafati in Petrograd (from 1917 at the conservatory). Subsequently he worked as an editor and concert organizer with the music section of the People’s Commissariat for Education (1917–19) and as a conductor and pianist with travelling theatres (from 1919, in the Urals from 1925); he then became an editor at Sverdlovsk Radio (1930–33) and joined the staff of the Sverdlovsk Conservatory, where he was appointed successively theory lecturer (1936), professor (1939) and director of theory and composition (1944). He settled in Leningrad in 1961.

Ops: Ovod [The Gadfly] (after E. Voynich), 1929; Gnev pustïni [Anger of the Desert] (Trambitsky); Orlyona (I. Keller), 1934, rev. as Za zhizni [For Life], 1937; Groza [The Storm] (Keller, after A.N. Ostrovsky), 1941, rev. 1957; Dni i nochi [Days and Nights] (V. Grishev, after K. Simonov), 1950; Kruzhevnitsa Nastya [Nastya the Lacemaker], 1963
Orch: Vn Conc., 1921; Vesnya [Spring], sym. poem, 1927; P′yesï, 1931; Tatarskiye ėskizi, 1933; V puti [On the Way], 1934; Kapitan Gastello, sym. poem, 1943; Sym., 1945; Sinfonicheskiye kartini [Symphonic Pictures], 1955
Chbr and inst: Str Qt, 1928; Fantasia, vn, pf, 1942; Khorovodï [Round-Dances], 2 sets, pf, 1942, 1946
Songs: Severnïye skazki [Northern Folktales] (trad.), 1941; Songs on poems from the Urals, 1954; 3 Romansï (S. Yesenin), 1969; 4 Romansï (A. Akhmatova), 1970
Other works: incid music, folksong arrs.


Writings

Polifonicheskaya osnova russkoy pesennoy garmonii [The polyphonic basis of Russian song harmony] (Moscow, 1954)

‘Plagal′nost′ i rodstvennïye yey zvyazi v russkoy pesennoy garmonii’ [Plagal and related relationships in Russian song harmony], Voprosï muzïkoznaniya, i/2 (1953–4), 35–67


Bibliography

BDRSC

SKM

B.I. Pevzner: ‘Opernoye tvorchestvo V. Trambitskogo’, Nauchno-metodicheskiye zapiski Ural′skoy konservatorii, iii (Sverdlovsk, 1957)

B.I. Pevzner: ‘V. Trambitskiy, B. Gubalin, N. Puzey’, Kompozitorï Urala (Sverdlovsk, 1968)

Thanks for the info! I am a bit frustrated that it is so hard to find russian/soviet music published beetween 1915 and 1960. I will upload quite a lot more soviet music, but 95% of it published between 1960 and 1980.

P.S. For those interested in PETYREK: his piano sonata No. 3 is available as manuscript copy (28 Euro) here:

http://www.agentur-neue-musik.de/
You can also order directly (with order No.) from:
slimane@ancora-verlagsservice.de

Fine example of "The-early-20th-century-late-romantic-german-austrian-piano-sonata".

Emil SCHENNICH (Austrian composer, 1884-1928)
Sonate op. 10

Some Richard Strauss influence; the "Narrengeißel" theme may refer to a poem by Gotthelf Wilhelm Ruprecht Becker: http://books.google.de/books?id=ZkwVAAA ... el&f=false

Rare example of a 1969 soviet avantgarde score (published in 1973):

Romuald GRINBLAT
Sonata (I am not experienced with avantgarde scores, but as far as I know, G. did not invent new signs but used signs common in western avantgarde music of the time.)http://www.ardisonata.com/1/sound.html

Alfred - Stunning discoveries and thank you for providing a link to some interesting recordings, especially of the Grinblat sonata. This is an excellent work. I love the dynamic extremes, lower-bass sonorities, and tone clusters. The notation bewilders me, though. I see there's a legend at the end of the score, but alas, I can't read Russian.

The notation Grinblat uses indeed is a "standard" notation of the avantgarde, which was used both in the west and in the socialist countries. E.g. you will find this kind of notation in a lot of piano works by Polish composers in the 1960s and 70s.

And thanks for the Schennich. I always had a soft spot for the Austro-German late romantic idiom.