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Nikolai Tcherepnin

( Composer and conductor.)

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Biography Nikolai Tcherepnin
Nikolai Nikolayevich Tcherepnin (1873-1945), Russian composer and conductor. Born in St. Petersburg 3 (15) May 1873 in an ancient noble family. He graduated in 1895 Faculty of St. Petersburg University, in 1898 the St. Petersburg Conservatory in the class composition Rimsky-Korsakov and piano K.K.Fan-Arka (1839 or 1842-1902). Since 1899 the orchestra was in charge of the class of the court chapel. In 1905-1918 he taught at the St. Petersburg Conservatory, where he founded Russia's first conducting class (among his students - S. Prokofiev). In those same years, became a member of Belaiev circle and permanent conductor of the Moscow-based PP Belyaev (1836-1903/1904) 'Russian Symphony Concerts' (RAC). Conductor's career Tcherepnin evolved very successful: in addition to RAC, . He appeared in concerts of the Imperial Russian Musical Society (IRMO), . in concert cycles of AI Siloti (1863-1945) and SN Vasilenko (1872-1956) ( 'historic concert in Moscow'), etc., in 1906-1909 was conductor at the Mariinsky Theater,
.
Thanks to family connections (through his wife - MA Benoit, daughter of academician watercolor Albert Benois) Tcherepnin joined the circle, grouped around Benois and Diaghilev - the next 'World of Art', becoming in him 'expert' on the musical part. In 1903-1907 he worked with Benoit and M. Fokine ballet on their own music at Le Pavillon d'Armide (Mariinsky Theater, 1907). In 1909-1914 was the leading conductor of Diaghilev's "Russian Seasons" in Paris, in particular, under his administration was the first, triumphant season. For non-repertory written two Diaghilev Ballet Tcherepnin - Narcissus and Echo (1911) and Masque of the Red Death (1915, nor was subsequently revised in symphonic Fate). After 1914 he conducted performances of individual non-repertory in Europe.

After 1917 it was forced to leave St. Petersburg and in 1918-1921 worked in the Tbilisi Conservatory director and conductor of the Opera. In 1921 he emigrated to France. Given concerts in different countries as a conductor, including the execution of his own works, wrote and arranged music for the ballet different Entreprise (among them for the company of Anna Pavlova). He was one of the founders and teachers of the Russian Conservatory in Paris (1925-1929 and 1938-1945 - Director). In 1937 headed the board of trustees of the publishing house M. Belyaev in Leipzig, 'and as such contributed to the spread abroad of Russian classical music and publishing new works by composers of emigrants. Tcherepnin died near Paris, June 26, 1945

. In its 'musical origins' Tcherepnin belongs to the later formation of the Petersburg school (one of the favorite pupils of Rimsky-Korsakov, a close friend Lyadov), in his work early in the apparent impressionistic Home, . expressed clearly and originally, . - In such, . example, . writings, . as ballet Le Pavillon d'Armide, and Narcissus and Echo, . had great success in Paris, . a symphonic poem based on Russian fairy tales - Enchanted Kingdom (1912) and six musical illustrations to Tale of the Fisherman and the Fish (1909), . Romances on poems KD Balmont and some piano loops, . especially the music to skate home Benoit and others,
. Tcherepnin pre-revolutionary period - the most 'pure' representative of Impressionism on Russian soil. Besides, . He - one of the most virtuoso orchestral writing, . that affected both in his own scores, . and in the orchestration of works by various composers, . made them for ballet performances, . as well as in its unfinished version of Mussorgsky's opera Sorochinskaya Fair (Monte-Carlo, . 1922),
.

In the late works of Tcherepnin allocated two operas on Russian subjects: Swat by A. Ostrovsky (1929) and Vanka-housekeeper for FK Sologub (1932) - thin and witty stylization of folk 'cheap popular', 'farcical' Theater. Tcherepnin established itself as the author of Sacred Music, individually, in 'St. Petersburg style' refracting new trends in this area (especially distinguished second liturgy, 1907 and 'Matins' from the Vigil, 1918). Abroad, this line was continued a number of arrangements of ancient chants for male chorus unaccompanied (for Paris St. Sergius monastery) and the spiritual oratorio Walking Lady through Hell for soloists, . choir and orchestra in explanation of the Old Slavonic apocrypha (1937), . one of the highest specimens of the genre on Russian soil.,


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