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Twenty-five traditional folk songs, plus 19 songs written in the folk style by 20th-century composers such as Shostakovich, Knipper, and Zakharov. Each of the songs appears with a vocal line, full piano accompaniment, and guitar chords. The lyrics are shown in the original Cyrillic, in transliteration, and in an English translation.
Sergei Rachmaninoff—the last great Russian romantic and arguably the finest pianist of the late 19th and early 20th centuries—wrote 83 songs, which are performed and beloved throughout the world. Like German Lieder and French mélodies, the songs were composed for one singer, accompanied by a piano. In this complete collection, Richard D. Sylvester provides English translations of the songs, along with accurate transliterations of the original texts and detailed commentary. Since Rachmaninoff viewed these "romances" primarily as performances and painstakingly annotated the scores, this volume will be especially valuable for students, scholars, and practitioners of voice and piano.
Introduces the general public to the scholarly debate that has revolutionized Russian music history over the past two decades. Summarizes the new view of Russian music and provides an overview of the relationships between artistic movements and political ideas.
Presented here is a rare collection of some of the best Gypsy folk songs popular among the Romanies of Russia and Eastern Europe. All offered in the original Romany tribal dialect, as appropriate to each song, with easy-to-follow pronunciation guide specially formulated for the native English speaker and literal (word-for-word) English translation. the appended short historical and linguistic overview offers a rare insight into the history, traditions, language as well as the music and songs of this unique and mysterious people. Great addition to any pianist's collection!
This new collection views Russian music through the Greek triad ofÊÒthe Good, the True, and the BeautifulÓ to investigateÊhow the idea of "nation" embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, postÐCold War, and now postÐ9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much ofÊthe volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; andÊto the tension between the compelling artistic quality of works such as StravinskyÕs Sacre du Printemps or ProkofieffÕs Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating TaruskinÕs authority and ability toÊbring living history out of the shadows.
A selection of original piano music exactly as written by the master composers of three centuries. The music provides the pianist with a repertoire which is enjoyable for player and listener alike. Compiled and edited by Denes Agay. Suitable for pianists from grade 1-2 standard.
Many older people in Russia remember seeing and hearing mysterious vinyl flexi-discs when they were young. They had partial images of skeletons on them, could be played like gramophone records and were called 'bones' or 'ribs'. They contained forbidden music. X-Ray Audio tells the secret history of these ghostly records and of the people who made, bought and sold them. Lavishly illustrated in full colour with images of discs collected in Russia, it is a unique story of forbidden culture, bootleg technology and human endeavour.
A legendary literary figure who initiated a one-man Beat Generation in his native Germany, Wolf Wondratschek “is eccentric, monomaniacal, romantic—his texts are imbued with a wonderful, reckless nonchalance.”* Now, he tells a story of a man looking back on his life in an honest Portrait of the Artist as an Old Man. Vienna is an uncanny, magical, and sometimes brutally alienating city. The past lives on in the cafes where lost souls come to kill time and hash over the bygone glories of the twentieth century—or maybe just a recent love affair. Here, in one of these cafes, an anonymous narrator meets a strange character, “like someone out of a novel”: a decrepit old Russian named Suvorin. A Soviet pianist of international renown, Suvorin committed career suicide when he developed a violent distaste for the sound of applause. This eccentric gentleman—sometimes charming, sometimes sulky, sometimes disconcertingly frank—knows the end of his life is approaching, and allows himself to be convinced to tell his life story. Over a series of coffee dates, punctuated by confessions, anecdotes, and rages—and by the narrator’s schemes to keep his quarry talking—a strained friendship develops between the two men, and it soon becomes difficult to tell who is more dependent on whom. Rhapsodic and melancholic, with shades of Vladimir Nabokov, W. G. Sebald, Hans Keilson, and Thomas Bernhard, Wolf Wondratschek's Self-Portrait with Russian Piano is a literary sonata circling the eternal question of whether beauty, music, and passion are worth the sacrifices some people are compelled to make for them. “A romantic in a madhouse. To let Wondratschek’s voice be drowned in the babble of today’s literature would be a colossal mistake.” —*Patrick Süskind, international bestselling author of Perfume: The Story of a Murderer
An unmissable collection of eight unconventional and captivating short stories for young and adult learners. "I love Olly's work - and you will too!" - Barbara Oakley, PhD, Author of New York Times bestseller A Mind for Numbers Short Stories in Russian for Beginners has been written especially for students from beginner to intermediate level, designed to give a sense of achievement, and most importantly - enjoyment! Mapped to A2-B1 on the Common European Framework of Reference, these eight captivating stories will both entertain you, and give you a feeling of progress when reading. What does this book give you? · Eight stories in a variety of exciting genres, from science fiction and crime to history and thriller - making reading fun, while you learn a wide range of new vocabulary · Controlled language at your level, including the 1000 most frequent words, to help you progress confidently · Authentic spoken dialogues, to help you learn conversational expressions and improve your speaking ability · Pleasure! It's much easier to learn a new language when you're having fun, and research shows that if you're enjoying reading in a foreign language, you won't experience the usual feelings of frustration - 'It's too hard!' 'I don't understand!' · Accessible grammar so you learn new structures naturally, in a stress-free way Carefully curated to make learning a new language easy, these stories include key features that will support and consolidate your progress, including · A glossary for bolded words in each text · A bilingual word list · Full plot summary · Comprehension questions after each chapter. As a result, you will be able to focus on enjoying reading, delighting in your improved range of vocabulary and grasp of the language, without ever feeling overwhelmed or frustrated. From science fiction to fantasy, to crime and thrillers, Short Stories in Russian for Beginners will make learning Russian easy and enjoyable. Publisher's Note: The new edition of October 2018 has been comprehensively revised: it rectifies the translation errors identified by reviewers below in the previous edition and includes a completely new story.