[러시아]Anatoly Lyadov[아나톨리 리야도브]

Anatoly Lyadov

Anatoly Lyadov

 (May 12  1855 – August 28  1914) was a Russian composer, teacher and conductor

시적이고 아름답고 세련된 피아노 소품과 관현악곡들로 러시아 낭만 음악에서 중요한 위치를 차지하고 있다. 랴도프는 황실 오페라단 지휘자의 아들로 태어나 1870년 음악원에 들어가서 림스키코르사코프에게 작곡을 배웠다. 1876년 학업을 게을리한다는 이유로 퇴학당했다가 1878년 다시 입학했고, 후일 이 음악원과 황실 예배당에서 여러 직책을 맡게 되었다.

1897년부터 줄곧 황실 지리학회가 수집한 민요의 편곡에 몰두했다. 1900년까지 주로 피아노곡들을 작곡하다가 관현악곡으로 전향해서 성공적인 〈키키모라 Kikimora〉

〈마법에 걸린 호수 The Enchanted Lake〉를 작곡했는데,

이 두 곡은 환상적 내용의 미완성 오페라의 초고에 바탕을 둔 것이었다.[다음백과]

러시아의 작곡가이자 지휘자였다. 1855년 5월 11일에 상트페테르부르크에서 태어났다. 아버지는 러시아 가극의 지휘자로 존경받고 있었다. 1870년, 상트페테르부르크 음악원에 입학하여 림스키코르사코프에게 작곡을 배웠다. 한때 음악원을 그만두었다가 1878년에 다시 입학하였다가 졸업 후 교사로서 학교에 남아 있었다. 그의 문하로부터는 프로코피예프, 미야스코프스키가 나왔다. 1879년, 상트페테르부르크 관현악단과 합창단을 지휘하고, 그때 비올라를 연주하고 있던 벨랴예프를 알게 되었다. 1880년 중엽에는 루빈스타인과 차이콥스키와도 사귀었다. 19세기 말경부터 러시아 민요의 수집에 흥미를 가져 이를 편곡하였다. 그는 1900년 초까지 40곡의 피아노 소품을 썼으나, 그 뒤의 것으로서 <관현악을 위한 8개의 민요>(1906),

교향모음곡 <바바 야가>(1904)

,

<마의 호수>(1909), <키키모라>(1910) 등이 있다[위키백과]

Biography

Lyadov was born in St. Petersburg into a family of eminent Russian musicians. He was taught informally by his conductor step-father Konstantin Lyadov from 1860 to 1868, and then in 1870 entered the St. Petersburg Conservatory to study piano and violin.

He soon gave up instrumental study to concentrate on counterpoint and fugue, although he remained a fine pianist. His natural musical talent was highly thought of by, among others, Modest Mussorgsky, and during the 1870s he became associated with the group of composers known as The Mighty Handful. He entered the composition classes of Nikolai Rimsky-Korsakov, but was expelled for absenteeism in 1876. In 1878 he was readmitted to these classes to help him complete his graduation composition.

Family

• grandfather on his father's side – Nicholas G. Ljadov (ru: Николай Григорьевич Лядов) was a conductor of Petersburg Philharmonic Society
• father Konstantin Lyadov (Russian: Константин Николаевич Лядов) – chief conductor of the Imperial Opera Company
• mother V Antipova – pianist
• sister Valentine K. Lyadova (Russian: Валентина Лядова) – dramatic actress
• the first sister's husband Mikhail Sariotti (ru: Михаил Сариотти) – the famous Russian opera singer; the second: Ivan Pomazanskiy (ru: Иван Помазанский) - the Russian musician
• uncle (father's brother) Alexander Lyadov (1818–1871; ru: Александр Николаевич Лядов) – the conductor of the orchestra of the Imperial Ballroom
• cousin (uncle's daughter) Vera Lyadova – a famous Russian actress and singer who became famous in operettas
• husband's cousin (divorce) Lev Ivanov – the famous Russian ballet dancer and choreographer

Teacher

He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky and Boris Asafyev. See: List of music students by teacher: K to M#Anatoly Lyadov. Consistent with his character, he was a variable but at times brilliant instructor. Conductor Nikolai Malko, who studied harmony with him at the conservatory, wrote, "Lyadov's critical comments were always precise, clear, understandable, constructive, and brief.... And it was done indolently, without haste, sometimes seemingly disdainfully. He could suddenly stop in midword, take out a small scissors from his pocket and start doing something with his fingernail, while we all waited."^[1]

Igor Stravinsky remarked that Lyadov was as strict with himself as he was with his pupils, writing with great precision and demanding fine attention to detail. Prokofiev recalled that even the most innocent musical innovations drove the conservative Lyadov crazy. "Shoving his hands in his pockets and rocking in his soft woollen shoes without heels, he would say, 'I don't understand why you are studying with me. Go to Richard Strauss. Go to Debussy.' This was said in a tone that meant 'Go to the devil!'"^[2] Still, Lyadov told his acquaintances about Prokofiev. "I am obliged to teach him. He must form his technique, his style—first in piano music."^[3] In 1905 he resigned briefly over the dismissal of Rimsky-Korsakov, only to return when Rimsky-Korsakov was reinstated.

Glazunov, Belyayev and Tchaikovsky

Portrait of M. P. Belyayev by Ilya Repin (1886)

Lyadov introduced timber millionaire and philanthropist Mitrofan Belyayev to the music of the teenage Alexander Glazunov.^[4] Interest in Glazunov's music quickly grew to Belyayev's patronage of an entire group of Russian nationalist composers.^[4] In 1884 he instituted the Russian Symphony Concerts and established an annual Glinka Prize.^[5] The following year he started his own publishing house in Leipzig. He published music by Glazunov, Lyadov, Rimsky-Korsakov and Borodin at his own expense.^[4][5] In addition, young composers appealed for Belyayev's help.^[5] Belyayev asked Lyadov to serve with Glazunov and Rimsky-Korsakov on an advisory council to help select from these applicants.^[5] The group of composers that formed eventually became known as the Belyayev Circle.^[4]

In November 1887, Lyadov met Pyotr Ilyich Tchaikovsky. Nearly seven years earlier Tchaikovsky had given a negative opinion to the publisher Besel about a piano arabesque Lyadov had written.^[6] Even before this visit, though, Tchaikovsky's opinion of Lyadov may have been changing. He had honored Lyadov with a copy of the score of his Manfred Symphony. Now that he had actually met the man face-to-face, the younger composer became "dear Lyadov."^[7] He became a frequent visitor to Lyadov and the rest of the Belyayev Circle, beginning in the winter of 1890.^[8]

Later years[edit]

He married in 1884, acquiring through his marriage a country property in Polynovka estate, Borovichevsky uezd, Novgorod Governorate, where he spent his summers composing unhurriedly, and where he died in 1914.

Music[edit]

U.S.S.R. postage stamp commemorating Lyadov's centennial

While Lyadov's technical facility was highly regarded by his contemporaries, his unreliability stood in the way of his advancement. His published compositions are relatively few through his natural indolence and a certain self-critical lack of confidence. Many of his works are variations on or arrangements of pre-existing material (for example his Russian Folksongs, Op. 58). He did compose a large number of piano miniatures, of which his Musical Snuffbox of 1893 is perhaps most famous.

Like many of his contemporaries, Lyadov was drawn to intensely Russian subjects. Much of his music is programmatic; for example his tone poems Baba Yaga Op. 56, Kikimora Op. 63, The Enchanted Lake Op. 62. These short tone poems, probably his most popular works, exhibit an exceptional flair for orchestral tone color. In his later compositions he experimented with extended tonality, like his younger contemporary Alexander Scriabin.

It has been argued that Lyadov never completed a large-scale work. However, many of his miniatures have their place in the repertory. In 1905 Lyadov began work on a new ballet score, but when the work failed to progress, he shifted gears to work on an opera instead. Lyadov never finished the opera, but sections of the work found realization in the short tone poems Kikimora and The Enchanted Lake.

In 1909 Sergei Diaghilev commissioned Lyadov to orchestrate a number for the Chopin-based ballet Les Sylphides, and on 4 September that year wrote to the composer asking for a new ballet score for the 1910 season of his Ballets Russes;^[9] however, despite the much-repeated story that Lyadov was slow to start composing the work which eventually became The Firebird (famously fulfilled by the then relatively inexperienced Igor Stravinsky), there is no evidence that Lyadov ever accepted the commission.^[10]