Slonimsky S. From the Russian Folk Tales. Cycle of piano pieces

Sergei Mikhailovich Slonimsky (born in 1932) is one of the leading modern Russian composers. His creation embraces actually all the genres. Remember the musical drama “Virineya” (1965–1967) after the novel by L. Seyfullina, chamber opera “Master and Margarite” (1970–1972) after M. Bulgakov, opera-ballad “Mary Stuart” (1978–1980) to Ya. Gordin’s libretto, dramma per musica “Hamlet” (1990–1991) after W. Shakespeare’s tragedy translated to Russian by B. Pasternak, chamber opera (monodic drama) “King Ixion” (1993–1995) after the ancient myth and the tragedy by I. Annensky, the Russian tragedy in 14 visions with three epilogues and overture “The Visions of Ioann Grozny” to Ya. Gordin’s libretto, dramma per musica “King Lear” (2000–2001) after the tragedy by W. Shakespeare translated by B. Pasternak, 32 symphonies, ballets, instrumental concertos, cantatas, among which there is the “Voice From Choir” (1962–1963) to the verses by Alexander Blok, “One Day of the Life” (1998) to the texts from “Chapter of the Thousand” by Dhammapada translated by V. Toporov, Requiem for soloists, choir and symphony orchestra (2003), so as numerous choral, chamber-instrumental and vocal compositions. The spring of 2005 was marked by the ballet premiиre of the “Magic Nut” after the tale by E. Th. A. Hoffmann to the libretto by the artist Mikhail Chemiakine, who staged it in the Mariinsky Theatre. It was in 2008, when Slonimsky’s oratorial opera “Antigone” after Sophokle’s tragedy was firstly staged by A. N. Sokurov at the St. Petersburg Academic Kapelle.

Sergei Slonimsky is the People’s Artist of Russia, laureate of the Russian State Prize, knight of the orders “Merits before Motherland” and of the Commander Cross of the Order “Merits before the Polish Republic”. Slonimsky’s opuses are on roll all over the world.

This cycle, some episodes of which were written on early works by the Composer, is a engaging fairy tale in folk style with characteristic opening, dramatic action and happy ending. A mix of lyric and epic, tailored to the Russian ole-folk style (not unlike Rimsky Korsakov or Borodin), is eventually changing for active development, dashing Lyadov-like flight of Baba Yaga, the fiery musical story of the abduction of Tsarevna and almost opera-like battle ‘with Enemies’. This epithet, opera-like is applicable to the whole cycle; being constructed with simple music material naturally understood by children this cycle nevertheless gives an opportunity to the child to play with grand genre of the opera, compressed into miniature, but maintaining its structure and expressive means, namely — multilevel dramaturgy, intonationally united episodes, dramatic conflicts and beginning-to -end development of the music ideas, directed into final apotheosis.

Contents:

Ivan Tsarevich and Charming Vasilisa (Music text example) 
Witch Baba-Yaga on the Broomstick
Song of the Fallen Hero
Princess Abduction
Ivan Tsarevich’s Dole
Fighting the Enemies
Cheerful Feast of Ivan Tsarevich