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I. Allegro non troppo vivace, ma con fuoco
reh. C - reh. D |
Skills & Techniques: Phrasing, Slurred Flexibility
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Horn 1 (F)
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Ukraine National Symphony Orchestra (1995)
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Royal Scottish National Orchestra (1988)
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IV. Finale. Allegro moderato
reh. I - reh. K |
Skills & Techniques: Phrasing, Slurred Flexibility
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Horn 1 (F)
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Ukraine National Symphony Orchestra (1995)
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Royal Scottish National Orchestra (1988)
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Composer & Composition Information
Vasily Kalinnikov (1866-1901)
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Kalinnikov was born on January 13, 1866 near the city of Oryol in what is now western Russia. The son of a policeman, he studied in the Oryol seminary and became director of the seminary choir at 14. A few years later, he sought to enroll in the Moscow Conservatory but could not afford the tuition; instead, he won a scholarship to the Moscow Philharmonic Society School (now the Russian Institute of Theatre Arts), where he was given lessons in bassoon and composition by the composer Alexander Ilyinsky.
To increase his income, Kalinnikov played bassoon, violin, and timpani in a theatre orchestra and also worked as a music copyist. It was in this period that his compositional career began in earnest; although he had written several choral works in the prior years, Kalinnikov’s Serenade for string orchestra and Suite for orchestra are some of his first mature compositions. The text & image are reprinted from Unknown Composers where more information about the composer can be found. |
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Symphony No. 1 in G minor
Kalinnikov’s First Symphony is about as fresh as they come. The first movement doesn’t waste a moment: it kicks off with its sweeping opening theme and never looks back. The second main tune sounds a bit like something lifted from Borodin, but that’s neither here nor there – it’s lush and winning, and that’s all that counts.
In terms of structure, the movement’s development section’s a bit bloated and disjunct – what, exactly, becomes of the fugue that kicks off around the midpoint? – but, again, Kalinnikov’s handling of his materials is so assured that it really doesn’t matter. His way with them is almost improvisatory, as though he’s trying out ideas on the spot, running with the ones that work and dropping the others. And the Technicolor scoring constantly shines: Kalinnikov clearly knew his Tchaikovsky and Rimsky-Korsakov, but his writing for the orchestra never sounds derivative.
The text is written by & reprinted from Jonathan Blumhofer (The Arts Fuse) where more information about the composition can be found.
In terms of structure, the movement’s development section’s a bit bloated and disjunct – what, exactly, becomes of the fugue that kicks off around the midpoint? – but, again, Kalinnikov’s handling of his materials is so assured that it really doesn’t matter. His way with them is almost improvisatory, as though he’s trying out ideas on the spot, running with the ones that work and dropping the others. And the Technicolor scoring constantly shines: Kalinnikov clearly knew his Tchaikovsky and Rimsky-Korsakov, but his writing for the orchestra never sounds derivative.
The text is written by & reprinted from Jonathan Blumhofer (The Arts Fuse) where more information about the composition can be found.
Notable Performances/Recordings:
Malaysian Philharmonic Orchestra (2011)
Ukraine National Symphony Orchestra (1995)
Royal Scottish National Orchestra (1988)
Malaysian Philharmonic Orchestra (2011)
Ukraine National Symphony Orchestra (1995)
Royal Scottish National Orchestra (1988)