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| Composers Biography - Languages - |  |
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Anatol Konstantinovich Liadov
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| The son of a conductor at the Mariinsky Theatre in St Petersburg, Anatol Lyadov joined the Conservatoire where he excelled at the piano. For a short time he studied composition with Rimsky-Korsakov and later he became a teacher of theory and then of counterpoint. He was associated with Balakirev and subsequently became a member of Belyayev's circle, helping, in particular, in the establishment of the publishing-house that Belyayev established for Russian composers. Lyadov was a thoroughly competent musician, conductor and composer, but did not apply himself consistently to work. His failure to produce a commissioned score for the Dyagilev ballet, in Paris in 1910, allowed Stravinsky, one of his pupils, to win acclaim for his own composition. In many cases Lyadov’s compositions owe much to traditional Russian folk songs, as he lived in a period when nationalism was joined with technical competence inculcated at the Conservatoires.
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The best known orchestral compositions by Lyadov are the descriptive Russian fairy-tale pieces Kikimora, Baba-Yaga and Volshebnoye ozero (The Enchanted Lake). - MIDI FILE - The Music Box (2'30'') His last orchestral work was the symphonic poem Skorbnaya pesn (Nénie). Lyadov wrote a number of shorter piano pieces, including Fugues and a set of Canons, testimony to his contrapuntal ability. - MIDI FILE - 8 Russian Folkssongs (12'25'') He wrote a setting of the final scene of Schiller's Die Braut von Messina (The Bride from Messina) for his Conservatory graduation. Of some 26 songs, eighteen are Children's Songs, composed in memory of his first wife.
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