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Pye Dubois

Mon, 01 Jan 0001 00:00:00 +0000

Pye Dubois is a Canadian lyricist and poet. He has worked mainly with Kim Mitchell and Max Webster (with whom he was considered an unofficial fifth non-performing member), and occasionally Rush. Career Dubois accompanied Max Webster in the studio and wrote lyrics for each of their albums. He was given lyric-writing credits on several Rush songs, most notably “Tom Sawyer”, which has been included on the soundtrack of several films. Dubois wrote the poem “There is a Lake Between Sun and Moon”, which inspired Rush to write many of the lyrics for the album Counterparts, including a song of the same name for which Dubois received co-writing credit. He is also credited as a co-writer on the Rush songs “Force Ten” and “Test for Echo”. After Max Webster dissolved, Dubois continued his writing relationship with singer and guitarist Kim Mitchell on his solo songs. This included all but one of the songs on Kim’s platinum Akimbo Alogo, every song on the triple platinum Shakin’ Like a Human Being, and double platinum Rockland. Dubois had a falling-out with Mitchell during the sessions for Rockland, caused by Mitchell’s decision to record the album in the US without Dubois present in the studio

Pylyp Kozytskiy

Mon, 01 Jan 0001 00:00:00 +0000

Pylyp Omelyanovych Kozytskiy (; 23 October 1893 – 27 April 1960) was a Soviet and Ukrainian composer, musicologist, professor, head of the department of history of music at the Kyiv Conservatory, and Honored Art Worker of the Ukrainian SSR (1943). Between 1918 and 1924, he taught at the Lysenko Music and Drama Institute in Kyiv, the Kharkiv Music and Drama Institute from 1925 to 1935, and the Kyiv Conservatory. and president of the Choral Society of the Ukrainian SSR from 1959 up to his death in 1960. Kozytskiy died in Kyiv on 27 April 1960, and is buried in the Baikove Cemetery. Musical works Operas * Unknown Soldier (1934) * Jean Giradin (1937) * For the Fatherland (1943) - For symphony orchestra Cantatas * In memory of the Bolsheviks (1951) - For choir a cappella * Hello, Spring (1952) - For children’s choir Symphony orchestra * Kozak Holota (1925) - Suite * Partisan’s Daughter (1938) - Poem * Variations on a theme of the folk song Kupala (1925) - For String Quartet * Variations on a theme of the Bashkirs (1943) Piano * Pages of Childhood (1913) * 7 Preludes - For voice and piano, with words by P. Tychyna, and R. Tagore Choir * Spring Oratorio (1921) * Eight Preludes Songs (1924

Pyotr Bulakhov

Mon, 01 Jan 0001 00:00:00 +0000

Pyotr Petrovich Bulakhov (Петр Петрович Булахов; 1822 in Moscow – 2 December 1885 in Kuskovo) was a Russian composer of mostly Russian chanson. He’s considered a notable composer due to the chanson he composed having reached critical popularity during his lifetime. Family Bulakhov came from a very musical family. His father, Pyotr Alexandrovich Bulakhov (1793?–1837), was a classical singer while his brother, Pavel Petrovich Bulakhov (1824–1875)., was a minor composer and operatic singer during his time who premiered the role of the Prince in Alexander Dargomyzhsky’s 1856 opera “Rusalka.” Career His compositions were widely sung during his lifetime, totaling up to 100 written. In the 1870s, a fire destroyed his apartment and in this fire, it is thought that many works were burned. His song “You Will Not Believe” (“Ты не поверишь”) was set as piano transcriptions by Franz Liszt (Chanson Bohemienne S.250/2), Adolf von Henselt (Fantaisie sur un Air Bohémien-Russe, Op 16) and Ferdinand Beyer (Hommage à la Russie, Op.100 No. 9). Songs * Shine, Shine, My Star * Do Not Awaken Memories * Don’t Wake Me Up * I Met You * In the Wide-Open Field * A dainty mouth pursed in anger * No, I Do Not Lo

Pyotr Ilyich Tchaikovsky

Mon, 01 Jan 0001 00:00:00 +0000

Early life and education#

Tchaikovsky was born on 7 May 1840 in Votkinsk, a small town in Vyatka Governorate during the Russian Empire in present-day Udmurtia near the banks of the Kama River. His father, Ilya Petrovich Tchaikovsky, served as a lieutenant colonel and engineer in the Department of Mines and managed the Ironworks in Kamsko-Votkinsk. His grandfather, Pyotr Fedorovich Tchaikovsky, was born in the village of Nikolaevka, Yekaterinoslav Governorate, Russian Empire in present-day Mykolaivka, Ukraine, and served first as a physician’s assistant in the army and later as city governor of Glazov in Vyatka. His great-grandfather, a Zaporozhian Cossack named Fyodor Chaika, served in the Russian military at the Battle of Poltava in 1709. Tchaikovsky’s mother, Alexandra Andreyevna (née d’Assier), was the second of Ilya’s three wives; his first wife died several years before Pyotr’s birth. His mother was 18 years younger than her husband and was of French and German ethnicity through her paternal side. Both Ilya and Alexandra were trained in the arts, including music. Of his six siblings, Tchaikovsky was close to his sister Alexandra and twin brothers Anatoly and Modest. Alexandra’s marriage to Lev Davydov produced seven children and lent Tchaikovsky the only real family life he knew as an adult, One of those children, Vladimir Davydov, who went by the nickname “Bob”, became very close to him. In 1844, the family hired Fanny Dürbach, a 22-year-old French governess. Four-and-a-half-year-old Tchaikovsky was initially thought too young to study alongside his older brother Nikolai and a niece of the family. His insistence convinced Dürbach otherwise. By age six, he was fluent in French and German. though others assert that the mother doted on her son. Dürbach saved much of Tchaikovsky’s work from this period, including his earliest known compositions, and became a source of several childhood anecdotes. Tchaikovsky began piano lessons at the age of five with Maria Palchikova. Within three years he had become as adept at reading sheet music as his teacher. Tchaikovsky’s parents, initially supportive, hired a tutor, bought an orchestrion, a form of barrel organ that could imitate elaborate orchestral effects, and encouraged his piano study for both aesthetic and practical reasons. But in 1850 they sent Tchaikovsky to the Imperial School of Jurisprudence in Saint Petersburg. They had both graduated from institutes in Saint Petersburg and the School of Jurisprudence, which mainly served the lesser nobility, and thought that this education would prepare Tchaikovsky for a career as a civil servant. Regardless of talent, the only musical careers available in Russia at that time—except for the affluent aristocracy—were as a teacher in an academy or as an instrumentalist in one of the Imperial Theaters. Both were considered on the lowest rank of the social ladder, with individuals in them enjoying no more rights than peasants. Tchaikovsky’s father’s income was also growing increasingly uncertain, so both parents may have wanted Tchaikovsky to become independent as soon as possible. As the minimum age for acceptance was 12 and Tchaikovsky was only 10 at the time, he was required to spend two years boarding at the Imperial School of Jurisprudence’s preparatory school, 800 mi km from his family. Once those two years had passed, Tchaikovsky transferred to the Imperial School of Jurisprudence to begin a seven-year course of study. Tchaikovsky’s early separation from his mother, despite the aforementioned alleged distant relationship, caused emotional trauma that lasted the rest of his life and was intensified by her death from cholera in 1854, when he was 14. The loss of his mother also prompted Tchaikovsky to make his first serious attempt at composition, a waltz in her memory. Tchaikovsky’s father, who had also contracted cholera but recovered, sent him back to school immediately in the hope that classwork would occupy the boy’s mind. Isolated, Tchaikovsky compensated with friendships with fellow students that became lifelong; these included Aleksey Apukhtin and Vladimir Gerard. Music, while not an official priority at school, also bridged the gap between Tchaikovsky and his peers. They regularly attended the opera and Tchaikovsky improvised at the school’s harmonium on themes he and his friends had sung during choir practice. “We were amused”, Gerard later remembered, “but not imbued with any expectations of his future glory”. Tchaikovsky also continued his piano studies with Franz Becker, an instrument manufacturer who made occasional visits to the school, but the results, according to the musicologist David Brown, were “negligible”. In 1855, Tchaikovsky’s father funded private lessons with Rudolph Kündinger and questioned him about a musical career for his son. While impressed with the boy’s talent, Kündinger said he saw nothing to suggest a future composer or performer. He later admitted that his assessment was also based on his own bad experiences as a musician in Russia and his unwillingness for Tchaikovsky to be treated likewise. Tchaikovsky was told to finish his course and then try for a post in the Ministry of Justice.

Pyotr Ilyich Tchaikovsky and the Belyayev circle

Mon, 01 Jan 0001 00:00:00 +0000

Pyotr Ilyich Tchaikovsky’s relations with the group of composers known as the Belyayev circle, which lasted from 1887 until Tchaikovsky’s death in 1893, influenced all of their music and briefly helped shape the next generation of Russian composers. This group was named after timber merchant Mitrofan Belyayev, an amateur musician who became an influential music patron and publisher after he had taken an interest in Alexander Glazunov’s work. By 1887, Tchaikovsky was firmly established as one of the leading composers in Russia. A favorite of Tsar Alexander III, he was widely regarded as a national treasure. He was in demand as a guest conductor in Russia and Western Europe, and in 1890 visited the United States in the same capacity. By contrast, the fortunes of the nationalistic group of composers known as The Five, which preceded the Belyayev circle, had waned, and the group had long since dispersed; of its members, only Nikolai Rimsky-Korsakov remained fully active as a composer. Now a professor of musical composition and orchestration at the Saint Petersburg Conservatory, Rimsky-Korsakov had become a firm believer in the Western-based compositional training that had been once fro

Pyotr Ilyich Tchaikovsky and The Five

Mon, 01 Jan 0001 00:00:00 +0000

In mid- to late-19th-century Russia, Pyotr Ilyich Tchaikovsky and a group of composers known as The Five had differing opinions as to whether Russian classical music should be composed following Western or native practices. Tchaikovsky wanted to write professional compositions of such quality that they would stand up to Western scrutiny and thus transcend national barriers, yet remain distinctively Russian in melody, rhythm and other compositional characteristics. The Five, made up of composers Mily Balakirev, Alexander Borodin, César Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov, sought to produce a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. While Tchaikovsky himself used folk songs in some of his works, for the most part he tried to follow Western practices of composition, especially in terms of tonality and tonal progression. Also, unlike Tchaikovsky, none of The Five were academically trained in composition; in fact, their leader, Balakirev, considered academicism a threat to musical imagination. Along with critic Vladimir Stasov, who supported The Five, Balakirev attacked r

Pyotr Ilyich Tchaikovsky in media

Mon, 01 Jan 0001 00:00:00 +0000

This article lists appearances of the composer Pyotr Ilyich Tchaikovsky in popular media (e.g. films, drama music or otherwise). Films Biographical * Es war eine rauschende Ballnacht (It Was a Gay Ballnight) (1939, Germany) *: Directed by Carl Froelich *: Screenplay by Géza von Cziffra, based on a story by Georg Wittuhn and Jean Victor, and dialogue by Frank Thieß, adapted from Cziffra’s novel *: Tchaikovsky was played by Hans Stüwe * Heavenly Music (1943, US) *: Directed by Josef Berne *: Screenplay by Edward James, Paul Gerard Smith and Michael L. Simmons, based on a story by Reginald LeBorg *: Tchaikovsky was played by Lionel Royce *: Won an Oscar in 1944 for Best Short Subject – Two Reel. * Carnegie Hall (1947, US) *: Directed by Edgar G. Ulmer *: Written by Karl Kamb and Seena Owen *: Tchaikovsky was played by Alfonso D’Artega * Song of My Heart (1948, US) *: Directed and written by Benjamin Glazer *: Tchaikovsky was played by Swedish actor Frank Sundström * Tchaikovsky (1969, Russia) *: Directed and written by Yuri Nagibin *: Tchaikovsky was played by Innokenty Smoktunovsky *: Nominated for an Academy Award for Best Foreign Language Film. * The Music Lovers (1970, UK) *: Dire

Pyotr Ivanovich Isakov

Mon, 01 Jan 0001 00:00:00 +0000

Pyotr Ivanovich Isakov (Russian: Петр Иванович Исаков; 1886–1958) was a Russian classical guitarist known for his arrangements and performances, as well as for his teaching activities. Born in Alsou, Crimea, Isakov started playing the seven-string guitar at the age of nine, and later learnt to play the standard six-string guitar. He moved to Saint Petersburg in 1910 in order to complete his musical studies. In 1913, he was invited to perform for the Emperor Nicholas II, and spent his later career working as a guitarist at the Mariinsky Theatre. As a guitarist, he received influences from Andrés Segovia and Francisco Tárrega. He composed more than a thousand original pieces, and transcribed eight collections of pieces, amongst which there were several by Johann Sebastian Bach and Ludwig van Beethoven (such as the famous Moonlight Sonata ). References

Pyotr Shchurovsky

Mon, 01 Jan 0001 00:00:00 +0000

Pyotr Andreyevich Shchurovsky (; 12/24 February 1850 – 14/27 September 1908) was a Russian conductor and composer known for composing the music of Sansoen Phra Barami. Life Shchurovsky was born on 12 February 1850, in Zolotonoshsky Uyezd, Poltava Governorate into a noble family. He spent his early life in Moscow and was interested in instruments and music when he was young. He studied piano and music theory at the Moscow Conservatory, whose director at the time was Nikolai Rubinstein. During that time he also befriended Pyotr Ilyich Tchaikovsky, his teacher. After finishing, he began conducting at the Imperial Theatres in Moscow and organised concerts and musical lectures. He was the organizer of musical education in Poltava, where he also tutored Ukrainian composer . In 1870, he became an opera band leader in Kharkiv. Later, he became the head of the Bolshoi Theatre, one of the most famous music theatres in Russia but then resigned to continue giving lectures on music. He dedicated his romance “To You, My Friend” to his long-time friend, , a famous Bolshoi Theatre soloist and baritone in Russia. Shchurovsky, Khokhlov, and Tchaikovsky were, according to his wife’s memoirs, reported