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  Bavaria
  Bavaria, formally the Free State of Bavaria (German: Freistaat Bayern, pronounced [ˈfʁaɪʃtaːt ˈbaɪ.ɐn] ( listen)), is a state of Germany, located in the southeast of Germany. With an area of 70,548 square kilometres (27,200 sq mi), it is the largest state by area, forming almost 20% of the total land area of Germany. Bavaria is Germany's second most populous state (after North Rhine-Westphalia), with 12.5 million inhabitants, more than any of the three sovereign states on its borders. Bavaria's capital is Munich.
  One of the oldest states of Europe, it was established as a duchy in the mid first millennium. In the 17th century, the Duke of Bavaria became a Prince-elector of the Holy Roman Empire. The Kingdom of Bavaria existed from 1806 to 1918, and Bavaria has since been a free state (republic). Modern Bavaria also includes parts of the historical regions of Franconia and Swabia.
  The Bavarians emerged in a region north of the Alps, originally inhabited by the Gauls, which had been part of the Roman provinces of Raetia and Noricum. The Bavarians spoke Old High German but, unlike other Germanic groups, probably did not migrate from elsewhere. Rather, they seem to have coalesced out of other groups left behind by Roman withdrawal late in the 5th century. These peoples may have included the Celtic Boii, some remaining Romans, Marcomanni, Allemanni, Quadi, Thuringians, Goths, Scirians, Rugians, Heruli. The name "Bavarian" ("Baiuvarii") means "Men of Baia" which may indicate Bohemia, the homeland of the Celtic Boii and later of the Marcomanni. They first appear in written sources c. 520. Saint Boniface completed the people's conversion to Christianity in the early-8th century. Bavaria was, for the most part, unaffected by the Protestant Reformation.
  
  wn.com/Bavaria
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  Caucasus
  The Caucasus, also Caucas or Caucasia (for endonyms, see below), is a geopolitical region at the border of Europe and Asia, and situated between the Black and the Caspian sea. It is home to the Caucasus Mountains, which contain Europe's highest mountain, Mt. Elbrus. Politically, the Caucasus region is separated between northern and southern parts.
  The northern portion of the Caucasus is known as the Ciscaucasus and the southern portion as the Transcaucasus.
  The Ciscaucasus contains the larger majority of the Greater Caucasus Mountain range, also known as the Major Caucasus mountains. It includes Southwestern Russia and northern parts of Georgia and Azerbaijan.
  The Transcaucasus is bordered on the north by Russia, on the west by the Black Sea and Turkey, on the east by the Caspian Sea, and on the south by Iran. It includes the Caucasus Mountains and surrounding lowlands. All of Armenia, Azerbaijan (excluding the northern parts) and Georgia (excluding the northern parts) are in South Caucasus.
  
  wn.com/Caucasus
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  Donetsk Oblast
  Donetsk Oblast (Ukrainian: Донецька область, Donets’ka oblast’; also referred to as Donechchyna — Ukrainian: Донеччина Donechchyna; Russian: Донецкая область, Donetskaya oblast) is an oblast (province) of eastern Ukraine. Its administrative center is Donetsk. Historically, the province is an important part of the Donbas region. Until November, 1961, it bore the name Stalino Oblast in honour of Joseph Stalin.
  Important cities within the oblast include: Sloviansk, Horlivka, Kramatorsk, Makiivka, Mariupol, Yenakiieve.
  Donetsk Oblast is located in southeastern Ukraine. The area of the oblast (26,900 km²), comprises about 4.4% of the total area of the country. The oblast borders the Dnipropetrovsk and Zaporizhia Oblasts on the southwest, the Luhansk Oblast on the northeast, the Rostov Oblast in Russia on the east, and with the Sea of Azov on the south.
  Its longitude from north to south is 270 km, from east to west – 190 km. The extreme points of the oblast's borders are: Bilosarayska Kosa (spit) on the south, Shevchenko of Velykonovosilkivskyi Raion on the west, Verkhnyi Kut of Shakhtarskyi Raion on the east, and Lozove of Krasnolymanskyi Raion on the north.
  
  wn.com/Donetsk_Oblast
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  Kazakhstan
  Kazakhstan (ⁱ/ˌkɑːzəkˈstɑːn/ or /ˌkæzəkˈstæn/) (Kazakh: Қазақстан, Qazaqstan, pronounced [qɑzɑqstɑ́n]; Russian: Казахстан [kəzɐxˈstan]), officially the Republic of Kazakhstan, is a transcontinental country in Central Asia and Europe. The ninth largest country in the world by land area, it is also the world's largest landlocked country; its territory of 2,727,300 square kilometres (1,053,000 sq mi) is larger than Western Europe. It is neighbored clockwise from the north by Russia, China, Kyrgyzstan, Uzbekistan, Turkmenistan, and also borders on a significant part of the Caspian Sea. Although Kazakhstan does not share a border with Mongolia, its most easterly point is only 38 kilometres (24 mi) from Mongolia's western tip. The terrain of Kazakhstan ranges from flatlands, steppes, taigas, rock-canyons, hills, deltas, and snow-capped mountains to deserts. With 16.6 million people (2011 estimate) Kazakhstan has the 62nd largest population in the world, though its population density is less than 6 people per square kilometre (15 per sq. mi.). The capital was moved in 1998 from Almaty, Kazakhstan's largest city, to Astana.
  
  wn.com/Kazakhstan
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  Kislovodsk
  Kislovodsk (Russian: Кислово́дск, lit. sour waters) is a spa city in Stavropol Krai, Russia, which lies in the North Caucasian region of the country, between the Black and Caspian Seas. The closest airport is located in the city of Mineralnye Vody. Population: 128,502 (2010 Census preliminary results); 129,788 (2002 Census); 114,414 (1989 Census).
  Kislovodsk was founded in 1803 as a military station.^{[citation needed]} It is named after the many mineral springs around the city. Town status was granted to it in 1903.^{[citation needed]}
  In the late 19th and early 20th centuries, Kislovodsk as a fashionable spa attracted many musicians, artists, and members of the Russian aristocracy. Several of the events in Mikhail Lermontov's novel A Hero Of Our Time are set in Kislovodsk.
  Administratively, along with seven rural localities, it is incorporated as the city of krai significance of Kislovodsk—an administrative unit with the status equal to that of the districts.Municipally, the city of krai significance of Kislovodsk is incorporated as Kislovodsk Urban Okrug.
  
  wn.com/Kislovodsk
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  Moscow
  Moscow ( /ˈmɒskaʊ/ or /ˈmɒskoʊ/; Russian: Москва́, tr. Moskva; IPA: [mɐˈskva] ( listen)) is the capital and the most populous federal subject of Russia. The city is a major political, economic, cultural and scientific center of Russia and the continent. Moscow is the northernmost megacity on Earth, the most populous city in Europe, and the 6th largest city proper in the world. Its population, according to the results of the 2010 Census, is 11,503,501. Based on Forbes 2011, Moscow has the largest community of billionaires in the world.
  Moscow is situated on the Moskva River in the Central Federal District of European Russia. In the course of its history the city has served as the capital of a progression of states, from the medieval Grand Duchy of Moscow and the subsequent Tsardom of Russia to the Soviet Union. Moscow is the site of the Moscow Kremlin, an ancient fortress that is today the residence of the Russian President and of the executive branch of the Government of Russia. The Kremlin is also one of several World Heritage Sites in the city. Both chambers of the Russian parliament (the State Duma and the Federation Council) also sit in Moscow.
  
  wn.com/Moscow
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  Moscow Conservatory
  The Moscow Conservatory (Russian: Московская Государственная Консерватория им. П. И. Чайковского, Moscow State Conservatory named for P. I. Tchaikovsky) is a higher musical education institution in Moscow, and the second oldest conservatory in Russia after St. Petersburg Conservatory. Along with the St. Petersburg Conservatory, it is one of the leading music universities in the country.
  It was co-founded in 1866 as the Moscow Imperial Conservatory by Nikolai Rubinstein (brother of the famous Russian pianist and composer Anton Rubinstein, who founded the St. Petersburg Conservatory in 1862) and Prince Nikolai Petrovitch Troubetzkoy.
  At its opening, Tchaikovsky was appointed professor of theory and harmony, a post he held until approximately 1878. Since 1940, the conservatory has borne Tchaikovsky's name.
  Prior to the Revolution the choral faculty of the conservatory was second to the Moscow Synodal School and Moscow Synodal Choir, but in 1919 both were closed and merged into the choral faculty. Some of the students now listed as being of the conservatory were in fact students of the Synodal School.
  
  wn.com/Moscow_Conservatory
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  NKVD
  The People's Commissariat for Internal Affairs (Народный комиссариат внутренних дел, Narodnyy Komissariat Vnutrennikh Del), abbreviated NKVD (НКВД  listen (help·info)) was the public and secret police organization of the Soviet Union that directly executed the rule of power of the Soviets, including political repression, during the era of Joseph Stalin.
  The NKVD contained the regular, public police force of the USSR (including traffic police, firefighting, border guards and archives) but is better known for the activities of the Gulag and the Main Directorate for State Security (GUGB), which eventually became the Committee for State Security (KGB). It conducted mass extrajudicial executions, ran the Gulag system of forced labor camps, suppressed underground resistance, conducted mass deportations of entire nationalities and Kulaks to unpopulated regions of the country, guarded state borders, conducted espionage and political assassinations abroad, was responsible for influencing foreign governments, and enforced Stalinist policy within communist movements in other countries.
  
  wn.com/NKVD
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  Novodevichy Cemetery
  Novodevichy Cemetery (Russian: Новоде́вичье кла́дбище, Novodevichye kladbishche) is the most famous cemetery in Moscow. It lies next to the southern wall of the 16th-century Novodevichy Convent, which is the city's third most popular tourist site. It should not be confused with the Novodevichy Cemetery in Saint Petersburg.
  The cemetery was designed by Ivan Mashkov and inaugurated in 1898. Its importance dates from the 1930s, when the necropoleis of the medieval Muscovite monasteries (Simonov, Danilov, Donskoy) were scheduled for demolition. Only the Donskoy survived the Joseph Stalin era relatively intact. The remains of many famous Russians buried in other abbeys, such as Nikolai Gogol and Sergey Aksakov, were disintered and reburied at the Novodevichy.
  A 19th-century necropolis within the walls of the Novodevichy convent, which contained the graves of about 2000 Russian noblemen and university professors, also underwent reconstruction. The vast majority of graves were destroyed. It was at that time that the remains of Anton Chekhov were moved outside the monastery walls. His grave served as the kernel of the so-called "cherry orchard" - a section of the cemetery which contains the graves of Constantin Stanislavski and the leading actors of his company.
  
  wn.com/Novodevichy_Cemetery
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  Red Square
  Red Square (Russian: Красная площадь, tr. Krásnaja Plóščaď; IPA: [ˈkrasnəjə ˈploɕːətʲ]) is a city square in Moscow, Russia. The square separates the Kremlin, the former royal citadel and currently the official residence of the President of Russia, from a historic merchant quarter known as Kitai-gorod. As major streets of Moscow radiate from here in all directions, being promoted to major highways outside the city, Red Square is often considered the central square of Moscow and all of Russia.
  The rich history of Red Square is reflected in many artworks, including paintings by Vasily Surikov, Konstantin Yuon and others. The square was meant to serve as Moscow's main marketplace. It was also used for various public ceremonies and proclamations, and occasionally as the site of coronation for Russia's Tsars. The square has been gradually built up since that point and has been used for official ceremonies by all Russian governments since it was established.
  The name Red Square derives neither from the colour of the bricks around it (which, in fact, were whitewashed at certain points in history) nor from the link between the colour red and communism. Rather, the name came about because the Russian word красная (krasnaya) can mean either "red" or "beautiful" (the latter being rather archaic; cf. прекрасная, prekrasnaya). This word, with the meaning "beautiful", was originally applied to Saint Basil's Cathedral and was subsequently transferred to the nearby square. It is believed that the square acquired its current name (replacing the older Pozhar, or "burnt-out place") in the 17th century. Several ancient Russian towns, such as Suzdal, Yelets, and Pereslavl-Zalessky, have their main square named Krasnaya ploshchad.
  
  wn.com/Red_Square
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  Russia
  Russia ⁱ/ˈrʌʃə/ or /ˈrʊʃə/ (Russian: Россия, tr. Rossiya; IPA: [rɐˈsʲijə] ( listen)), also officially known as the Russian Federation (Russian: Российская Федерация, tr. Rossiyskaya Federatsiya; IPA: [rɐˈsʲijskəjə fʲɪdʲɪˈratsɨjə] ( listen)), is a country in northern Eurasia. It is a federal semi-presidential republic, comprising 83 federal subjects. From northwest to southeast, Russia shares borders with Norway, Finland, Estonia, Latvia, Lithuania and Poland (both via Kaliningrad Oblast), Belarus, Ukraine, Georgia, Azerbaijan, Kazakhstan, China, Mongolia, and North Korea. It also has maritime borders with Japan by the Sea of Okhotsk, and the US state of Alaska by the Bering Strait. At 17,075,400 square kilometres (6,592,800 sq mi), Russia is the largest country in the world, covering more than one eighth of the Earth's inhabited land area. Russia is also the eighth most populous nation with 143 million people. It extends across the whole of northern Asia and 40% of Europe, spanning nine time zones and incorporating a wide range of environments and landforms. Russia has the world's largest reserves of mineral and energy resources and is the largest producer of oil and natural gas globally. Russia has the world's largest forest reserves and its lakes contain approximately one-quarter of the world's fresh water.
  
  wn.com/Russia
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  Russian Revolution
  The Russian Revolution is the collective term for a series of revolutions in Russia in 1917, which destroyed the Tsarist autocracy and led to the creation of the Soviet Union. The Tsar was deposed and replaced by a provisional government in the first revolution of February 1917 (March in the Gregorian calendar; the older Julian calendar was in use in Russia at the time). In the second revolution, during October, the Provisional Government was removed and replaced with a Bolshevik (Communist) government.
  The February Revolution (March 1917) was a revolution focused around Petrograd (now St. Petersburg). In the chaos, members of the Imperial parliament or Duma assumed control of the country, forming the Russian Provisional Government. The army leadership felt they did not have the means to suppress the revolution and Tsar Nicholas II of Russia, the last Tsar of Russia, abdicated. The Soviets (workers' councils), which were led by more radical socialist factions, initially permitted the Provisional Government to rule, but insisted on a prerogative to influence the government and control various militias. The February Revolution took place in the context of heavy military setbacks during the First World War (1914–18), which left much of the army in a state of mutiny.
  
  wn.com/Russian_Revolution
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  Saint Petersburg
  Saint Petersburg (Russian: Санкт-Петербург, tr. Sankt-Peterburg; IPA: [sankt pʲɪtʲɪrˈburk] ( listen)) is a city and a federal subject (a federal city) of Russia located on the Neva River at the head of the Gulf of Finland on the Baltic Sea. In 1914 the name of the city was changed to Petrograd (Russian: Петроград; IPA: [pʲɪtrɐˈgrat]), in 1924 to Leningrad (Russian: Ленинград; IPA: [lʲɪnʲɪnˈgrat]) and in 1991 back to Saint Petersburg.
  In Russian literature, informal documents, and discourse, the "Saint" (Санкт-) is usually omitted, leaving Petersburg (Петербург, Peterburg). In common parlance Russians may drop "-burg" (-бург) as well, leaving only Peter (Питер, Russian: [ˈpʲitʲɪr]).
  Saint Petersburg was founded by Tsar Peter the Great on May 27 [O.S. 16] 1703. From 1713 to 1728 and from 1732 to 1918, Saint Petersburg was the Imperial capital of Russia. In 1918 the central government bodies moved from Saint Petersburg (then named Petrograd) to Moscow. It is Russia's second largest city after Moscow with almost 5 million inhabitants. Saint Petersburg is a major European cultural center, and also an important Russian port on the Baltic Sea.
  
  wn.com/Saint_Petersburg
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  Ukraine
  Ukraine (ⁱ/juːˈkreɪn/ yew-KRAYN; Ukrainian: Україна, transliterated: Ukrayina, [ukrɑˈjinɑ]; Russian: Украина; Crimean Tatar: Ukraina) is a country in Central and Eastern Europe. Ukraine borders the Russian Federation to the east and northeast, Belarus to the northwest, Poland, Slovakia and Hungary to the west, Romania and Moldova to the southwest, and the Black Sea and Sea of Azov to the south and southeast, respectively. It has an area of 603,628 km², making it the second largest contiguous country on the European continent, after the Russian Federation.
  According to a popular and well established theory, the medieval state of Kievan Rus was established by the Varangians in the 9th century as the first historically recorded East Slavic state which emerged as a powerful nation in the Middle Ages until it disintegrated in the 12th century. By the middle of the 14th century, Ukrainian territories were under the rule of three external powers—the Golden Horde, the Grand Duchy of Lithuania, and the Kingdom of Poland. After the Great Northern War (1700–1721) Ukraine was divided between a number of regional powers and, by the 19th century, the largest part of Ukraine was integrated into the Russian Empire with the rest under Austro-Hungarian control. A chaotic period of incessant warfare ensued, with several internationally recognized attempts at independence from 1917 to 1921, following World War I and the Russian Civil War. Ukraine emerged from its own civil war, and on December 30, 1922 Ukrainian Soviet Socialist Republic became one of the founding republics of the Soviet Union. The Ukrainian SSR's territory was enlarged westward during the civil war shortly before, and after World War II, and further south in 1954 with the Crimea transfer. In 1945, the Ukrainian SSR became one of the founding members of the United Nations.
  
  wn.com/Ukraine

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  Alexander Afanasyev
  Alexander Nikolayevich Afanasyev (Afanasief or Afanasiev,Russian: Алекса́ндр Никола́евич Афана́сьев) (11 July 1826 – 23 October 1871) was a Russian folklorist who recorded and published over 600 Russian folktales and fairytales, by far the largest folktale collection by any one man in the world. His first collection was published in eight volumes from 1855–67, earning him the reputation of a Russian counterpart to the Brothers Grimm.
  He was educated at a gymnasium in Voronezh and studied law at the University of Moscow, in which he attended the lectures of Konstantin Kavelin and Timofey Granovsky. His burgeoning career as a professor of history was cut short by denunciation of his work on the part of Sergey Uvarov. He then turned his attention to journalism and brought out a series of articles about leading personalities of the literary life of the previous century, including Nikolay Novikov, Denis Fonvizin, and Antiokh Kantemir.
  Censured by the authorities for his contacts with Herzen and suffering from tuberculosis, Afanasyev ended his life in penury, forced to sell his library to enable himself to eat. He died in Moscow aged 45.
  
  wn.com/Alexander_Afanasyev
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  Alexander Glazunov
  Alexander Konstantinovich Glazunov (10 August 1865 – 21 March 1936) was a Russian composer of the late Russian Romantic period, music teacher and conductor. He served as director of the Saint Petersburg Conservatory between 1905 and 1928 and was also instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued heading the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return. The best known student under his tenure during the early Soviet years was Dmitri Shostakovich.
  Glazunov was significant in that he successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. His weaknesses were a streak of academicism which sometimes overpowered his inspiration and an eclecticism which could sap the ultimate stamp of originality from his music. Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned while also admitting he remained a composer with an imposing reputation and a stabilizing influence in a time of transition and turmoil.
  
  wn.com/Alexander_Glazunov
• Alexander Ossovsky
  Alexander Vyacheslavovich Ossovsky (Russian: Александр Вячеславович Оссовский, March 31 [O.S. March 19] 1871 – July 31, 1957) was a renowned Russian musical writer, critic and musicologist, professor at Saint Petersburg Conservatory, pupil of Nikolai Rimsky-Korsakov, and friend of Sergei Rachmaninoff, Alexander Siloti and Nikolai Tcherepnin.
  Alexander Ossovsky was born on March 31, 1871 in Kishinev, Bessarabia, Russian Empire into the family of Vyacheslav Stepanovich Ossovsky, who was a Department Chair in the Odessa Court; his mother was Yevgenia Cherkunova. The composer Mykola Vilinsky was his cousin. Ossovsky graduated from the Law School at Moscow University (1893).
  After graduation he worked at the Ministry of Justice in Saint Petersburg. From 1896-1898 studied at Saint Petersburg Conservatory. From 1900-02 he studied composition with the composer Nikolai Rimsky-Korsakov. In 1894 Ossovsky started his career as a talented and prolific musical writer, musical critic and musicologist. In 1915-18 and 1921-52 Ossovsky was a professor at the Saint Petersburg Conservatory (then Leningrad Conservatory), and in 1937 he became a Deputy Director there.
  
  wn.com/Alexander_Ossovsky
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  Anatoly Lunacharsky
  Anatoly Vasilyevich Lunacharsky (Russian: Анато́лий Васи́льевич Лунача́рский, November 23 [O.S. November 11] 1875 – December 26, 1933) was a Russian Marxist revolutionary and the first Soviet People's Commissar of Enlightenment responsible for culture and education. He was active as an art critic and journalist throughout his career.
  Lunacharsky was born in Poltava, Ukraine, Russian Empire. He was an illegitimate child of Alexander Antonov and Alexandra Lunacharskaya, née Rostovtseva. His mother was at the time married to statesman Vasily Lunacharsky, hence Anatoly's surname and patronym. Alexandra later divorced Lunacharsky and married Antonov, but Anatoly kept his old name.^{[citation needed]}
  Lunacharsky became a Marxist at the age of fifteen. He studied at the University of Zurich under Richard Avenarius for two years without taking a degree. While in Zürich, he met European socialists including Rosa Luxemburg and Leo Jogiches and joined the Russian Social Democratic Labour Party. In February 1902 Lunacharsky moved in with Alexander Bogdanov who was working in a mental hospital in Vologda. By September of taht year he married Anna Alexandrovna Malinovkaya, Bogdanov's sister.
  
  wn.com/Anatoly_Lunacharsky
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  Anatoly Lyadov
  Anatoly Konstantinovich Lyadov or Liadov (Russian: Анато́лий Константи́нович Ля́дов; May 11 [O.S. April 29] 1855 – August 28 [O.S. August 15] 1914) was a Russian composer, teacher and conductor.
  Lyadov was born in St. Petersburg into a family of eminent Russian musicians. He was taught informally by his conductor father 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.
  He taught at the St. Petersburg Conservatory from 1878, his pupils including Sergei Prokofiev, Nikolai Myaskovsky, Mikhail Gnesin, Lazare Saminsky and Boris Asafyev. 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."
  
  wn.com/Anatoly_Lyadov
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  Anna Yesipova
  Anna Yesipova (born Anna Nikolayevna Yesipova [Russian: Анна Николаевна Есипова] in Saint Petersburg, 12 February [O.S. 31 January] 1851 — died 18 August [O.S. 5 August] 1914, Saint Petersburg) was a prominent Russian pianist. Her name is cited variously as Anna Esipova; Anna or Annette Essipova; Anna, Annette or Annetta Essipoff; Annette von Essipow; Anna Jessipowa.
  Yesipova was one of Teodor Leszetycki's most brilliant pupils. She made her debut in Saint Petersburg in 1871 attracting rave reviews and the artistic admiration of both Pyotr Ilyich Tchaikovsky and Franz Liszt, particularly for her effortless virtuosity and singing tone. She then began concert tours which brought her in 1876 to the United States, where her playing was greatly admired. She heard the playing of Fanny Bloomfield and advised her to train under Leszetycki, whom Yesipova married in 1880 and later divorced.
  In 1885, Yesipova was appointed Royal Prussian Court Pianist. From 1893 to 1908, she was professor of pianoforte at the Saint Petersburg Conservatory. Among her students were Sergei Prokofiev, Sergei Tarnowsky, Maria Yudina, Isabelle Vengerova, Leo Ornstein, Thomas de Hartmann and Alexander Borovsky (Borowsky) [1889-1968].
  
  wn.com/Anna_Yesipova
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  Aram Khachaturian
  Aram Ilyich Khachaturian (Armenian: Արամ Խաչատրյան; Russian: Ара́м Ильи́ч Хачатуря́н; June 6 [O.S. May 24] 1903 – May 1, 1978) was a prominentSoviet Armenian composer. Khachaturian's works were often influenced by classical Russian music and Armenian folk music. He is most famous for the Adagio of Spartacus and Phrygia from his ballet Spartacus, and for the "Sabre Dance" from his ballet Gayane and the adagio from the same ballet, much used in films since its first use in Stanley Kubrick's 2001: A Space Odyssey.
  Aram Ilyich Khachaturian was born in Tiflis, Imperial Russia (now Tbilisi, Georgia) to a poor Armenian family. His father was a bookbinder. In his youth, he was fascinated by the music he heard around him, but at first he did not study music or learn to read it.
  In 1920, when Armenia was declared a Soviet republic, Khachaturian joined a propaganda train touring Armenia, populated by Georgian-Armenian artists. The following year he travelled to Moscow to join his brother, the stage director of the Second Moscow Art Theatre. Although he had almost no musical education, Khachaturian showed such great talent that he was admitted to the Gnessin Institute where he studied cello under Sergey Bychkov, and later Andrey Borysyak. In 1925 Mikhail Gnessin started a composition class at the Gnessin Institute, which Khachaturian joined.
  
  wn.com/Aram_Khachaturian
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  Arnold Schoenberg
   Arnold Schoenberg (help·info) (pronounced [ˈaːɐ̯nɔlt ˈʃøːnbɛɐ̯k]; 13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), whereupon he altered it to Schoenberg "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45).
  Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi Party in Austria, his music was labeled, alongside jazz, as degenerate art^{[citation needed]}.
  Schoenberg was widely known early in his career for his success in simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify pioneering innovations in atonality (although Schoenberg himself detested the term "atonality" as inaccurate in describing his intentions) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
  
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  Arthur Honegger
  Arthur Honegger (pronounced [aʁtyʁ ɔnɛɡɛːʁ]; 10 March 1892 – 27 November 1955) was a Swiss composer, who was born in France and lived a large part of his life in Paris. He was a member of Les Six. His most frequently performed work is probably the orchestral work Pacific 231, which is interpreted as imitating the sound of a steam locomotive.
  Born Oscar-Arthur Honegger (the first name was never used) in Le Havre, France, he initially studied harmony and violin in Paris, and after a brief period in Zurich, returned there to study with Charles-Marie Widor and Vincent d'Indy. He continued to study through the 1910s, before writing the ballet Le dit des jeux du monde in 1918, generally considered to be his first characteristic work. In 1926 he married Andrée Vaurabourg, a pianist and fellow student at the Paris Conservatoire, on the condition that they live in separate apartments. They lived apart for the duration of their marriage, with the exceptions of an attempt at living together in 1935, which lasted less than a year, and the last year of Honegger's life, when he could no longer live alone. They had one daughter, Pascale, born in 1932. Honegger also had a son, Jean-Claude (1926–2003), with the singer Claire Croiza.
  
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  Boris Asafyev
  Boris Vladimirovich Asafyev (Russian: Бори́с Влади́мирович Аса́фьев; 29 July [O.S. 17 July] 1884 – 27 January 1949) was a Russian and Soviet composer, writer, musicologist, musical critic and one of founders of Soviet musicology.
  Asafyev had a strong influence on Soviet music. His compositions include ballets, operas, symphonies, concertos and chamber music. His ballets include Flames of Paris, based on the French Revolution, and The Fountain of Bakhchisarai, which was first performed in 1934, and was performed at the Mariinsky Theatre in St. Petersburg in 2006.
  His writings, under the name Igor Glebov, include The Book about Stravinsky and Glinka (for which he was awarded the Stalin Prize in 1948).
  
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  David Oistrakh
  David Fyodorovich Oistrakh (or Oistrach), Russian: Дави́д Фёдорович (Фи́шелевич) О́йстрах, David Fiodorović (Fišelević) Ojstrakh, Russian pronunciation: [dɐˌvʲid fʲodəˌrovʲɪʨ ˈojstrɐx], Ukrainian: Дави́д Фе́дорович (Фі́шелевич) О́йстрах, Davyd Fedorovych (Fishelevych) Oistrakh; September 30 [O.S. September 17] 1908 – October 24, 1974, was a renowned Soviet classical violinist.
  Oistrakh collaborated with major orchestras and musicians from many parts of the world, including the Soviet Union, Europe, and the United States, and was the dedicatee of numerous violin works, including both of Dmitri Shostakovich's violin concerti, and the violin concerto by Aram Khachaturian. He is considered one of the preeminent violinists of the 20th century.
  He was born in the cosmopolitan city of Odessa in the Russian Empire (now Ukraine) into a Jewish family of merchants of the second guild. His father was David Kolker and his mother was Isabella Beyle (née Stepanovsky), who later on married Fishl Oistrakh. At the age of five, young Oistrakh began his studies of violin and viola as a pupil of Pyotr Stolyarsky. In his studies with Pyotr Stolyarsky he made very good friends with Daniel Shindarov, with whom he performed numerous times around the world, even after becoming famous, for students at Stolyarsky School of Music. He would eventually come to predominantly perform on violin.
  
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  Dmitri Shostakovich
  Dmitri Dmitriyevich Shostakovich Russian pronunciation: [ˈdmʲitrʲɪj ˈdmʲitrʲɪɪvʲɪt͡ɕ ʂəstɐˈkovʲɪt͡ɕ] (Russian: Дмитрий Дмитриевич Шостакович; 25 September 1906 – 9 August 1975) was a Soviet Russian composer and pianist and was one of the most celebrated composers of the 20th century.
  Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky's chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the government. Nevertheless, he received accolades and state awards and served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until death).
  After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single work juxtaposed a wide variety of trends, including the neo-classical style (showing the influence of Stravinsky) and post-Romanticism (after Gustav Mahler). Sharp contrasts and elements of the grotesque characterize much of his music.
  
  wn.com/Dmitri_Shostakovich
• Emil Gilels
  Emil Grigoryevich Gilels (Ukrainian: Емі́ль Григо́рович Гі́лельс, Russian: Эми́ль Григо́рьевич Ги́лельс, Emiľ Grigoriević Gileľs; October 19, 1916 – October 14, 1985) was a Soviet pianist, widely considered one of the greatest pianists of the 20th century. His last name is sometimes transliterated Hilels.
  Gilels was born in Odessa, Russian Empire (now part of Ukraine) to a Jewish family with no direct musical background that nevertheless owned a piano. He began studying the piano at the age of five under Yakov Tkach, who was a student of the French pianists Raoul Pugno and Alexander Villoing Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Frédéric Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique.
  Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann. In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence. Also in Odessa Conservatory Gilels studied special harmony and polyphony with professor Mykola Vilinsky.
  
  wn.com/Emil_Gilels
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  Fyodor Dostoyevsky
  Fyodor Mikhailovich Dostoyevsky (Russian: Фёдор Миха́йлович Достое́вский; IPA: [ˈfʲodər mʲɪˈxajləvʲɪtɕ dəstɐˈjefskʲɪj] ( listen); 11 November 1821 – 9 February 1881) sometimes translated as Dostoevsky, was a Russian writer of novels, short stories and essays. Dostoyevsky's literary works explore human psychology in the troubled political, social and spiritual context of 19th-century Russian society. A Slavophile, nationalist and monarchist, he criticised the bourgeois, pre-materialist West and nihilism in many of his works. Although Dostoyevsky wrote books in the mid-1850s which were influenced by realist and romanticist writers, most notably by Dickens, Gogol and Balzac, his best remembered work was done in his last years, including such masterpieces as Crime and Punishment, The Idiot and The Brothers Karamazov. Dostoyevsky overall wrote 11 complete novels, 3 novellas, 17 short novels and 3 essays. He is often acknowledged by critics as one of the greatest and most prominent psychologists in world literature.
  
  wn.com/Fyodor_Dostoyevsky
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  George Balanchine
  George Balanchine, born Giorgi Balanchivadze (Georgian: გიორგი ბალანჩივაძე, Russian: Георгий Мелитонович Баланчивадзе) (January 22 [O.S. January 9] 1904 – April 30, 1983), was one of the 20th century's most famous choreographers, a developer of ballet in the United States and the co-founder and balletmaster of New York City Ballet. He was a choreographer known for his musicality; he expressed music with dance and worked extensively with Igor Stravinsky. Thirty-nine of his more than four hundred ballets were choreographed to music by Stravinsky.
  Balanchine was born Giorgi Balanchivadze in Saint Petersburg, Russia, to a Georgian father and a Russian mother. Balanchine's family comprised largely composers and soldiers. His father was a noted Georgian composer Meliton Balanchivadze (1862–1937), one of the initiators of the Georgian Opera, while his mother was a Russian ballet aficionado. George's brother, Andria Balanchivadze (1906–1992), became a well-known Georgian composer. As a child, Balanchine was not particularly interested in ballet but his mother loved the arts and had the young Giorgi audition with his sister, who shared her mother's passion for ballet.
  
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  Henri Matisse
  Henri-Émile-Benoît Matisse (French pronunciation: [ɑ̃ʁi matis]; 31 December 1869 – 3 November 1954) was a French artist, known for his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Picasso and Marcel Duchamp, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. Although he was initially labelled a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art. While most widely recognized for his paintings, Matisse actively worked in a variety of media throughout his career.
  
  wn.com/Henri_Matisse
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  Igor Stravinsky
  Igor Fyodorovich Stravinsky (sometimes spelled Strawinsky or Stravinskii; Russian: Игорь Фёдорович Стравинский, transliterated: Igorʹ Fëdorovič Stravinskij; Russian pronunciation: [ˌiɡərʲ ˌfʲjodɐrɐvʲɪtɕ strɐˈvʲinskʲɪj]; 17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian, and later French and American composer, pianist and conductor. He is acknowledged by many as one of the most important and influential composers of the 20th century.
  Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The Rite of Spring, which provoked a riot during its premiere, transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His so-called Russian phase was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue and symphony). They frequently concealed a vein of intense emotion beneath a surface appearance of detachment or austerity and often paid tribute to the music of earlier masters, for example J.S. Bach and Tchaikovsky. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, of instrumentation and of utterance.
  
  wn.com/Igor_Stravinsky
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  Jean Cocteau
  Jean Maurice Eugène Clément Cocteau (French pronunciation: [ʒɑ̃ kɔkto]; 5 July 1889 – 11 October 1963) was a French poet, novelist, dramatist, designer, playwright, artist and filmmaker. Cocteau is best known for his novel Les Enfants terribles (1929), and the films Blood of a Poet (1930), Les Parents terribles (1948), Beauty and the Beast (1946), and Orpheus (1949). His circle of associates, friends and lovers included Kenneth Anger, Pablo Picasso, Jean Hugo, Jean Marais, Henri Bernstein, Marlene Dietrich, Coco Chanel, Erik Satie, María Félix, Édith Piaf and Raymond Radiguet.
  Cocteau was born in Maisons-Laffitte, Yvelines, a village near Paris, to Georges Cocteau and his wife, Eugénie Lecomte; a socially prominent Parisian family. His father was a lawyer and amateur painter who committed suicide when Cocteau was nine. He left home at fifteen. He published his first volume of poems, Aladdin's Lamp, at nineteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, the title of a volume he published at twenty-two. Edith Wharton described him as a man "to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City..."
  
  wn.com/Jean_Cocteau
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  Joseph Haydn
  Franz Joseph Haydn (  /ˈdʒoʊzəf ˈhaɪdən/; German pronunciation: [ˈjoːzɛf ˈhaɪdən] ( listen); 31 March 1732 – 31 May 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.
  A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe.
  Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
  
  wn.com/Joseph_Haydn
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  Joseph Stalin
  Joseph Vissarionovich Stalin (Russian: Иосиф Виссарионович Сталин; born Iosif Vissarionovich Dzhugashvili, Russian: Иосиф Виссарионович Джугашвили; 18 December 1878 – 5 March 1953) was the Premier of the Soviet Union from 6 May 1941 to 5 March 1953. He was among the Bolshevik revolutionaries who brought about the October Revolution in Russia in 1917 and later held the position of General Secretary of the Communist Party of the Soviet Union's Central Committee from 1922 until his death in 1953. While the office of the General Secretary was officially elective and not initially regarded as the top position in the Soviet state, Stalin managed to use it to consolidate more and more power in his hands after the death of Vladimir Lenin in 1924 and gradually put down all opposition groups within the Communist Party. This included Leon Trotsky, a socialist theorist and the principal critic of Stalin among the early Soviet leaders, who was exiled from the Soviet Union in 1929. Whereas Trotsky was an exponent of permanent revolution, it was Stalin's concept of socialism in one country that became the primary focus of Soviet politics.
  
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  José Raúl Capablanca
  José Raúl Capablanca y Graupera (19 November 1888 – 8 March 1942) was a Cuban chess player who was world chess champion from 1921 to 1927. One of the greatest players of all time, he was renowned for his exceptional endgame skill and speed of play. Due to his achievements in the chess world, mastery over the board and his relatively simple style of play he was nicknamed the "Human Chess Machine".
  José Raúl Capablanca, the second surviving son of a Spanish army officer, was born in Havana on November 19, 1888. According to Capablanca, he learned the rules of the game at the age of four by watching his father play, pointed out an illegal move by his father, and then beat his father twice. At the age of eight he was taken to Havana Chess Club, which had hosted many important contests, but on the advice of a doctor he was not allowed to play frequently. Between November and December 1901, he narrowly beat the Cuban Chess Champion, Juan Corzo, in a match. However in April 1902 he only came fourth out of six in the National Championship, losing both his games against Corzo. In 1905 Capablanca passed with ease the entrance examinations for Columbia University in New York City, where he wished to play for Columbia's strong baseball team, and soon was selected as shortstop on the freshman team. In the same year he joined the Manhattan Chess Club, and was soon recognized as the club's strongest player. He was particularly dominant in rapid chess, winning a tournament ahead of the reigning World Chess Champion, Emanuel Lasker, in 1906. In 1908 he left the university to concentrate on chess.
  
  wn.com/José_Raúl_Capablanca
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  Leo Tolstoy
  Lev Nikolayevich Tolstoy (Russian: Лев Никола́евич Толсто́й, pronounced [lʲev nʲɪkɐˈlaɪvʲɪtɕ tɐlˈstoj] ( listen); known in the Anglosphere as Leo Tolstoy) (September 9, 1828 – November 20, 1910) was a Russian writer who primarily wrote novels and short stories. Later in life, he also wrote plays and essays. His two most famous works, the novels War and Peace and Anna Karenina, are acknowledged as two of the greatest novels of all time and a pinnacle of realist fiction. Many consider Tolstoy to have been one of the world's greatest novelists. Tolstoy is equally known for his complicated and paradoxical persona and for his extreme moralistic and ascetic views, which he adopted after a moral crisis and spiritual awakening in the 1870s, after which he also became noted as a moral thinker and social reformer.
  His literal interpretation of the ethical teachings of Jesus, centering on the Sermon on the Mount, caused him in later life to become a fervent Christian anarchist and anarcho-pacifist. His ideas on nonviolent resistance, expressed in such works as The Kingdom of God Is Within You, were to have a profound impact on such pivotal twentieth-century figures as Mohandas Gandhi and Martin Luther King, Jr.
  
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  Léonide Massine
  Leonid Fyodorovich Myasin (Russian: Леонид Фёдорович Мясин), better known in the West by the French transliteration as Léonide Massine (9 August [O.S. 28 July] 1896 – 15 March 1979) was a Russian choreographer and ballet dancer.
  Léonide Massine was born in Moscow and was a ballet student at the Imperial Theater School in that city. From 1915 to 1921 he was the principal choreographer of Sergei Diaghilev's Ballets Russes. Following the departure of Vaslav Nijinsky, the company's first male star, Massine became the preeminent male star and took over Nijinsky's roles. After the death of Diaghilev in 1929 and the disbanding of his company, Massine became the choreographer and male lead dancer of the Ballet Russe de Monte Carlo, one of the companies that succeeded the original Ballets Russes.
  Massine created the world's first symphonic ballet, Les Présages, in 1933 using Tchaikovsky's Symphony No. 5. This caused a furore amongst musical purists, who objected to a serious symphonic work being used as the basis of a ballet. Undeterred, Massine continued work on Choreartium, set to Brahms's Fourth Symphony, which had its premiere on 24 October 1933 at the Alhambra Theatre in London. He also choreographed a ballet to Hector Berlioz's 1830 Symphonie Fantastique and danced the role of the Young Musician with Tamara Toumanova as the Beloved at its premiere at Covent Garden, London, on 24 July 1936 with Colonel W. de Basil's Ballets Russes. Two years later he produced Seventh Symphony, to Beethoven's great score. It premiered on 5 May 1938 in Monte Carlo, with Alicia Markova, Nini Theilade, Frederic Franklin, and Igor Youskevitch as the principal dancers.
  
  wn.com/Léonide_Massine
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  Maurice Ravel
  Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
  Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, uses a variety of sound and instrumentation.
  Ravel is perhaps known best for his orchestral work Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music".
  According to SACEM, Ravel's estate earns more royalties than that of any other French composer. According to the law of most countries (including all members of the World Trade Organization), Ravel's works have been in the public domain since January 1, 2008, in most countries.
  
  wn.com/Maurice_Ravel
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  Mikhail Botvinnik
  Mikhail Moiseyevich Botvinnik, Ph.D. (Russian: Михаи́л Моисе́евич Ботви́нник, pronounced [mʲixaˈiɫ̺ mʌiˈs̺ʲɛjɛvʲitʃʲ bʌt̺ˈvʲin̺n̻ʲik]) (August 17 [O.S. August 4] 1911 – May 5, 1995) was a Soviet and Russian International Grandmaster and three-time World Chess Champion. Working as an electrical engineer and computer scientist at the same time, he was one of the very few famous chess players who achieved distinction in another career while playing top-class competitive chess. He was also a pioneer of computer chess.
  Botvinnik was the first world-class player to develop within the Soviet Union (Alekhine was a top player before the Russian Revolution), putting him under political pressure but also giving him considerable influence within Soviet chess. From time to time he was accused of using that influence to his own advantage, but the evidence is unclear and some suggest he resisted attempts by Soviet officials to intimidate some of his rivals.
  Botvinnik also played a major role in the organization of chess, making a significant contribution to the design of the World Chess Championship system after World War II and becoming a leading member of the coaching system that enabled the Soviet Union to dominate top-class chess during that time. His famous pupils include World Champions Anatoly Karpov, Garry Kasparov and Vladimir Kramnik.
  
  wn.com/Mikhail_Botvinnik
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  Nikolai Myaskovsky
  Nikolai Yakovlevich Myaskovsky (Russian: Никола́й Я́ковлевич Мяско́вский; 20 April [O.S. 8 April] 1881 – 8 August 1950) was a Russian and Soviet composer. He is sometimes referred to as the "father of the Soviet symphony".
  Myaskovsky was born in Novogeorgiyevsk (Polish - Modlin Fortress), near Warsaw, Congress Poland, Russian Empire, the son of an engineer officer in the Russian army. After the death of his mother the family was brought up by his father's sister, Yelikonida Konstantinovna Myaskovskaya, who had been a singer at the Saint Petersburg Opera. The family moved to Saint Petersburg in his teens.
  Though he learned piano and violin, he was discouraged from pursuing a musical career, and entered the military; however, a performance of Tchaikovsky's Pathétique Symphony conducted by Arthur Nikisch in 1896 made him decide to become a composer. In 1902 he completed his training as an engineer, like his father. As a young subaltern with a Sappers Battalion in Moscow, he took some private lessons with Reinhold Glière and when he was posted to St Petersburg he studied with Ivan Krizhanovsky as preparation for entry into the Saint Petersburg Conservatory, where he enrolled in 1906 and became a student of Anatoly Lyadov and Nikolai Rimsky-Korsakov.
  
  wn.com/Nikolai_Myaskovsky
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  Nikolai Tcherepnin
  Nikolai Nikolayevich Tcherepnin (Russian: Никола́й Никола́евич Черепни́н May 15 [O.S. May 3] 1873 – 26 June 1945) was a Russian composer, pianist, and conductor. He was born in Saint Petersburg and studied under Nikolai Rimsky-Korsakov at the Saint Petersburg Conservatory. He conducted for the first Paris season of Sergei Diaghilev's Ballets Russes.
  
  
  Nikolai Tcherepnin was born in 1873 to a well-known and wealthy physician of the same name. The elder Nikolai moved in elite circles of artists including Fyodor Dostoyevsky and Modest Mussorgsky. Young Nikolai's mother died when he was a baby, and when his father remarried, was replaced by an ambivalent stepmother. As a child, Nikolai's father beat him regularly and enforced a general code of strict discipline.
  At his father's insistence, Nikolai earned a law degree, though during this time he composed steadily. In 1895 he graduated with his degree in law from the University of Saint Petersburg. In 1898, he earned a degree in composition under Nikolai Rimsky-Korsakov and a degree in piano under K.K. Fan-Arkh. His talents and high family status earned him a job as the orchestral teacher at the Court Chapel in 1899. For six years he taught there before returning to the St. Petersburg Conservatory to teach there. During his 13 year tenure (from 1909 onward as professor) he taught many notable students, including Sergei Prokofiev, Aleksandr Gauk, Yuri Shaporin and Lazare Saminsky.
  
  wn.com/Nikolai_Tcherepnin
• Oleg Prokofiev
  Oleg Sergeevich Prokofiev — (Олег Сергеевич Прокофьев, 14 December 1928, Paris — 20 August 1998 Guernsey) was an artist, sculptor and poet.
  Son of the Russian composer Sergei Prokofiev and Lina Prokofieva, he was born in Paris but at the age of seven returned with his parents to Moscow. He lived there for 35 years, becoming a member of a small group of artists defying Soviet socialist realism. His abstract meditative compositions created in the 60s are now exhibited at the Tretyakov Gallery, the national museum of Russian art in Moscow. Like his brother Sviatoslav (born 1924) he dedicated a large part of his life to the promotion of his father's life and work.
  
  wn.com/Oleg_Prokofiev
• Piero Coppola
  Piero Coppola (11 October 1888 – 17 March 1971), was an Italian conductor, pianist and composer.
  Coppola was born in Milan; his parents were both singers. He studied at the Milan Conservatory, graduating in piano and composition in 1910. By 1911 he was already conducting opera at La Scala opera house in Milan. That year he heard Debussy conduct his own compositions Ibéria and Prélude à l'après-midi d'un faune in Turin: an experience that "had a decisive influence on his career". He then worked in Brussels, Belgium before spending the duration of World War I in Scandinavia.
  In 1921 Coppola resided in London and he later later moved to France. Between 1923 and 1934 he was the artistic director of La Voix de son Maître, the French branch of The Gramophone Company. In 1924 he was asked by Sylvia Beach to make a recording of James Joyce reading from Ulysses: Coppola replied that the recording would have to be made at Beach's expense, would not have the HMV label on it and would not be listed in the catalog. In the late 1920s and 1930s Coppola conducted recordings of many works of Debussy and Ravel, including the first recordings of Debussy's La mer and Ravel's Boléro. Coppola's conducting enjoyed the admiration of Debussy, although the composer never actually heard Coppola perform any of his works. His work in French repertoire has been widely praised. His recordings of Debussy have been described as "without rival for the period", with his 1938 recording of Nocturnes eulogized as a "masterpiece" and among the early recordings "closest to Debussy's thought". His recording of Ravel's Le tombeau de Couperin won the Grand Prix du Disque in 1932. Coppola also conducted the first recording of Prokofiev's Third Piano Concerto, with Prokofiev himself as soloist, in June 1932.
  
  wn.com/Piero_Coppola
• 
  Reinhold Glière
  Reinhold Glière (11 January 1875 [O.S. 30 December 1874] – 23 June 1956) was a Russian and Soviet composer of German–Polish descent.
  His name has appeared in different forms:
  Glière was born in Kiev, Russian Empire. He was the second son of the wind instrument maker Ernst Moritz Glier (1834–1896) from Saxony (Klingenthal), who emigrated to the Russian Empire and married Józefa (Josephine) Korczak (1849–1935), the daughter of his master, from Warsaw, Poland. His original name, as given in his baptism certificate, was Reinhold Ernest Glier. About 1900 he changed the spelling and pronunciation of his surname to Glière, which gave rise to the legend, stated by Leonid Sabaneyev for the first time (1927), of his French or Belgian descent.
  
  wn.com/Reinhold_Glière
• 
  Richard Strauss
  Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier and Salome; his Lieder, especially his Four Last Songs; and his tone poems and other orchestral works, such as Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, An Alpine Symphony, and Metamorphosen. Strauss was also a prominent conductor throughout Germany and Austria.
  Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
  Strauss was born on 11 June 1864, in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death.
  
  wn.com/Richard_Strauss
• 
  Robert Schumann
  Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 1810 – 29 July 1856) was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era. Schumann left the study of law to return to music, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
  Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Kinderszenen, Album für die Jugend, Blumenstück and Albumblätter are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
  
  wn.com/Robert_Schumann
• 
  Serge Koussevitzky
  Serge Koussevitzky (Russian: Сергей Александрович Кусевицкий; Sergey Aleksandrovich Kusevitsky) (July 26 [O.S. July 14] 1874 – June 4, 1951), was a Russian-born Jewish conductor, composer and double-bassist, known for his long tenure as music director of the Boston Symphony Orchestra from 1924 to 1949.
  Koussevitzky was born into a poor Jewish family in Vyshny Volochyok, Tver Oblast, about 250 km northwest of Moscow, Russia. His parents were professional musicians who taught him violin, cello, and piano. He also learned trumpet. He was baptized at the age of fourteen, since Jews were not allowed to live in Moscow and he had received a scholarship to the Musico-Dramatic Institute of the Moscow Philharmonic Society, where he studied double bass with Rambusek and music theory. He excelled at the bass, joining the Bolshoi Theatre orchestra at the age of twenty, in 1894, and succeeded his teacher, Rambusek, as the principal bassist in 1901. That same year, according to some sources, he made his début (25 March) as a soloist in Moscow, although his biographer Moses Smith states he made his solo début earlier in 1896; he later won critical acclaim with his first recital in Berlin in 1903. In 1902 he married the dancer Nadezhda Galat. The same year, with Reinhold Glière's help, he wrote a popular concerto for the double bass, which he premiered in Moscow in 1905. In 1905, Koussevitzky divorced Galat and married Natalie Ushkov, the daughter of an extremely wealthy tea merchant. He soon resigned from the Bolshoi, and the couple moved to Berlin, where Serge studied conducting under Arthur Nikisch, using his new-found wealth to pay off his teacher's gambling debts.
  
  wn.com/Serge_Koussevitzky
• 
  Serge Lifar
  Serge Lifar (Russian: Сергей Михайлович Лифарь; Sergey Mikhaylovich Lifar, Ukrainian: Сергій Михайлович Лифар; Serhіy Mуkhailovуch Lуfar); 15 April [O.S. 2 April] 1905 – 15 December 1986) was a French ballet dancer and choreographer of Ukrainian origin, famous as one of the greatest male ballet dancers of the 20th century.
  Lifar was born in Kiev, Russian Empire. His year of birth is officially shown as 1904 (as on a 2004 Ukrainian stamp commemorating his centenary), but there is good reason to believe it occurred in 1905.
  He was the pupil of Bronislava Nijinska in Kiev. In 1921 he left Soviet Union and was noticed by Serge Diaghilev who sent him to Turin in order to improve his technique with Enrico Cecchetti. He made his debut at the Ballets Russes in 1923 where he quickly became a principal dancer. He played the lead roles in the ballets of George Balanchine and at the death of Diaghilev in 1929 he entered the Paris Opera Ballet and created his first ballet.
  From 1930 on, Serge Lifar was immensely successful, essentially in his own ballet creations, notably with Les Créatures de Prométhée (1929), a personal version of Le Spectre de la rose (1931) and L'Après-midi d'un faune (1935), Icare (1935) with costumes and decor by Picasso, Istar (1941) or Suite en Blanc (1943), which he qualified as neoclassical, all created for the Paris Opera.
  
  wn.com/Serge_Lifar
• 
  Sergei Diaghilev
  Sergei Pavlovich Diaghilev (/diˈæɡɨlɛf/; Russian: Серге́й Па́влович Дя́гилев / Sergei Pavlovich Dyagilev pronounced [sʲɪˈrɡʲej ˈpavləvʲɪtɕ ˈdʲæɡʲɪlʲɪf]; 31 March [O.S. 19 March] 1872 – 19 August 1929), usually referred to outside of Russia as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes, from which many famous dancers and choreographers would arise.
  
  wn.com/Sergei_Diaghilev
• 
  Sergei Eisenstein
  Sergei Mikhailovich Eisenstein (23 January 1898 – 11 February 1948), né Eizenshtein, was a pioneering Soviet Russian film director and film theorist, often considered to be the "Father of Montage". He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October (1927), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958).
  Eisenstein was born to a middle-class family in Riga, Latvia but his family moved frequently in his early years, as Eisenstein continued to do throughout his life. His father Mikhail Osipovich Eisenstein was of German-Jewish and Swedish descent, and his mother, Julia Ivanovna Konetskaya, was from a Russian Orthodox family. His father was an architect and his mother was the daughter of a prosperous merchant. Julia left Riga the same year as the Russian Revolution (1905), bringing Sergei with her to St. Petersburg. Her son would return at times to see his father, who later moved to join them around 1910.Divorce followed and Julia deserted the family to live in France.
  
  wn.com/Sergei_Eisenstein
• 
  Sergei Prokofiev
  Sergei Sergeyevich Prokofiev (Russian: Сергей Сергеевич Прокофьев; 23 April 1891 – 5 March 1953) was a Russian composer, pianist and conductor who mastered numerous musical genres and is regarded as one of the major composers of the 20th century. His best-known works include the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Besides many other works, Prokofiev also composed five piano concertos, nine completed piano sonatas and seven symphonies.
  A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument and his first two piano concertos. Prokofiev's first major success breaking out of the composer-pianist mould was with his purely orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes; Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production were all highly successful. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one relative success in that genre during his lifetime was The Love for Three Oranges, composed for Chicago and subsequently performed over the following decade in Europe and Russia.
  
  wn.com/Sergei_Prokofiev
• 
  Sergei Rachmaninoff
  Sergei Vasilievich Rachmaninoff (Russian: Серге́й Васи́льевич Рахма́нинов) (Russian pronunciation: [sʲɪrˈɡʲej rɐxˈmanʲɪnəf]; 1 April [O.S. 20 March] 1873 – 28 March 1943) was a Russian composer, pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom that included a pronounced lyricism, expressive breadth, structural ingenuity, and a tonal palette of rich, distinctive orchestral colors. The piano is featured prominently in Rachmaninoff's compositional output. He made a point of using his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works he revealed a sure grasp of idiomatic piano writing and a striking gift for melody.
  Rachmaninoff was born on 1 April [O.S. 20 March] 1873 in Semyonovo, near Great Novgorod, in north-western Russia into a family of the Russian aristocracy, originally of partly Tatar descent, which had been in the service of the Russian tsars since the 16th century. His parents were both amateur pianists. When he was four, his mother gave him casual piano lessons, but it was his paternal grandfather, Arkady Alexandrovich Rachmaninoff, who brought Anna Ornatskaya, a teacher from Saint Petersburg, to teach the 9 year old Sergei in 1882. Ornatskaya remained for two or three years, until the family's house in Semyonovo had to be sold to settle debts and the Rachmaninoffs moved to Saint Petersburg.
  
  wn.com/Sergei_Rachmaninoff
• 
  Sergei Taneyev
  Sergei Ivanovich Taneyev (also Taneev or Taneiev, Russian: Серге́й Ива́нович Тане́ев, Sergej Ivanovič Taneev Russian pronunciation: [tɐˈnʲejɪf]; November 25 [O.S. November 13] , 1856 – June 19 [O.S. June 6] , 1915), was a Russian composer, pianist, teacher of composition, music theorist and author.
  Taneyev was born in Vladimir, to a cultured and literary family of Russian nobility. A distant cousin, Alexander Taneyev, was also a composer, whose daughter, Anna Vyrubova, was highly influential at court. Alexander was drawn closely to the nationalist school of music, while Sergei would gravitate toward a more cosmopolitan outlook.
  He began taking piano lessons at age five with a private teacher. His family moved to Moscow in 1865. The following year, the nine-year-old Taneyev entered the Moscow Conservatory. His first piano teacher at the Conservatory was Edward Langer. After a year's interruption in his studies, Taneyev studied again with Langer. He also joined the theory class of Nikolai Hubert and, most importantly, the composition class of Pyotr Ilyich Tchaikovsky. In 1871, Taneyev studied piano with the Conservatory's founder, Nikolai Rubinstein.
  
  wn.com/Sergei_Taneyev
• Simon Morrison
  Simon Morrison (born 1964) is a music historian specializing in 20th-century music, particularly Russian and Soviet music, with special interests in dance, cinema, and historically informed performance based on extensive archival research. He is a leading authority on composer Sergey Prokofiev and has received unprecedented access to the composer's papers, housed in Moscow at RGALI. Morrison received his B.Mus. from the University of Toronto (1987), a Master's in Musicology from McGill University (1993), and Ph.D. from Princeton University (1997), where he is Professor of Music.[1] His distinctions include the Alfred Einstein Award of the American Musicological Society (1999),[2] an American Council of Learned Societies Fellowship (2001), a Phi Beta Kappa Society Teacher Award (2006), and a Guggenheim Fellowship (2011).
  Morrison is author of The People's Artist: Prokofiev's Soviet Years (Oxford University Press, 2009)[3] as well as Russian Opera and the Symbolist Movement (University of California Press, 2002). As Scholar-in-Residence for the 2008 Bard Music Festival, he edited the essay collection Sergey Prokofiev and His World (Princeton University Press, 2008). Among his other publications are essays on Ravel's ballet Daphnis et Chloé, Rimsky-Korsakov, Scriabin, Shostakovich's ballet The Bolt, numerous reviews and shorter articles, including pieces for the New York Times and New York Review of Books. His biography of Lina Prokofiev, the composer's first wife, is forthcoming from Houghton Mifflin Harcourt.[4]
  
  wn.com/Simon_Morrison
• 
  Sviatoslav Richter
  Sviatoslav Teofilovich Richter (Russian: Святослав Теофилович Рихтер Sviatosláv Teofílovich Ríkhter, Russian pronunciation: [svʲjətəsˈlaf tʲɪəˈfʲiləvʲɪtɕ ˈrʲixtər], Ukrainian: Святослав Теофілович Ріхтер; March 20 [O.S. March 7] 1915 – August 1, 1997) was a Soviet pianist well known for the depth of his interpretations, virtuoso technique, and vast repertoire. He is widely considered one of the greatest pianists of the 20th century.
  Richter was born in Zhytomyr, Ukraine. His father, Teofil Danilovich Richter (1872–1941), was a German expatriate pianist, organist, and composer who had studied in Vienna. His mother, Anna Pavlovna (née Moskaleva; 1892–1963), was from a landowning Russian family, and at one point had been a pupil of her future husband. In 1918, when Richter's parents were in Odessa, the Civil War separated them from their son, and Richter moved in with his aunt Tamara. He lived with her from 1918 to 1921, and it was then that his interest in art first manifested itself, although he first became interested in painting, which his aunt taught him.
  
  wn.com/Sviatoslav_Richter
• 
  Valery Bryusov
  Valery Yakovlevich Bryusov (Russian: Вале́рий Я́ковлевич Брю́сов [] ( listen)) (December 13 [O.S. December 1] 1873 – October 9, 1924) was a Russian poet, prose writer, dramatist, translator, critic and historian. He was one of the principal members of the Russian Symbolist movement.
  Valery Bryusov was born on December 13, 1873 (recorded December 1, according to the old Julian calendar) into a merchant's family in Moscow. His parents had little do with his upbringing, and as a boy Bryusov was largely left to himself. He spent a great deal of time reading "everything that fell into [his] hands," including the works of Charles Darwin and Jules Verne, as well as various materialistic and scientific essays. The future poet received an excellent education, studying in two Moscow gymnasiums between 1885 and 1893.
  Bryusov began his literary career in the early 1890s while still a student at Moscow State University with his translations of the poetry of the French Symbolists (Paul Verlaine, Maurice Maeterlinck, and Stéphane Mallarmé) as well at that of Edgar Allan Poe. Bryusov also began to publish his own poems, which were very much influence by the Decadent and Symbolist movements of his contemporary Europe.
  
  wn.com/Valery_Bryusov
• 
  Vsevolod Meyerhold
  Vsevolod Emilevich Meyerhold (Russian: Все́волод Эми́льевич Мейерхо́льд; born German: Karl Kasimir Theodor Meyerhold) (9 February [O.S. 28 January] 1874 – 2 February 1940) was a Russian and Soviet theatre director, actor and theatrical producer. His provocative experiments dealing with physical being and symbolism in an unconventional theatre setting made him one of the seminal forces in modern international theatre.
  Vsevolod Meyerhold was born Karl Kasimir Theodor Meyerhold in Penza on 28 January o.s. (9 February n.s.) 1874 into the family of a Russian-German wine manufacturer Emil Fyodorovich Meyerhold, and his wife, Alvina Danilovna (van der Neese). Though he was by no means from a poor family, he was the last of eight children.
  After completing school in 1895, Meyerhold studied law at Moscow University but never completed his degree. He was torn between studying theatre or a career as a violinist. However, he failed his audition to become the second violinist in the University orchestra and in 1896 joined the Moscow Philharmonic Dramatic School. On his 21st birthday, he converted from Lutheranism to Orthodox Christianity and accepted "Vsevolod" as an Orthodox Christian name (after the Russian writer Vsevolod Garshin, whose prose Meyerhold loved).
  
  wn.com/Vsevolod_Meyerhold
• Wikipedia Persondata
  wn.com/Wikipedia_Persondata
• 
  William Shakespeare
  William Shakespeare (baptised 26 April 1564; died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.
  Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others.
  
  wn.com/William_Shakespeare

• Sinfonia concertante Op.125: I Andante
• Sinfonia concertante Op.125: II Allegro giusto
• Sinfonia concertante Op.125: III Andante con moto
• Cinderella - Ballet Op. 87 (excerpts), ACT 1: No. 1, Introduction (Andante dolce)
• Cinderella - Ballet Op. 87 (excerpts), ACT 1: No. 2, Pas de châle (Allegretto)
• Cinderella - Ballet Op. 87 (excerpts), ACT 1: No. 9, Cinderella dreams of the Ball
• Cinderella - Ballet Op. 87 (excerpts), ACT 1: No. 10, Gavotte (Allegretto)
• Cinderella - Ballet Op. 87 (excerpts), ACT 1: No. 17, Interrupted departure (Vivo)
• Cinderella - Ballet Op. 87 (excerpts), ACT 1: No. 19, Cinderella's departure for the Ball (Allegro espressivo)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 28, Mazurka (Allegro ma non troppo)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 29, Cinderella's arrival at the Ball (Allegretto - Andante)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 30, Grand Waltz (Allegretto)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 34, The Guests take refreshment (Moderato)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 35, Duet of the Sisters with their Oranges (Allegro con brio)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 36, Pas de deux: The Prince and Cinderella (Adagio)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 37, Waltz-Coda (Allegro espressivo)
• Cinderella - Ballet Op. 87 (excerpts), ACT 2: No. 38, Midnight (Allegro moderato)
• Cinderella - Ballet Op. 87 (excerpts), ACT 3: No. 50, Amoroso (Andante dolcissimo)

• Piano Sonata No. 1 in F minor, Op. 1
• Piano Sonata No. 2 in D minor, Op. 14: I. Allegro, ma non troppo
• Piano Sonata No. 2 in D minor, Op. 14: II. Scherzo. Allegro marcato
• Piano Sonata No. 2 in D minor, Op. 14: III. Andante
• Piano Sonata No. 2 in D minor, Op. 14: IV. Vivace - moderato - vivace
• Piano Sonata No. 3 in A minor, Op. 28 ("from the old notebooks")
• Piano Sonata No. 4 in C minor, Op. 29 ("from the old notebooks"): I. Allegro molto sostenuto
• Piano Sonata No. 4 in C minor, Op. 29 ("from the old notebooks"): II. Andante assai
• Piano Sonata No. 4 in C minor, Op. 29 ("from the old notebooks"): III. Allegro con brio, ma non leggiere
• Piano Sonata No. 5 in C major, Op. 38: I. Allegro tranquillo
• Piano Sonata No. 5 in C major, Op. 38: II. Andantino
• Piano Sonata No. 5 in C major, Op. 38: III. Un poco allegretto

• Feste Romane, P. 157: I. Circenses
• Feste Romane, P. 157: II. Giubileo
• Feste Romane, P. 157: III. L’ottobrata
• Feste Romane, P. 157: IV. La befana
• Cinderella Suite No. 1, Op. 107: I. Introduction
• Cinderella Suite No. 1, Op. 107: II. Pas de chat
• Cinderella Suite No. 1, Op. 107: III. Quarrel
• Cinderella Suite No. 1, Op. 107: IV. Fairy Godmother and Fairy Winter
• Cinderella Suite No. 1, Op. 107: V. Mazurka
• Cinderella Suite No. 1, Op. 107: VI. Cinderella Goes to the Ball
• Cinderella Suite No. 1, Op. 107: VII. Cinderella’s Waltz
• Cinderella Suite No. 1, Op. 107: VIII. Midnight

• Violin Concerto in D minor, Op. 47: I. Allegro moderato
• Violin Concerto in D minor, Op. 47: II Adagio di molto
• Violin Concerto in D minor, Op. 47: III. Allegro, ma non tanto
• Violin Concerto No. 2 in G minor, Op. 63: I. Allegro moderato
• Violin Concerto No. 2 in G minor, Op. 63: II. Andante assai
• Violin Concerto No. 2 in G minor, Op. 63: III. Allegro ben marcato
• Violin Concerto in A minor, Op. 82: I. Moderato
• Violin Concerto in A minor, Op. 82: II. Andante sostenuto
• Violin Concerto in A minor, Op. 82: III. Tempo I
• Violin Concerto in A minor, Op. 82: IV. Allegro

• String Quartet No. 1 in B minor, Op. 50: I. Allegro
• String Quartet No. 1 in B minor, Op. 50: II. Andante molto. Vivace
• String Quartet No. 1 in B minor, Op. 50: III. Andante
• Sonata for Two Violins in C major, Op. 56: I. Andante cantabile
• Sonata for Two Violins in C major, Op. 56: II. Allegro
• Sonata for Two Violins in C major, Op. 56: III. Commodo (quasi Allegretto)
• Sonata for Two Violins in C major, Op. 56: IV. Allegro con brio
• String Quartet No. 2 in F major, Op. 92, on Kabardian themes: I. Allegro sostenuto
• String Quartet No. 2 in F major, Op. 92, on Kabardian themes: II. Adagio
• String Quartet No. 2 in F major, Op. 92, on Kabardian themes: III. Allegro. Andante molto

• Symphony No. 1 in D major, Op. 25 "Classical": I. Allegro
• Symphony No. 1 in D major, Op. 25 "Classical": II. Larghetto
• Symphony No. 1 in D major, Op. 25 "Classical": III. Gavotte. Non troppo allegro
• Symphony No. 1 in D major, Op. 25 "Classical": IV. Finale. Molto vivace
• Cello Concerto in E minor Op. 58: I. Andante – Poco meno mosso (Andante assai) – Adagio
• Cello Concerto in E minor Op. 58: II. Allegro giusto
• Cello Concerto in E minor Op. 58: III. Tema: Allegro - Interludio I: L'istesso tempo - Variations I-III - Interludio II: Tempo I - Variation IV - Reminiscenza: Meno mosso - Coda: Poco più sostenuto - Più mosso
• Sinfonietta in A major, Op. 48: I. Allegro giocoso
• Sinfonietta in A major, Op. 48: II. Andante
• Sinfonietta in A major, Op. 48: III. Intermezzo. Vivace
• Sinfonietta in A major, Op. 48: IV. Scherzo. Allegro risoluto
• Sinfonietta in A major, Op. 48: V. Allegro giocoso
• Ouverture on Herbew Themes, Op. 34

• Pohádka, Op. 16: I. The True Love of Radúz and Mahulena
• Pohádka, Op. 16: II. Playing Swans and Peacocks
• Pohádka, Op. 16: III. Funeral Music
• Pohádka, Op. 16: IV. Love Lifts the Runa's Curse
• The Love for Three Oranges Suite, Op. 33bis: I. Ridiculous Fellows
• The Love for Three Oranges Suite, Op. 33bis: II. Magician Celio and Fata Morgan play cards
• The Love for Three Oranges Suite, Op. 33bis: III. March
• The Love for Three Oranges Suite, Op. 33bis: IV. Scherzo
• The Love for Three Oranges Suite, Op. 33bis: V. The Prince and the Princess
• The Love for Three Oranges Suite, Op. 33bis: VI. Flight
• Ma mère l'oye, Op. 62: I. Pavane of the Sleeping Beauty
• Ma mère l'oye, Op. 62: II. Tom Thumb
• Ma mère l'oye, Op. 62: III. Laideronnette, Empress of the Pagodas
• Ma mère l'oye, Op. 62: IV. Conversation of Beauty and the Beast
• Ma mère l'oye, Op. 62: V. The Fairy Garden

• Four Last Songs: Frühling
• Four Last Songs: September
• Four Last Songs: Beim Schlafengehen
• Four Last Songs: Im Abendrot
• Piano Concerto No.20 in D minor K466: I. Allegro
• Piano Concerto No.20 in D minor K466: II. Romance
• Piano Concerto No.20 in D minor K466: III. Allegro assai
• Romeo and Juliet: Montagues and Capulets
• Romeo and Juliet: Romeo and Juliet before parting
• Romeo and Juliet: Aubade
• Romeo and Juliet: Dance of the Antilles Girls
• Romeo and Juliet: Death of Tybalt

• Introduction
• The story begins
• The bird
• The duck; Dialogue with the birds; Attack of the cat
• Grandfather
• The wolf
• The duck is caught
• The wolf stalks the bird and cat
• Peter prepares to catch the wolf
• The bird diverts the wolf
• Peter catches the wolf
• The hunters arrive
• The procession to the zoo
• I. Birth of Kijé
• II. Romance
• III. Kijé's Wedding
• IV. Troika
• V. Burial of Kijé

• Violin Concerto in D minor, Op. 47: I. Allegro moderato
• Violin Concerto in D minor, Op. 47: II. Adagio di molto
• Violin Concerto in D minor, Op. 47: III. Allegro ma non tanto
• Violin Concerto in D major, Op. 35: I. Allegro moderato
• Violin Concerto in D major, Op. 35: II. Canzonetta (Andante) -
• Violin Concerto in D major, Op. 35: III. Allegro vivacissimo
• Violin Concerto in A minor, Op. 82: I. Moderato -
• Violin Concerto in A minor, Op. 82: II. Andante -
• Violin Concerto in A minor, Op. 82: III. Cadenza -
• Violin Concerto in A minor, Op. 82: IV. Animando

• Sonata for Violin Solo in D major, Op. 115: I. Moderato
• Sonata for Violin Solo in D major, Op. 115: II. Andante dolce
• Sonata for Violin Solo in D major, Op. 115: III. Con brio - Allegro precipitato - Tempo 1 - Allegro precipitato
• Sonata for Violin and Piano No. 1 in F minor, Op. 80: I. Andante assai
• Sonata for Violin and Piano No. 1 in F minor, Op. 80: II. Allegro brusco
• Sonata for Violin and Piano No. 1 in F minor, Op. 80: III. Andante
• Sonata for Violin and Piano No. 1 in F minor, Op. 80: IV. Allegrissimo
• Five Melodies for Violin and Piano, Op. 35bis: I. Andante
• Five Melodies for Violin and Piano, Op. 35bis: II. Lento, ma non troppo
• Five Melodies for Violin and Piano, Op. 35bis: III. Animato, ma non allegro
• Five Melodies for Violin and Piano, Op. 35bis: IV. Allegretto leggero e scherzando
• Five Melodies for Violin and Piano, Op. 35bis: V. Andante non troppo

• Piano concerto No. 3 in C major, Op. 26: I. Andante - Allegro
• Piano concerto No. 3 in C major, Op. 26: II. Tema con variazione
• Piano concerto No. 3 in C major, Op. 26: III. Allegro ma non troppo
• Piano Concerto No. 1 in F-sharp minor, Op. 1: I. Vivace
• Piano Concerto No. 1 in F-sharp minor, Op. 1: II. Andante
• Piano Concerto No. 1 in F-sharp minor, Op. 1: III. Allegro vivace
• Toccata
• Variations on a Theme by Clara Wieck
• Song without Words, Op. 62 No. 1
• Three Scenes from Childhood: I. Run, Run
• Three Scenes from Childhood: II. March
• Three Scenes from Childhood: III. Hobby-Horse

• Romeo and Juliet, Op. 64: Act I. Introduction
• Romeo and Juliet, Op. 64: Act I, Scene I. Romeo
• Romeo and Juliet, Op. 64: Act I, Scene I. The Street Awakens
• Romeo and Juliet, Op. 64: Act I, Scene I. The Morning Dance
• Romeo and Juliet, Op. 64: Act I, Scene I. The Quarrel
• Romeo and Juliet, Op. 64: Act I, Scene I. The Fight
• Romeo and Juliet, Op. 64: Act I, Scene I. The Duke's Order
• Romeo and Juliet, Op. 64: Act I, Scene I. Interlude
• Romeo and Juliet, Op. 64: Act I, Scene II. Preparations for the Feast
• Romeo and Juliet, Op. 64: Act I, Scene II. Juliet, the Young Girl
• Romeo and Juliet, Op. 64: Act I, Scene II. The Arrival of the Guests
• Romeo and Juliet, Op. 64: Act I, Scene II. Masques
• Romeo and Juliet, Op. 64: Act I, Scene II. Dance of the Knights
• Romeo and Juliet, Op. 64: Act I, Scene II. Juliet's Variation
• Romeo and Juliet, Op. 64: Act I, Scene II. Mercutio
• Romeo and Juliet, Op. 64: Act I, Scene II. Madrigal
• Romeo and Juliet, Op. 64: Act I, Scene II. Tybald Recognizes Romeo
• Romeo and Juliet, Op. 64: Act I, Scene II. The Departure of the Guests
• Romeo and Juliet, Op. 64: Act I, Scene II. The Balcony Scene
• Romeo and Juliet, Op. 64: Act I, Scene II. Romeo's Variation
• Romeo and Juliet, Op. 64: Act I, Scene II. Love Dance
• Romeo and Juliet, Op. 64: Act II, Scene I. Dance of the People
• Romeo and Juliet, Op. 64: Act II, Scene I. Romeo and Mercutio
• Romeo and Juliet, Op. 64: Act II, Scene I. Dance of the Five Pairs
• Romeo and Juliet, Op. 64: Act II, Scene I. Dance with the Mandoline

• Violin Concerto No. 1 in D, Op. 19: I. Andantino
• Violin Concerto No. 1 in D, Op. 19: II. Scherzo. Vivacissimo
• Violin Concerto No. 1 in D, Op. 19: III. Moderato
• Violin Concerto No. 2 in G minor, Op. 63: I. Allegro moderato
• Violin Concerto No. 2 in G minor, Op. 63: II. Andante assai
• Violin Concerto No. 2 in G minor, Op. 63: III. Allegro, ben marcato
• Violin Sonata No. 2 in D major, Op. 94: I. Moderato
• Violin Sonata No. 2 in D major, Op. 94: II. Scherzo. Presto
• Violin Sonata No. 2 in D major, Op. 94: III. Andante
• Violin Sonata No. 2 in D major, Op. 94: IV. Allegro con brio

• The Tale of the Stone Flower, Op. 118: Prologue: The Mistress of the Copper Mountain
• The Tale of the Stone Flower, Op. 118: Prologue: Danilo and his work
• The Tale of the Stone Flower, Op. 118: Act I. Scene 1: Danilo in search of the stone flower
• The Tale of the Stone Flower, Op. 118: Act I. Scene 1: Danilo meets his fellow villagers
• The Tale of the Stone Flower, Op. 118: Act I. Scene 1: Scene and duet of Katerina and Danilo
• The Tale of the Stone Flower, Op. 118: Act I. Scene 1: Interlude I. Severyan and the workers
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Round dance
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Katerina bids farewell to her friends
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Maiden's dance
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Danilo's dance
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Unmarried men's dance
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Severyan's arrival
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Altercation over the malachite vase
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Scene of Katerina and Danilo
• The Tale of the Stone Flower, Op. 118: Act I. Scene 2: Danilo's thoughts
• The Tale of the Stone Flower, Op. 118: Act I. Scene 3: Danilo enticed away by the Mistress of the Copper Mountain
• The Tale of the Stone Flower, Op. 118: Act II. Scene 4: The Mistress shows Danilo the treasures of the earth
• The Tale of the Stone Flower, Op. 118: Act II. Scene 4: Duet of the Mistress and Danilo (first temptation)
• The Tale of the Stone Flower, Op. 118: Act II. Scene 4: Scene and Waltz of the Diamonds (second temptation)
• The Tale of the Stone Flower, Op. 118: Act II. Scene 4: Dance of the Russian precious stones (third temptation)
• The Tale of the Stone Flower, Op. 118: Act II. Scene 4: Waltz

• 2. Klaviersonate d-Moll op. 14 (1912): I. Allegro ma non troppo
• 2. Klaviersonate d-Moll op. 14 (1912): II. Scherzo: Allegro marcato
• 2. Klaviersonate d-Moll op. 14 (1912): III. Andante
• 2. Klaviersonate d-Moll op. 14 (1912): IV. Vivace
• 4. Klaviersonate c-Moll op. 29 (1917): I. Allegro molto sostenuto
• 4. Klaviersonate c-Moll op. 29 (1917): II. Andante assai
• 4. Klaviersonate c-Moll op. 29 (1917): III. Allegro con brio, ma non leggiere
• 7. Klaviersonate B-Dur op. 83 (1939-42): I. Allegro inquieto
• 7. Klaviersonate B-Dur op. 83 (1939-42): II. Andante caloroso
• 7. Klaviersonate B-Dur op. 83 (1939-42): III. Precipitato

• Alexander Nevsky, Op. 78: I. Russia Under the Mongolian Yoke
• Alexander Nevsky, Op. 78: II. Song About Alexander Nevsky
• Alexander Nevsky, Op. 78: III. The Crusaders in Pskov
• Alexander Nevsky, Op. 78: IV. Arise, Ye Russian People
• Alexander Nevsky, Op. 78: V. The Battle on the Ice
• Alexander Nevsky, Op. 78: VI. Field of the Dead
• Alexander Nevsky, Op. 78: VII. Alexander’s Entry Into Pskov
• Violin Concerto: I. Allegro con fermezza
• Violin Concerto: II. Andante sostenuto
• Violin Concerto: III. Allegro vivace

• Symphony No. 1 in D major, Op. 25 "Classical": I. Allegro
• Symphony No. 1 in D major, Op. 25 "Classical": II. Larghetto
• Symphony No. 1 in D major, Op. 25 "Classical": III. Gavotta. Non troppo allegro
• Symphony No. 1 in D major, Op. 25 "Classical": IV. Finale. Molto vivace
• Symphony No. 6 in E-flat minor, Op. 111: I. Allegro moderato
• Symphony No. 6 in E-flat minor, Op. 111: II. Largo
• Symphony No. 6 in E-flat minor, Op. 111: III. Vivace

• Piano Sonata No. 7 in B flat major, Op. 83: I. Allegro inquieto - Andantino
• Piano Sonata No. 7 in B flat major, Op. 83: II. Andante caloroso
• Piano Sonata No. 7 in B flat major, Op. 83: III. Precipitato
• Piano Sonata No. 2 in D minor, Op. 14: I. Allegro, ma non troppo
• Piano Sonata No. 2 in D minor, Op. 14: II. Scherzo - Allegro marcato
• Piano Sonata No. 2 in D minor, Op. 14: III. Andante
• Piano Sonata No. 2 in D minor, Op. 14: IV. Vivace - Moderato
• Piano Sonata No. 8 in B flat major, Op. 84: I. Andante dolce - Allegro moderato
• Piano Sonata No. 8 in B flat major, Op. 84: II. Andante sognando
• Piano Sonata No. 8 in B flat major, Op. 84: III. Vivace - Allegro ben marcato - Andantino - Vivace come prima

• Concerto for Violin and Orchestra No. 2, in G Minor, Op 63 - Allegro moderato
• Concerto for Violin and Orchestra No. 2, in G Minor, Op 63 - Andante assai
• Concerto for Violin and Orchestra No. 2, in G Minor, Op 63 - Allegro marcato
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Overture
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 1
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 2
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 3
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 4
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 5
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 6
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 7
• Overture and Fantasy from the Ballet "Romeo and Juliet" - Fantasy Part 8
• The Love for Three Oranges, Op. 33 - Les Ridicules
• The Love for Three Oranges, Op. 33 - Marche
• The Love for Three Oranges, Op. 33 - Scherzo
• The Love for Three Oranges, Op. 33 - Le Prince et la Princesse

• Romeo und Julia: Auszüge aus der Orchestersuite Nr. 1, Op. 64 A und Nr. 2, Op. 64 B: Die Montagues und Capulets (Slowakisches Philharmonisches Orchester feat. conductor: Ladislav Slovak)
• Romeo und Julia: Auszüge aus der Orchestersuite Nr. 1, Op. 64 A und Nr. 2, Op. 64 B: Szene: Im Haus der Capulets (Slowakisches Philharmonisches Orchester feat. conductor: Ladislav Slovak)
• Romeo und Julia: Auszüge aus der Orchestersuite Nr. 1, Op. 64 A und Nr. 2, Op. 64 B: Julia (Slowakisches Philharmonisches Orchester feat. conductor: Ladislav Slovak)
• Romeo und Julia: Auszüge aus der Orchestersuite Nr. 1, Op. 64 A und Nr. 2, Op. 64 B: Pater Lorenzo (Slowakisches Philharmonisches Orchester feat. conductor: Ladislav Slovak)
• Romeo und Julia: Auszüge aus der Orchestersuite Nr. 1, Op. 64 A und Nr. 2, Op. 64 B: Tanz der Männer aus dem Hause Monague (Slowakisches Philharmonisches Orchester feat. conductor: Ladislav Slovak)
• Romeo und Julia: Auszüge aus der Orchestersuite Nr. 1, Op. 64 A und Nr. 2, Op. 64 B: Der Untergang Tybalts (Slowakisches Philharmonisches Orchester feat. conductor: Ladislav Slovak)
• Symphonisches Konzert für Violoncello und Orchester in e-Moll, Op. 125: Andante - Allegro giusto (Symphonieorchester Radio Bratislawa feat. conductor: Christian Ewald)
• Symphonisches Konzert für Violoncello und Orchester in e-Moll, Op. 125: Andante con moto - Allegro (Symphonieorchester Radio Bratislawa feat. conductor: Christian Ewald)

• Symphony No. 2
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Introduction
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Philosphers
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Interlude
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Marching in Close Ranks
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Interlude
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Revolution
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Victory
• Cantata for the 20th Anniversary of the October Revolution, Op.74: The Pledge
• Cantata for the 20th Anniversary of the October Revolution, Op.74: Symphony
• Cantata for the 20th Anniversary of the October Revolution, Op.74: The Constitution

• Piano Concerto No. 3 in C major, Op. 26: I. Andante - allegro
• Piano Concerto No. 3 in C major, Op. 26: II. Tema con variazioni
• Piano Concerto No. 3 in C major, Op. 26: III. Allegro ma non troppo
• Piano Concerto No. 5 in G major, Op. 55: I. Allegro con brio
• Piano Concerto No. 5 in G major, Op. 55: II. Moderato ben accentuato
• Piano Concerto No. 5 in G major, Op. 55: III. Toccata. Allegro con fuoco
• Piano Concerto No. 5 in G major, Op. 55: IV. Larghetto
• Piano Concerto No. 5 in G major, Op. 55: V. Vivo
• "Overture on Hebrew Themes", Op. 34
• "Autumnal", Op. 8

• Cinderella, Op. 87, Act II: Promenade (Allegro tranquillo)
• Cinderella, Op. 87, Act II: Cinderella's variation (Allegro grazioso)
• Cinderella, Op. 87, Act II: The Prince's variation (Andante con brio)
• Cinderella, Op. 87, Act II: The Guests take refreshment (Moderato)
• Cinderella, Op. 87, Act II: Duet of the Sisters with their Oranges (Allegro con brio)
• Cinderella, Op. 87, Act II: Pas de deux: The Prince and Cinderella (Adagio)
• Cinderella, Op. 87, Act II: Waltz-Coda (Allegro espressivo)
• Cinderella, Op. 87, Act II: Midnight (Allegro moderato)
• Cinderella, Op. 87, Act III: The Prince and the Shoemakers (Allegro scherzando)
• Cinderella, Op. 87, Act III: First galop (Presto)
• Cinderella, Op. 87, Act III: Temptation (Moderato - Allegretto)
• Cinderella, Op. 87, Act III: Second galop (Presto)
• Cinderella, Op. 87, Act III: Orientalia (Andante dolce)
• Cinderella, Op. 87, Act III: Third galop (Allegro marcato)
• Cinderella, Op. 87, Act III: Cinderella awakes (Andante dolce)
• Cinderella, Op. 87, Act III: The Morning after the Ball (Allegretto capriccioso - Moderato - Vivo)
• Cinderella, Op. 87, Act III: The Prince's visit (Vivace)
• Cinderella, Op. 87, Act III: The Prince finds Cincerella (Adagio passionato)
• Cinderella, Op. 87, Act III: Slow Waltz (Adagio)
• Cinderella, Op. 87, Act III: Amoroso (Andante dolcissimo)
• Symphony No. 1 in D major, Op. 25 "Classical": I. Allegro
• Symphony No. 1 in D major, Op. 25 "Classical": II. Larghetto
• Symphony No. 1 in D major, Op. 25 "Classical": III. Gavotta
• Symphony No. 1 in D major, Op. 25 "Classical": IV. Finale

• Romeo and Juliet: Suite No. 3, Op. 101: I. Romeo at the Fountain
• Romeo and Juliet: Suite No. 1, Op. 64bis: II. Scene (the Street Awakens)
• Romeo and Juliet: Suite No. 3, Op. 101: II. Morning Dance
• Romeo and Juliet: Suite No. 3, Op. 101: III. Juliet
• Romeo and Juliet: Suite No. 3, Op. 101: IV. The Nurse
• Romeo and Juliet: Suite No. 1, Op. 64bis: IV. Minuet (the Arrival of the Guests)
• Romeo and Juliet: Suite No. 1, Op. 64bis: V. Masks
• Romeo and Juliet: Suite No. 2, Op. 64ter: I. Montagues and Capulets
• Romeo and Juliet: Suite No. 1, Op. 64bis: VI. Romeo and Juliet
• Romeo and Juliet: Suite No. 1, Op. 64bis: VII. Death of Tybalt
• Romeo and Juliet: Suite No. 2, Op. 64ter: III. Friar Laurence
• Romeo and Juliet: Suite No. 2, Op. 64ter: V. Romeo and Juliet Before Parting
• Romeo and Juliet: Suite No. 2, Op. 64ter: VII. Romeo at Juliet's Grave
• Romeo and Juliet: Suite No. 3, Op. 101: VI. The Death of Juliet...
• Cinderella: Suite No. 1, Op. 107: I. Introduction
• Cinderella: Suite No. 1, Op. 107: II. Pas de Chat
• Cinderella: Suite No. 1, Op. 107: III. Quarrel
• Cinderella: Suite No. 1, Op. 107: IV. Fairy Godmother and Fairy Winter
• Cinderella: Suite No. 1, Op. 107: VI. Cinderella goes to the Ball
• Cinderella: Suite No. 1, Op. 107: VII. Cinderella's Waltz
• Cinderella: Suite No. 1, Op. 107: VIII. Midnight

• Symphony No. 9 In E minor, Op. 95 “From The New World”: I. Adagio - Allegro molto
• Symphony No. 9 In E minor, Op. 95 “From The New World”: II. Largo
• Symphony No. 9 In E minor, Op. 95 “From The New World”: III. Molto vivace
• Symphony No. 9 In E minor, Op. 95 “From The New World”: IV. Allegro con fuoco
• Symphony No. 1 In D major, Op. 25 “Symphonie Classique”: I. Allegro
• Symphony No. 1 In D major, Op. 25 “Symphonie Classique”: II. Larghetto
• Symphony No. 1 In D major, Op. 25 “Symphonie Classique”: III. Gavotta. Non troppo allegro
• Symphony No. 1 In D major, Op. 25 “Symphonie Classique”: IV. Finale. Molto vivace

• Act 1 - Introduction
• Act 1 Scene 1 - Romeo
• Act 1 Scene 1 - The Street awakes
• Act 1 Scene 1 - Morning Dance
• Act 1 Scene 1 - The Quarrel
• Act 1 Scene 1 - The Fight
• Act 1 Scene 1 - The Duke's command
• Act 1 Scene 1 - Interlude
• Act 1 Scene 2 - Preparations for the Festivities
• Act 1 Scene 2 - Juliet - the Young Girl
• Act 1 Scene 2 - Arribal of the Guests [Minuet]
• Act 1 Scene 2 - Masque
• Act 1 Scene 2 - Knights' Dance
• Act 1 Scene 2 - Juliet [Variation]
• Act 1 Scene 2 - Mercutio
• Act 1 Scene 2 - Madrigal
• Act 1 Scene 2 - Tybalt meets Romeo
• Act 1 Scene 2 - Gavotte [The Guests depart]
• Act 1 Scene 2 - Balcony Scene
• Act 1 Scene 2 - Romeo [Variation]
• Act 1 Scene 2 - Dance of Love
• Act 2 Scene 1 - Folk Dance
• Act 2 Scene 1 - Romeo & Mercutio
• Act 2 Scene 1 - Dance of Five Couples
• Act 2 Scene 1 - Dance with Mandolins
• Act 2 Scene 1 - The Nurse
• Act 2 Scene 1 - The Nurse brings Juliet's Message to Romeo

• The Montagues and the Capulets (op. 64b:1)
• Juliet the young girl (op. 64b:2)
• Folk dance (op. 64a:1)
• Scene (op. 64a:2)
• Madrigal (op. 64a:3)
• Minuet (op. 64a:4)
• Masks (op. 64a:5)
• Romeo and Juliet (op. 64a:6)
• Tybalt's death (op. 64a:7)
• Friar Laurence (op. 64b:3)
• Dance (op. 64b:4)
• Romeo and Juliet before parting (op. 64b:5)
• Dance of the girls from the Antilles [the girls with lilies] (op. 64b:6)
• Romeo at Juliet's tomb (op. 64b:7)
• Death of Juliet (op. 101:6)

• Symphony No. 1 in D major, Op. 25 "Classical": I. Allegro
• Symphony No. 1 in D major, Op. 25 "Classical": II. Larghetto
• Symphony No. 1 in D major, Op. 25 "Classical": III. Gavotta. Non troppo allegro
• Symphony No. 1 in D major, Op. 25 "Classical": IV. Finale. Molto vivace
• Symphony No. 5 in B-flat major, Op. 100: I. Andante
• Symphony No. 5 in B-flat major, Op. 100: II. Allegro marcato
• Symphony No. 5 in B-flat major, Op. 100: III. Adagio
• Symphony No. 5 in B-flat major, Op. 100: IV. Allegro giocoso

• Symphony No. 1 in D major, Op. 25 “Classical Symphony”: I. Allegro
• Symphony No. 1 in D major, Op. 25 “Classical Symphony”: II. Larghetto
• Symphony No. 1 in D major, Op. 25 “Classical Symphony”: III. Gavotta. Non troppo allegro
• Symphony No. 1 in D major, Op. 25 “Classical Symphony”: IV. Finale. Molto vivace
• Symphony No. 5 in B-flat major, Op. 100: I. Andante
• Symphony No. 5 in B-flat major, Op. 100: II. Allegro Moderato
• Symphony No. 5 in B-flat major, Op. 100: III. Adagio
• Symphony No. 5 in B-flat major, Op. 100: IV. Allegro Giocoso

• Suite No.1, Op. 64b "Romeo and Juliet", The Montagues and Capulets: Andante - Allegro Pesante - Moderato Tranquillo - Allegro Pesante
• Suite No.1, Op. 64a "Romeo and Juliet", Folk Dance: Allegro Giocoso
• Suite No.5, Op. 64a "Romeo and Juliet", Masks: Andante Marziale
• Suite No.6, Op. 64a "Romeo and Juliet", Romeo and Juliet: Larghetto - Andante
• Suite No.7, Op. 64a "Romeo and Juliet", Death of Tybalt: Precipitato - Presto - Adagio Drammatico
• Suite No.5, Op. 64b "Romeo and Juliet", Romeo at Juliet's before Parting: Lento - Andante - Adagio - Poco Più Animato - Adagio - Andante
• Suite No.4, Op. 64b "Romeo and Juliet", Friar Laurence: Andante Espressivo
• Suite No.7, Op. 64b "Romeo and Juliet", Romeo at Juliet's Grave: Adagio Funembre - Adagio
• The Rite of Spring - Adoration of the Earth, Introduction: Lento
• The Rite of Spring - Adoration of the Earth, The Augurs of Spring (Dance of the Young Girls)
• The Rite of Spring - Adoration of the Earth, Mock Abduction
• The Rite of Spring - Adoration of the Earth, Spring Round Dances
• The Rite of Spring - Adoration of the Earth, Games of the Rival Tribes
• The Rite of Spring - Adoration of the Earth, Procession of the Wise Elder
• The Rite of Spring - Adoration of the Earth, Adoration of the Earth (The Wise Elder)
• The Rite of Spring - Adoration of the Earth, Dance of the Earth
• The Rite of Spring - The Sacrifice, Introduction: Largo
• The Rite of Spring - The Sacrifice, Mystical Circles of the Young Girls
• The Rite of Spring - The Sacrifice, Glorification of the Chosen Victim
• The Rite of Spring - The Sacrifice, Summoning of the Ancestors
• The Rite of Spring - The Sacrifice, Ritual of the Ancestors
• The Rite of Spring - The Sacrifice, Sacrificial Dance (The Chosen Victim)

• Sonata for violin & piano No. 1 in F minor, Op. 80: I. Andante assai
• Sonata for violin & piano No. 1 in F minor, Op. 80: II. Allegro brusco
• Sonata for violin & piano No. 1 in F minor, Op. 80: III. Andante
• Sonata for violin & piano No. 1 in F minor, Op. 80: IV. Allegrissimo - Andante assai, come prima
• Melody for violin & piano, Op. 35bis No. 1: Andante
• Melody for violin & piano, Op. 35bis No. 2: Lento, ma non troppo
• Melody for violin & piano, Op. 35bis No. 3: Animato, ma non allegro
• Melody for violin & piano, Op. 35bis No. 4: Allegretto leggero e scherzando
• Melody for violin & piano, Op. 35bis No. 5: Andante ma non troppo
• Sonata for violin & piano No. 2 in D major, Op. 94a: I. Moderato
• Sonata for violin & piano No. 2 in D major, Op. 94a: II. Scherzo: Presto
• Sonata for violin & piano No. 2 in D major, Op. 94a: III. Andante
• Sonata for violin & piano No. 2 in D major, Op. 94a: IV. Allegro con brio

• Peter and the Wolf (illustrated)
• Peter and the Wolf (annotated)

• Prokofiev: Romeo and Juliet, Op. 64, Introduction
• Prokofiev: Romeo and Juliet, Op. 64, Romeo
• Prokofiev: Romeo and Juliet, Op. 64, the Street Awakens
• Prokofiev: Romeo and Juliet, Op. 64, Morning Dance
• Prokofiev: Romeo and Juliet, Op. 64, the Quarrel
• Prokofiev: Romeo and Juliet, Op. 64, the Fight
• Prokofiev: Romeo and Juliet, Op. 64, the Prince's Command
• Prokofiev: Romeo and Juliet, Op. 64, Juliet, the Young Girl
• Prokofiev: Romeo and Juliet, Op. 64, Entrance of the Guests (Minuet)
• Prokofiev: Romeo and Juliet, Op. 64, Masks
• Prokofiev: Romeo and Juliet, Op. 64, Dance of the Knights
• Prokofiev: Romeo and Juliet, Op. 64, Balcony Scene
• Prokofiev: Romeo and Juliet, Op. 64, Folk Dance
• Prokofiev: Romeo and Juliet, Op. 64, Friar Lawrence
• Prokofiev: Romeo and Juliet, Op. 64, Dance
• Prokofiev: Romeo and Juliet, Op. 64, Tybalt Fights Mercutio
• Prokofiev: Romeo and Juliet, Op. 64, Mercutio Dies
• Prokofiev: Romeo and Juliet, Op. 64, Romeo Resolves to Avenge Mercutio's Death
• Prokofiev: Romeo and Juliet, Op. 64, Romeo Fights Tybalt
• Prokofiev: Romeo and Juliet, Op. 64, Introduction to Act III
• Prokofiev: Romeo and Juliet, Op. 64, the Last Farewell
• Prokofiev: Romeo and Juliet, Op. 64, Dance of the Girls With Lilies
• Prokofiev: Romeo and Juliet, Op. 64, Juliet's Funeral
• Prokofiev: Romeo and Juliet, Op. 64, Juliet's Death

• Marche en SIb majeur op. 99
• Presentation des personnages
• Un beau matin
• Sur une des plus...
• C'est alors qu'un canard
• Quand tout à coup...
• Voici grand-pere tres
• A peine Pierre...
• Pendant ce temps ...
• Pierre avait fait un lasso...
• C'est alors... que les chasseurs...
• Ouverture sur des themes juifs op. 34b
• Symphonie classique op. 25 : I. Allegro
• Symphonie classique op. 25 : II. Larghetto
• Symphonie classique op. 25 : III. Gavotta. Non troppo allegro
• Symphonie classique op. 25 : IV. Finale. Molto vivace

• Sonate pour piano en Fa mineur No. 1, Op. 1: Allegro
• Quatre pièces pour piano, Op. 3: I. Conte
• Quatre pièces pour piano, Op. 3: II. Badinage
• Quatre pièces pour piano, Op. 3: III. Marche
• Quatre pièces pour piano, Op. 3: IV. Fantôme
• Allegretto en La mineur
• Scherzo en Ré majeur
• Quatre études, Op. 2: Allegro en Ré mineur
• Quatre études, Op. 2: Moderato en Mi mineur
• Quatre études, Op. 2: Andante semplice en Do mineur
• Quatre études, Op. 2: Presto energico en Do mineur
• Quatre pièces pour piano, Op. 4: I. Réminiscences
• Quatre pièces pour piano, Op. 4: II. Élan
• Quatre pièces pour piano, Op. 4: III. Désespoir
• Quatre pièces pour piano, Op. 4: IV. Suggestion diabolique

• Visions Fugitives, Op. 22: I. Lentamente
• Visions Fugitives, Op. 22: II. Andante
• Visions Fugitives, Op. 22: III. Allegretto
• Visions Fugitives, Op. 22: IV. Animato - Più Sostenuto
• Visions Fugitives, Op. 22: V. Molto Giocoso
• Visions Fugitives, Op. 22: VI. Con Eleganza
• Visions Fugitives, Op. 22: VII. Pittoresco
• Visions Fugitives, Op. 22: VIII. Commodo
• Visions Fugitives, Op. 22: IX. Allegretto Tranquilo
• Visions Fugitives, Op. 22: X. Ridicolosamente
• Visions Fugitives, Op. 22: XI. Con Vivacitá
• Visions Fugitives, Op. 22: XII. Assai Moderato
• Visions Fugitives, Op. 22: XIII. Allegretto
• Visions Fugitives, Op. 22: XIV. Feroce
• Visions Fugitives, Op. 22: XV. Inquieto
• Visions Fugitives, Op. 22: XVI. Dolente
• Visions Fugitives, Op. 22: XVII. Poetico
• Visions Fugitives, Op. 22: XVIII. Con una Dolce Lentezza
• Visions Fugitives, Op. 22: XIX. Presto Agitatissimo e Molto Accentuato
• Visions Fugitives, Op. 22: XX. Lento Irrealmente
• Sarcasms, Op. 17: I. Tempestoso
• Sarcasms, Op. 17: II. Allegro Rubato - Più Mosso
• Sarcasms, Op. 17: III. Allegro Precipitato - Un Poco Largamente
• Sarcasms, Op. 17: IV. Smanioso - Più Mosso - Poco Più Sostenuto
• Sarcasms, Op. 17: V. Precipitosissimo - Meno Mosso Subito - Andantino - L'Istesso Tempo
• Tales of an Old Grandmother, Op. 31: I. Moderato
• Tales of an Old Grandmother, Op. 31: II. Andantino
• Tales of an Old Grandmother, Op. 31: III. Andante Assai
• Tales of an Old Grandmother, Op. 31: IV. Sostenuto - Pochissimo Più Animato - Molto Andante
• Sonata No. 7, Op. 83: I. Allegro Inquieto - Poco Meno - Andantino
• Sonata No. 7, Op. 83: II. Andante Caloroso - Poco Più Animato - Più Largamente - Un Poco Agitato
• Sonata No. 7, Op. 83: III. Precipitato

• Symphony No.5, Op. 100 in Bb - I Andante
• Symphony No.5, Op. 100 in Bb - II Allegro marcato
• Symphony No.5, Op. 100 in Bb - III Adagio
• Symphony No.5, Op. 100 in Bb - IV Allegro giocoso
• Dreams, Op. 6

• Alexander Nevsky Cantata, Op. 78: 1. Russia Beneath the Yoke of the Mongols
• Alexander Nevsky Cantata, Op. 78: 2. Song about Alexander Nevsky
• Alexander Nevsky Cantata, Op. 78: 3. The Crusaders in Pskov
• Alexander Nevsky Cantata, Op. 78: 4. Arise, People of Russia
• Alexander Nevsky Cantata, Op. 78: 5. The Battle on the Ice
• Alexander Nevsky Cantata, Op. 78: 6. The Field of the Dead
• Alexander Nevsky Cantata, Op. 78: 7. Alexander's Entry into Pskov
• Lieutenant Kije Suite, Op. 60: 1. Kije's Birth
• Lieutenant Kije Suite, Op. 60: 2. Song
• Lieutenant Kije Suite, Op. 60: 3. Kije's Wedding
• Lieutenant Kije Suite, Op. 60: 4. Troika Song
• Lieutenant Kije Suite, Op. 60: 5. Kije's Burial

• Symphony No. 2 in D minor, Op. 40: I. Allegro ben articolato
• Symphony No. 2 in D minor, Op. 40: II. Theme and Variations: Theme
• Symphony No. 2 in D minor, Op. 40: II. Theme and Variations: Variation 1
• Symphony No. 2 in D minor, Op. 40: II. Theme and Variations: Variation 2
• Symphony No. 2 in D minor, Op. 40: II. Theme and Variations: Variation 3
• Symphony No. 2 in D minor, Op. 40: II. Theme and Variations: Variation 4
• Symphony No. 2 in D minor, Op. 40: II. Theme and Variations: Variation 5
• Symphony No. 2 in D minor, Op. 40: II. Theme and Variations: Variation 6 and Theme
• Romeo and Juliet Suite No. 1: I. Folk Dance
• Romeo and Juliet Suite No. 1: II. Scene
• Romeo and Juliet Suite No. 1: III. Madrigal
• Romeo and Juliet Suite No. 1: IV. Minuet
• Romeo and Juliet Suite No. 1: V. Masks
• Romeo and Juliet Suite No. 1: VI. Romeo and Juliet
• Romeo and Juliet Suite No. 1: VII. Death of Tybalt

• Romeo and Juliet Suite No. 1 Op. 64a: I. Folk Dance: Allegro giocoso
• Romeo and Juliet Suite No. 1 Op. 64a: II. Scene: Allegretto
• Romeo and Juliet Suite No. 1 Op. 64a: III. Madrigal: Andante tenero - Andante assai
• Romeo and Juliet Suite No. 1 Op. 64a: IV. Menuet: Assai moderato
• Romeo and Juliet Suite No. 1 Op. 64a: V. Masks: Andante marciale
• Romeo and Juliet Suite No. 1 Op. 64a: VI. Romeo and Juliet: Larghetto - Andante
• Romeo and Juliet Suite No. 1 Op. 64a: VII. Death of Tybalt: Precipitato - Presto - Adagio drammatico
• Symphony No. 5 in D minor, Op. 47: I. Moderato
• Symphony No. 5 in D minor, Op. 47: II. Allegretto
• Symphony No. 5 in D minor, Op. 47: III. Largo
• Symphony No. 5 in D minor, Op. 47: IV. Allegro ma non troppo

• Symphony No. 5 in B-flat Major, Op. 100: I. Andante
• Symphony No. 5 in B-flat Major, Op. 100: II. Allegro marcato
• Symphony No. 5 in B-flat Major, Op. 100: III. Adagio
• Symphony No. 5 in B-flat Major, Op. 100: IV. Allegro giocoso

• Violin Sonata in A major, Op. 100: I. Allegro amabile
• Violin Sonata in A major, Op. 100: II. Andante tranquillo - Vivace - Andante - Vivace di più - Andante - Vivace
• Violin Sonata in A major, Op. 100: III. Allegretto grazioso (quasi andante)
• Violin Sonata No. 1 in F minor, Op. 80: I. Andante assai
• Violin Sonata No. 1 in F minor, Op. 80: II. Allegro brusco
• Violin Sonata No. 1 in F minor, Op. 80: III. Andante
• Violin Sonata No. 1 in F minor, Op. 80: IV. Allegrissimo

• Violin Concerto No. 1 in D, Op. 19: I. Andantino
• Violin Concerto No. 1 in D, Op. 19: II. Scherzo (Vivacissimo)
• Violin Concerto No. 1 in D, Op. 19: III. Moderato
• Violin Concerto No. 2 in G Minor, Op. 63: I. Allegro moderato
• Violin Concerto No. 2 in G Minor, Op. 63: II. Andante assai - Allegretto - Andante assai
• Violin Concerto No. 2 in G Minor, Op. 63: III. Allegro ben marcato
• Violin Sonata No. 2 in D, Op. 94a: I. Moderato
• Violin Sonata No. 2 in D, Op. 94a: II. Presto - Poco meno mosso - Tempo I
• Violin Sonata No. 2 in D, Op. 94a: III. Andante
• Violin Sonata No. 2 in D, Op. 94a: IV. Allegro con brio - Poco meno mosso - Tempo I - Poco meno mosso - Allegro con brio

• Piano Concerto No. 3 in D minor, Op. 30: I. Allegro ma non tanto
• Piano Concerto No. 3 in D minor, Op. 30: II. Intermezzo: Adagio
• Piano Concerto No. 3 in D minor, Op. 30: III. Finale: Alla breve
• Piano Concerto No. 3 in C major, Op. 26: I. Andante
• Piano Concerto No. 3 in C major, Op. 26: II. Theme: Andantino; Five variations
• Piano Concerto No. 3 in C major, Op. 26: III. Allegro ma non troppo

• Violin Sonata in F minor, Op. 80: I. Andante assai
• Violin Sonata in F minor, Op. 80: II. Allegro Brusco
• Violin Sonata in F minor, Op. 80: III. Andante
• Violin Sonata in F minor, Op. 80: IV. Allegrissimo
• Violin Sonata in D major, Op. 94a: I. Moderato
• Violin Sonata in D major, Op. 94a: II. Scherzo: Presto
• Violin Sonata in D major, Op. 94a: III. Andante
• Violin Sonata in D major, Op. 94a: IV. Allegro con brio
• 5 Melodies, Op. 35bis: I. Andante
• 5 Melodies, Op. 35bis: II. Lento ma non troppo
• 5 Melodies, Op. 35bis: III. Animato ma non allegro
• 5 Melodies, Op. 35bis: IV. Allegretto leggero e scherzando
• 5 Melodies, Op. 35bis: V. Andante non troppo

• Violin Concerto No. 1 in D major, Op. 19: I. Andantino - Andante assai
• Violin Concerto No. 1 in D major, Op. 19: II. Scherzo: Vivacissimo
• Violin Concerto No. 1 in D major, Op. 19: III. Moderato - Allegro moderato - Moderato - Piu tranquillo
• Violin Concerto No. 2 in G minor, Op. 63: I. Allegro moderato
• Violin Concerto No. 2 in G minor, Op. 63: II. Andante assai - Allegretto - Andante assai
• Violin Concerto No. 2 in G minor, Op. 63: III. Allegro, ben marcato

• Prokofiev: Peter and the Wolf, Op. 67
• The Carnival of the Animals - (intro)
• The Carnival of the Animals - Poules Et Cqs III Hemiones
• The Carnival of the Animals - Tortues
• The Carnival of the Animals - L'Elephant
• The Carnival of the Animals - Kangourous
• The Carnival of the Animals - Aquarium
• The Carnival of the Animals - Personnages a Longues Oreilles
• The Carnival of the Animals - Volieres
• The Carnival of the Animals - Pianistes
• The Carnival of the Animals - Fossiles
• The Carnival of the Animals - Le Cygne
• The Carnival of the Animals - Finale

• Peter and the Wolf - A musical tale for children, Op. 67
• Symphony No. 1 in D major, "Classical", Op. 25: I. Allegro
• Symphony No. 1 in D major, "Classical", Op. 25: II. Larghetto
• Symphony No. 1 in D major, "Classical", Op. 25: III. Gavotta, non troppo allegro
• Symphony No. 1 in D major, "Classical", Op. 25: IV. Finale, molto vivace
• Violin Concerto No. 1 in D major, Op. 19: I. Andantino
• Violin Concerto No. 1 in D major, Op. 19: II. Scherzo, vivacissimo
• Violin Concerto No. 1 in D major, Op. 19: III. Moderato

• Ballet suite, op. 64 “Romeo and Juliet”: Montecchi and Capuleti
• Ballet suite, op. 64 “Romeo and Juliet”: The Young Juliet
• Ballet suite, op. 64 “Romeo and Juliet”: Dance
• Ballet suite, op. 64 “Romeo and Juliet”: The Masked Play
• Ballet suite, op. 64 “Romeo and Juliet”: Tybalt’s Death
• Ballet suite, op. 64 “Romeo and Juliet”: Romeo at the Grave of Juliet
• Symphonic suite, op. 33 bis “Love of Three Oranges”: March
• Ballet suite, op. 87 “Cinderella”: Fairy of Spring
• Ballet suite, op. 87 “Cinderella”: Fairy of Summer
• Ballet suite, op. 87 “Cinderella”: Cinderella goes to the ball
• Ballet suite, op. 87 “Cinderella”: Cinderella in the castle
• Ballet suite, op. 87 “Cinderella”: Cinderella and the Prince
• Ballet suite, op. 87 “Cinderella”: Cinderella’s Waltz — Midnight
• Ballet suite, op. 87 “Cinderella”: Apotheosis — Finale
• Sinfonia Classica, op. 25: Allegro
• Sinfonia Classica, op. 25: Larghetto
• Sinfonia Classica, op. 25: Gavotte
• Sinfonia Classica, op. 25: Final
• [fragment] from “Peter and the Wolf”, op. 67

Born: 1891-04-27

Died: 1953-03-05