On the publication of Pushkin's first major work in 1820, Zhukovsky presented the younger poet with this famous portrait of himself, over the inscription: "To the victorious disciple from his vanquished tutor"

Vasily Andreyevich Zhukovsky (Russian: Васи́лий Андре́евич Жуко́вский; IPA: [vɐˈsʲilʲɪj ɐˈndrʲejɪvʲɪtɕ ʐʊˈkofskʲɪj]; February 9 [O.S. January 29] 1783 – April 24 [O.S. April 12] 1852) was the foremost Russian poet of the 1810s and a leading figure in Russian literature in the first half of the 19th century. He held a high position at the Romanov court as tutor to the Grand Duchess Alexandra Feodorovna and later to her son, the future Tsar-Liberator Alexander II.

Zhukovsky is credited with introducing the Romantic Movement into Russia. The main body of his literary output consists of free translations covering an impressively wide range of poets, from ancients like Ferdowsi and Homer to his contemporaries Goethe, Schiller, Byron, and others. Many of his translations have become classics of Russian literature, arguably better-written and more enduring in Russian than in their original languages.

Life[link]

Zhukovsky was born in the village of Mishenskoe, in Tula Oblast, Russia, the illegitimate son of a landowner named Afanasi Bunin and his Turkish housekeeper Salkha. The Bunin family had a literary bent and some 90 years later produced the Nobel Prize-winning modernist writer Ivan Bunin. For reasons of social propriety, Zhukovsky was formally adopted by a family friend. He kept his adopted surname and patronymic for the rest of his life, even when later ennobled, eventually passing it on to his own children.

Raised in the Bunin family circle, Zhukovsky was sent to Moscow at the age of fourteen to be educated at the Moscow University Noblemen's Pension. There he was heavily influenced by Freemasonry, as well as by the fashionable literary trends of English Sentimentalism and German Sturm und Drang. He also came under the influence of Nikolay Karamzin, the preeminent Russian man of letters and the founding editor of the most important literary journal of the day, The Herald of Europe (Вестник Европы).

In December 1802, the 19-year-old Zhukovsky published a free translation of Thomas Gray's "Elegy Written in a Country Churchyard" in Karamzin's journal. The translation was the first sustained example of his trademark sentimental-melancholy rhetorical style, which at the time was strikingly original in Russian. It made him famous. In 1808, Karamzin asked Zhukovsky to take over the editorship of The Herald of Europe. The young poet used this position to explore Romantic themes, motifs, and genres—largely by way of translation from European journals.

Zhukovsky was among the first Russian writers to cultivate the mystique of the Romantic poet. Much of his original lyrical work was inspired by his half-niece Maria "Masha" Protasova, the daughter of one of his several half-sisters, with whom he had a passionate but ultimately Platonic affair. He also came under the influence of Romanticism in the medieval Hansa cities of Dorpat and Revel, now called Tartu and Tallinn, which had recently been brought into the Russian Empire. The university at Dorpat (now Tartu University) had been reopened as the only German-speaking university in Imperial Russia.

Zhukovsky's rise at court began with Napoleon's invasion of 1812 and with the consequent revilement of French as the favored foreign language of the Russian aristocracy. Like thousands of other volunteers, Zhukovsky rushed to the defense of Moscow and was present at the Battle of Borodino. There he joined the Russian general staff under Field Marshal Kutuzov, who drafted him to work on propaganda and morale. After the war, he settled down temporarily in the village of Dolbino, near Moscow, where in 1815 he experienced a burst of poetic creativity known as the Dolbino Autumn. His work throughout this period attracted the attention of Grand Duchess Alexandra Feodorovna, the German-born wife of Grand Duke Nicholas, the future Tsar Nicholas I. Alexandra invited Zhukovsky to St. Petersburg to be her personal Russian tutor. Many of Zhukovsky's best translations from German, including almost all of his translations of Goethe, were made as practical language exercises for Alexandra.

Zhukovsky's pedagogical career removed him in some respects from the forefront of Russian literary life, while at the same time it positioned him to become among the most powerful intellectuals in Russia. One of his first acts on moving to St. Petersburg was to establish the jocular Arzamas literary society in order to promote his mentor Karamzin's European-oriented, anti-classicist aesthetics. Members of the Arzamas included the teenage Alexander Pushkin, who rapidly emerged as his poetic heir apparent. Indeed, by the early 1820s, Pushkin had upstaged Zhukovsky in terms of the originality and brilliance of his work—even in Zhukovsky's own estimation. Yet the two remained lifelong friends, with Zhukovsky acting as the younger poet's literary mentor and protector at court.

Much of Zhukovsky's subsequent cultural influence can be attributed to this gift for selfless friendship. His good personal relations with Nicholas and his family saved him from the fate of other liberal-intellectuals following the 1825 Decembrist Revolt. Shortly after Nicholas ascended the throne, he appointed Zhukovsky tutor to his and Alexandra's son, the tsarevich Alexander, later to become the Tsar-Liberator Alexander II. Zhukovsky's progressive educational methods influenced the young Alexander so deeply that many historians attribute the liberal reforms of the 1860s at least partially to them. The poet also used his high station at court to take up the cudgels for such free-thinking writers as Mikhail Lermontov, Alexander Herzen, and Taras Shevchenko (Zhukovsky was instrumental in buying him out of serfdom), as well as many of the persecuted Decembrists. On Pushkin's early death in 1837, Zhukovsky stepped in as his literary executor, not only rescuing his work from a hostile censorship (including several unpublished masterpieces), but also diligently collecting and preparing it for publication. Throughout the 1830s and 1840s, Zhukovsky also nurtured the genius and promoted the career of Nikolay Gogol, another close personal friend. In this way, he acted as a kind of impresario for the developing Russian Romantic Movement.

Like his mentor Karamzin, Zhukovsky travelled widely in Europe, above all in the German-speaking world, where his connections with the Prussian court in Berlin gave him access to high society in spa-towns like Bad Ems. He also met and corresponded with world-class cultural figures like Goethe, the poet Ludwig Tieck, and the landscape painter Caspar David Friedrich. In 1841, Zhukovsky retired from court and settled near Düsseldorf, where he married Elisabeth von Reitern, the 18-year-old daughter of a Baltic German artist friend. The couple had two children, a girl named Alexandra and a boy named Pavel. Alexandra later had a much talked-about affair with Grand Duke Alexei Alexandrovich.

Zhukovsky died in Baden-Baden in 1852, aged 69. His body was returned to St. Petersburg and buried in the Alexander Nevsky Lavra. His crypt can be found directly behind the monument to Dostoevsky.

Works[link]

In the opinion of Vladimir Nabokov, Zhukovsky belonged to the class of poets who verge on greatness but never quite attain to that glory. His main contribution was as a stylistic and formal innovator who borrowed liberally from European literature in order to provide high-quality models for "original" works in Russian. His translation of Gray's "Elegy" is still cited by scholars as the conventional starting-point for the Russian Romantic Movement.

Zhukovsky translated from a staggeringly wide range of sources, often without attribution, since modern ideas of intellectual property did not exist in his day. In his choice of original, however, he was consistently motivated by formal, and above all generic, principles. After his initial success with the "Elegy," he was especially admired for his first-rate melodious translations of German and English ballads. Among these, the ballad "Ludmila" (1808) and its companion piece "Svetlana" (1813) are considered landmarks in the Russian poetic tradition. Both are free translations of Gottfried August Burger's well-known German ballad "Lenore," although each renders the original in a completely different way. Characteristically, Zhukovsky later translated "Lenore" yet a third time as part of his lifelong effort to develop a natural-sounding Russian dactylic hexameter. His many translations of Schiller -- including both Classical and Romantic ballads, lyrics,and the verse drama Jungfrau von Orléans (about Joan of Arc) -- became classic works in Russian that many consider to be of equal if not higher quality than their originals. They were remarkable for their psychological depth, strongly influencing the younger generation of Russian realists, among them Dostoevsky, who famously called them наш Шиллер ("our Schiller").

Zhukovsky also wrote original verse. His love lyrics to Masha Protasova, such as "Moi drug, khranitel'-angel moi" ("My friend, my guardian angel ..."), are minor classics. Probably his best-known original poem is the patriotic ode "A Bard in the Camp of the Russian Warriors," which he wrote to boost the morale of Russian troops during his service on Kutuzov's general staff. He also composed the lyrics for the national anthem of Imperial Russia, "God Save the Tsar!"

In the late 1830s, after a period of partial withdrawal from the literary scene, Zhukovsky staged a come-back with a highly-original verse translation of his German friend Friedrich de la Motte Fouqué's prose novella Undine. Written in a waltzing hexameter, Zhukovsky's version inspired the libretto for an opera by Tchaikovsky.

On retiring from court, Zhukovsky devoted his remaining years to hexameter translations of Eastern poetry, including long excerpts from the Persian epic Shahnameh. His greatest achievement in this period, however, was his translation of Homer's Odyssey, which he finally published in 1849. Although the translation has been strongly criticized, it became a classic in its own right and occupies a notable place in the history of Russian poetry. Some scholars argue that both his Undina and his Odyssey -- as long narrative works in verse—made an important, although oblique contribution to the development of the 19th century Russian novel.

All in all, Zhukovsky's work may well constitute the most important body of literary hermeneutics in the Russian language. He is often considered the founder of a "German school" of Russian poets and as such has influenced figures as far afield as Fyodor Tyutchev and Marina Tsvetaeva.

Sources[link]

• Nabokov, Vladimir (1981). Lectures in Russian Literature. New York: Harcourt. 
• Pein, Annette (1991). Schiller and Zhukovsky: Aesthetic Theory in Poetic Translation. Mainz: Liber. 
• Rueckert, George (2003). Zhukovsky and the Germans: A Study in Romantic Hermeneutics. Seattle: Univ. of WA Doctoral Dissertation. 
• Semenko, I.M. (1975). Zhizn' i poeziia Zhukovskogo. Moscow: Khudozhestvennaia literatura. 
• Semenko, I.M. (1976). Vasily Zhukovsky. Boston: Twayne Publishers. 
• Veselovsky, A.N. (1999). V.A. Zhukovskii: Poeziia chuvstva i "serdechnogo voobrazheniia". Moscow: Intrada. 
• Yanushkevich, A.S. (1985). Etapy i problemy tvorcheskoi evolutsii V.A. Zhukovskogo. Tomsk: Izd. Tomskogo Universiteta. 
• Yesuitova, R.V. (1989). Zhukovskii i ego vremia. Leningrad: Nauka. 

External links[link]

• Vasily Zhukovsky's verses (translated in English)
• Russian Poets Page

Alexei Fyodorovich Lvov
Born	1799 (1799)
Died	1870 (1871)
Occupation	Army Officer; Violinist, Composer and Conductor

Alexei Fyodorovich Lvov (Russian: Алексей Фёдорович Львов) (June 5, 1799 in Tallinn–December 28, 1870 in Romainiai (now Kaunas) was a Russian composer. He composed the imperial Russian national anthem Bozhe, tsarya khrani (also known as God Save the Tsar). He wrote the opera Undine in 1846. He was entombed in the Pažaislis Monastery, Kaunas (Lithuania).

Biography[link]

^[1] Lvov was born into a family which was keenly interested in music. He was the son of Feodor Petrovich Lvov, who was Maestro of the Imperial Chapel in St Petersburg from 1826 to 1836 (having succeeded Bortnianskij).

Alexei Fyodorovich began violin lessons at a very young age and performed regularly in concerts given at his home: for instance, at 9 he was the soloist in a performance of a violin concerto by Viotti. Although he had a number of teachers in his youth, from the age of 19 onwards he began to study independently, seeking to develop his own personal style through careful attention to the works of such celebrated violinists as Corelli, Tartini, Viotti, Kreutzer and Rode. He nevertheless continued to study composition formally under the supervision of I. G. Miller (who was also one of the teachers of Glinka).

Outside the world of music, his general education had a technical emphasis. In 1818 he completed his studies at the Institute of Communications, and embarked on a career as a civil engineer in the Imperial Army, eventually attaining the rank of general. In 1828 he was appointed Aide-de-camp to Tsar Nicholas I.

Lvov formed a string quartet in St Petersburg, and organised weekly concerts at his private residence, which were attended by members of high society. At these concerts it was quite usual for there to be guest performances by distinguished musicians who were visiting the Russian capital; among these were Liszt, Robert and Clara Schumann, and Berlioz. His quartet undertook a number of tours in Europe, where Lvov was able to perform to public audiences (in his home country he was able to play only to private audiences owing to his elevated social rank). He also counted Mendelssohn, Meyerbeer and Spontini amongst his personal friends.

In 1837 Lvov succeeded his father as Maestro of the Imperial Chapel, remaining in the position until 1861. In 1850 he founded the Russian Concert Society (Русское концертное общество), which was among the pioneers of symphonic concerts in Russia. In 1867, with the onset of deafness, he was obliged to withdraw from musical activity.

As a composer, Lvov’s style was eclectic. He combined the traditions of Russian musical culture with strong Italian and (especially) German influences.

Lvov was married, and had a son and two daughters.

Musical Compositions[link]

Lvov’s musical output includes the following:

• the Russian Imperial Anthem «Боже, Царя храни»
• Religious works, e.g. «Иже херувимы» and «Вечери Твоея тайныя» ("Of Thy Mystical Supper")
• Bianca and Gualtiero («Бианка и Гвальтьеро»), (opera), 1844
• Undina («Ундина») (opera), 1847. The libretto, by Vladimir Alexandrovich Sollogub, was based on Vasily Zhukovsky's translation of Friedrich de la Motte Fouqué's Ondine. (The same libretto was later used by Tchaikovsky.) Lvov's Undina was performed in St Petersburg in 1848.^[2]
• the operettas «Русский мужичок» and Barbara («Варбара»).
• Concerto for Violin and Orchestra
• revised version of Pergolesi’s Stabat Mater, for soloists, chorus and orchestra
• 24 Caprices for Violin (24 каприсами)
• Dramatic Fantasy for violin and cello (an idea which was given to him by Meyerbeer). (Драматической фантазией для скрипки и виолончели)

Other publications[link]

These include:

• A Free and Asymmetric Rhythm («О свободном и несимметричном ритме») (this is a work which examines and discusses Old Slavonic religious chants) (1858)
• A Beginner’s Guide to the Violin, with 24 musical examples («Советы начинающему играть на скрипке с 24 музыкальными примерами») (in collaboration with V. Odoevskij) (circa 1859/1860).

Notes[link]

External links[link]

• Free scores by Alexei Lvov at the International Music Score Library Project

Mikhail Glinka in 1856

Mikhail Ivanovich Glinka (Russian: Михаи́л Ива́нович Гли́нка) (June 1 [O.S. May 20] 1804 – February 15 [O.S. February 3] 1857), was the first Russian composer to gain wide recognition within his own country, and is often regarded as the father of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music.

Biography[link]

Early life[link]

Mikhail Glinka was born in the village of Novospasskoye, not far from the Desna River in the Smolensk Guberniya of the Russian Empire. His father was a wealthy retired army captain, as the family had a strong tradition of loyalty and service to the Tsar, while several members of his extended family had also developed a lively interest in culture. As a small child, Mikhail was reared by his over-protective and pampering grandmother who fed him sweets, wrapped him in furs, and confined him to her room, which was always to be kept at 25 °C (77 °F); as such, he developed a sickly disposition, later in his life retaining the services of numerous physicians, and often falling victim to a number of quacks. The only music he heard in his youthful confinement was the sounds of the village church bells and the folk songs of passing peasant choirs. The church bells were tuned to a dissonant chord and so his ears became used to strident harmony. While his nurse would sometimes sing folksongs, the peasant choirs who sang using the podgolosnaya technique (an improvised style — literally under the voice - which uses improvised dissonant harmonies below the melody) influenced the way he later felt free to emancipate himself from the smooth progressions of Western harmony. After his grandmother’s death, Glinka was moved to his maternal uncle’s estate some 10 km away, and was able to hear his uncle’s orchestra, whose repertoire included pieces by Haydn, Mozart and Beethoven. He was about ten when he heard them play a clarinet quintet by the Finnish composer Bernhard Henrik Crusell. It had a profound effect upon him. "Music is my soul," he was to write many years later, recalling this experience. While his governess taught him Russian, German, French, and geography, he also received instruction on the piano and the violin.

At the age of 13 Glinka was sent to the capital, Saint Petersburg, to study at a school for children of the nobility. Here he was taught Latin, English, and Persian, studied mathematics and zoology, and was able to considerably widen his musical experience. He had three piano lessons from John Field, the Irish composer of nocturnes, who spent some time in Saint Petersburg. He then continued his piano lessons with Charles Meyer, and began composing.

When he left school his father wanted him to join the Foreign Office, and he was appointed assistant secretary of the Department of Public Highways. The work was light, which allowed Mikhail to settle into the life of a musical dilettante, frequenting the drawing rooms and social gatherings of the city. He was already composing a large amount of music, such as melancholy romances which amused the rich amateurs. His songs are among the most interesting part of his output from this period.

In 1830, at the recommendation of a physician, Glinka decided to travel to Italy with the tenor Nikolay Ivanov. The route was leisurely, ambling uneventfully through Germany and Switzerland, before they settled in Milan. There, Glinka took lessons at the conservatory with Francesco Basili, although he struggled with counterpoint, which he found irksome. Although he spent his three years in Italy listening to singers of the day, romancing women with his music, and meeting many famous people including Mendelssohn and Berlioz, he became disenchanted with Italy. He realized that his mission in life was to return to Russia, write in a Russian manner, and do for Russian music what Donizetti and Bellini had done for Italian music. His return route took him through the Alps, and he stopped for a while in Vienna, where he heard the music of Franz Liszt. He stayed for another five months in Berlin, during which time he studied composition under the distinguished teacher Siegfried Dehn. A Capriccio on Russian themes for piano duet and an unfinished Symphony on two Russian themes were important products of this period.

When word reached Mikhail Glinka of his father's death in 1834, he left Berlin and returned to Novospasskoye.

Middle years[link]

Glinka in the 1840s, portrait by Yanenko

While in Berlin, Glinka had become enamored with a beautiful and talented singer, (for whom he composed Six Studies for Contralto). He contrived a plan to return to her, but when his sister's German maid turned up without the necessary paperwork to cross to the border with him, he abandoned his plan as well as his love and turned north for Saint Petersburg. There he reunited with his mother, and made the acquaintance of Maria Petrovna Ivanova. After courting her for a brief period, the two married. The marriage was short-lived, as Maria proved to be utterly without tact and uninterested in his music. Although his initial fondness for her was said to have inspired the trio in the first act of opera A Life for the Tsar (1836), his naturally sweet disposition coarsened under the constant nagging of his wife and her mother. After separating, she would remarry, while Glinka moved in with his mother, and later his sister (Lyudmila Shestakova).

A Life for the Tsar was the first of Glinka's two great operas. It was originally entitled Ivan Susanin. Set in 1612, it tells the story of the Russian peasant and patriotic hero Ivan Susanin who sacrifices his life for the Tsar by leading astray a group of marauding Poles who were hunting him. The Tsar himself followed the work’s progress with interest and suggested the change in the title. It was a great success at its premiere on December 9, 1836, under the direction of Catterino Cavos, who had written an opera on the same subject in Italy. Although the music is still more Italianate than Russian, Glinka shows superb handling of the recitative which binds the whole work, and the orchestration is masterly, foreshadowing the orchestral writing of later Russian composers. The Tsar rewarded Glinka for his work with a ring valued at 4000 rubles. (During the Soviet era, the opera was staged under its original title Ivan Susanin).

Ilya Repin's portrait of Glinka was painted thirty years after the composer's death

In 1837, Glinka was installed as the instructor of the Imperial Chapel Choir, with a yearly salary of 25,000 roubles, and lodging at the court. In 1838, at the suggestion of the Tsar, he went off to Ukraine to gather new voices for the choir; the 19 new boys he found earned him another 1,500 roubles from the Tsar.

He soon embarked on his second opera: Ruslan and Lyudmila. The plot, based on the tale by Pushkin, was concocted in 15 minutes by Konstantin Bakhturin, a poet who was drunk at the time. Consequently the opera is a dramatic muddle, yet the quality of Glinka’s music is higher than in A Life for the Tsar. He uses a descending whole-tone-scale in the famous overture. This is associated with the villainous dwarf Chernomor who has abducted Lyudmila, daughter of the Prince of Kiev. There is much Italianate coloratura, and Act 3 contains several routine ballet numbers, but his great achievement in this opera lies in his use of folk melody which becomes thoroughly infused into the musical argument. Much of the borrowed folk material is oriental in origin. When it was first produced on 9 December 1842 it met with a cool reception, although subsequently it gained popularity.

Later years[link]

Grave of Mikhail Glinka on Tikhvin Cemetery in Saint Petersburg

Glinka went through a dejected year after the poor reception of Ruslan and Lyudmila. His spirits rose when he travelled to Paris and Spain. In Spain, Glinka met Don Pedro Fernandez, who remained his secretary and companion for the last nine years of his life.^[1] In Paris, Berlioz conducted some excerpts from Glinka’s operas and wrote an appreciative article about him. Glinka in turn admired Berlioz’s music and resolved to compose some fantasies pittoresques for orchestra. Another visit to Paris followed in 1852 where he spent two years, living quietly and making frequent visits to the botanical and zoological gardens. From there he moved to Berlin where, after five months, he died suddenly on 15 February 1857, following a cold. He was buried in Berlin but a few months later his body was taken to Saint Petersburg and reinterred in the cemetery of the Alexander Nevsky Monastery.

Legacy[link]

Statue near Mariinsky Theatre in Saint Petersburg

After Glinka's death the relative merits of his two operas became a source of heated debate in the musical press, especially between Vladimir Stasov and his former friend Alexander Serov.

In 1884 Mitrofan Petrovich Belyayev founded the "Glinka prize", which was awarded annually. In the first years the winners included Borodin, Mily Balakirev, Pyotr Ilyich Tchaikovsky, Nikolai Rimsky-Korsakov, Cesar Cui and Lyadov.

Outside Russia several of Glinka's orchestral works have been fairly popular in concerts and recordings. Besides the well-known overtures to the operas (especially the brilliantly energetic overture to Ruslan), his major orchestral works include the symphonic poem Kamarinskaya (1848), based on Russian folk tunes, and two Spanish works, A Night in Madrid (1848, 1851) and Jota Aragonesa (1845).

Glinka also composed many art songs, many piano pieces, and some chamber music.

A much lesser work that received some attention in the last decade was Glinka's "The Patriotic Song", supposedly written for a contest for a national anthem in 1833; the music was adopted as the national anthem of Russia during 1990–2000.

Three Russian conservatories are named after Glinka:

• Nizhny Novgorod State Conservatory (Russian: Нижегородская государственная консерватория им. М.И.Глинки) [1]
• Novosibirsk State Conservatory (Russian: Новосибирская государственная консерватория (академия) им. М.И.Глинки) [2]
• Magnitogorsk State Conservatory (Russian: Магнитогорская государственная консерватория) [3]

Soviet astronomer Lyudmila Chernykh named a minor planet 2205 Glinka in his honor. It was discovered in 1973.^[2] A crater on Mercury is also named after him.

Works[link]

See List of compositions by Mikhail Glinka.

See also: Category:Compositions by Mikhail Glinka

Media[link]

	Trio Pathetique in D minor Performed by Stanley Chapple (piano), William McColl (clarinet) and Arthur Grossman (bassoon)
Problems listening to this file? See media help.

References[link]

• http://www.biografija.ru/show_bio.aspx?id=25537 (Glinka Mikhail Ivanovich, biographic encyclopedia, in Russian)
• Brown, David (1974). Mikhail Glinka, a biographical and critical study, Oxford University Press.
• Glinka, Mikhail by Richard Taruskin, in 'The New Grove Dictionary of Opera', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7
• ed. John Knowles Paine, Theodore Thomas, and Karl Klauser (1891). Famous Composers and Their Works, J.B. Millet Company.

External links[link]

Wikimedia Commons has media related to: Mikhail Glinka

Wikisource has the text of the 1911 Encyclopædia Britannica article Glinka, Michael Ivanovich.

• List of works (German)
• Cylinder recording of a Glinka composition, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
• Glinka — the author of Russian national anthem (Russian) by K.Kovalev (English)
• Leicestershire Schools Symphony Orchestra performs Russlan and Ludmilla overture A short video from 1998
• Chamber Music Sound-bites & Short biography
• Free scores by Mikhail Glinka at the International Music Score Library Project
• Free scores by Mikhail Glinka in the Choral Public Domain Library (ChoralWiki)
• Turgenev and Glinka (with music samples)

Carl Reinecke in 1890

Carl Heinrich Carsten Reinecke (June 23, 1824 – March 10, 1910) was a German composer, conductor, and pianist.

Biography[link]

Reinecke was born in Altona, Hamburg, Germany; until 1864 the town was under Danish rule. He studied with his father, Johann Peter Rudolph Reinecke, a music teacher. Carl began to compose at the age of seven, and his first public appearance as a pianist was when he was twelve years old.

At the age of 19, he undertook his first concert tour in 1843, through Denmark and Sweden. After a stay in Leipzig, where he studied under Felix Mendelssohn, Robert Schumann and Franz Liszt, Reinecke went on tour with Königslöw and Wilhelm Joseph von Wasielewski (later Schumann's biographer), in North Germany and Denmark. In 1846, Reinecke was appointed Court Pianist for Christian VIII in Copenhagen. There he remained until 1848, when he resigned and went to Paris.^[1] Overall he wrote four concertos for his instrument (and many cadenzas for others' works, including a large set published as his Opus 87), as well as concertos for violin, cello, harp and flute. In the winter of 1850/51, Carl Schurz reports attending weekly “musical evenings” in Paris where Reinecke was in attendance.^[2]

In 1851, Reinecke became a professor at the Cologne Conservatory. In ensuing years he was appointed musical director at Barmen, and became the academic, musical director and conductor of the Singakademie at Breslau.

In 1860, Reinecke was appointed director of the Gewandhaus Orchestra concerts in Leipzig, and professor of composition and piano at the Conservatorium. He led the orchestra for more than three decades, until 1895. He conducted premieres such as the full seven-movement version of Brahms's A German Requiem (1869). In 1865 the Gewandhaus-Quartett premiered Brahms' piano quintet, and in 1892 his D major string quartet.^[3]

Reinecke is best known for his flute sonata "Undine", but he is also remembered as one of the most influential and versatile musicians of his time. He served as a teacher for 35 years, until his retirement in 1902. His students included Edvard Grieg, Basil Harwood, Christian Sinding, Leoš Janáček, Constanta Erbiceanu, Isaac Albéniz, August Max Fiedler, Walter Niemann, Johan Svendsen, Richard Franck, Felix Weingartner, Max Bruch, Mikalojus Konstantinas Čiurlionis, Ernest Hutcheson, Felix Fox and many others.

After retirement from the conservatory, Reinecke devoted his time to composition, resulting in almost three hundred published works. He wrote several operas (none of which are performed today) including König Manfred. During this time, he frequently made concert tours to England and elsewhere. His piano playing belonged to a school in which grace and neatness were characteristic, and at one time he was probably unrivalled as a Mozart player and an accompanist.^[1] At the age of 80, he recorded his playing on piano roll for the Welte-Mignon company, making him the earliest-born pianist to have his playing preserved in any format. He died at 85 in Leipzig.

Selected works[link]

• König Manfred, comic opera, 1867
• Ein Abenteuer Händels, operetta, 1874
• Auf hohen Befehl, comic opera, 1886
• Der Gouverneur von Tours, comic opera, 1891
• Symphony No. 1 in A major, Op. 79, 1858

Carl Reinecke (ca. 1860)

• Symphony No. 2 in C minor, Op. 134, 1874
• Symphony No 3 in G minor, Op. 227, 1895
• Piano Quartet in light style, Op. 272, 1904
• Piano Quintet in A, Op. 83, 1866
• Cello Concerto in D minor, Op. 82, 1864
• Violin Concerto in G minor, Op. 141, 1876
• Harp Concerto in E minor, Op. 182 (1884)
• Flute Concerto in D major, Op. 283 (1908)
• Piano Concerto No. 1 in F-sharp minor, Op. 72, 1860
• Piano Concerto No. 2 in E minor, Op. 120, 1872
• Piano Concerto No. 3 in C major, Op. 144, 1877
• Piano Concerto No. 4 in B minor, Op. 254, 1900
• Serenade for strings in G minor, Op. 242, around 1898
• Trio for piano, oboe and horn in A minor, Op. 188, 1886
• Trio for piano, clarinet and viola in A, Op. 264
• Trio for piano, clarinet and horn in B-flat, Op. 274, 1905
• Octet for winds in B-flat, Op. 216, 1892
• Sextet for flute, oboe, clarinet, 2 horns and bassoon in B-flat, Op. 271
• Five string quartets (Op. 16 in E-flat, 1843; Op. 30 in F, 1851; Op. 132 in C, 1874; Op. 211 in D major, 1890; and Op. 287)
• Organ Sonata, Op. 284
• Piano Sonata for the left hand, Op. 179, 1884
• String Trio in C minor, Op. 249
• Sonata for flute (Sonata Undine), Op. 167, 1882
• Sonatas for violin, cello (three, in A minor, Op. 42, 1847-8; D major, Op. 89, 1866; and G major, Op. 238, recorded on cpo)
• Three light piano trios, Op. 159a
• Piano Trio, Op. 230
• Drei Fantasiestücke für Viola und Klavier, Op. 43 (Three fantasy pieces for viola and piano)
• Ballade, Op. 288 for flute

Media[link]

Wind Octet Op. 216 - 1. Allegro moderato Performed by the Soni Ventorum Wind Quintet with extra players Wind Octet Op. 216 - 2. Scherzo (vivace) Performed by the Soni Ventorum Wind Quintet with extra players Wind Octet Op. 216 - 3. Adagio ma non troppo Performed by the Soni Ventorum Wind Quintet with extra players Wind Octet Op. 216 - 4. Finale: Allegro molto e grazioso Performed by the Soni Ventorum Wind Quintet with extra players Wind Sextet Op. 271 - 1. Allegro moderato Performed by the Soni Ventorum Wind Quintet with extra horn player Wind Sextet Op. 271 - 2. Adagio molto - Vivace ma non troppo Performed by the Soni Ventorum Wind Quintet with extra horn player Wind Sextet Op. 271 - 3. Finale (Allegro moderato ma con spirito) Performed by the Soni Ventorum Wind Quintet with extra horn player

Problems listening to these files? See media help.

References[link]

• Carl Heinrich Carsten Reinecke Page - includes a detailed worklist (German)
•  "Reinecke, Karl". New International Encyclopedia. 1905. 

External links[link]

• Free scores by Carl Reinecke in the Werner Icking Music Archive (WIMA)
• Free scores by Carl Reinecke at the International Music Score Library Project
• Free scores by Carl Reinecke in the Choral Public Domain Library (ChoralWiki)
• Carl Reinecke String Trio Op.249, Piano Quartet Op.272, Piano Quintet Op.83 & Cello Sonata No.1 Op.42 Soundbites and discussion of works
• Discussion of Reinecke string quartet No 4 in D

Recordings[link]

• Piano Rolls (The Reproducing Piano Roll Foundation)
• The closest approach to 19th century piano interpretation - 19th Century pianist on Welte-Mignon (ARC-106, Archiphon)

 This article incorporates text from a publication now in the public domain:  New International Encyclopedia. New York: Dodd, Mead. 1905. 

James Galway
Sir James Galway and his wife, Jeanne Galway, performing in the 2007 New Year's Eve concert at the Culture and Convention Centre, Lucerne.
Background information
Birth name	James Galway
Born	(1939-12-08) 8 December 1939 (age 72) Belfast, Northern Ireland
Genres	Classical, Pop
Occupations	Orchestral, soloist, conductor
Instruments	Flute, Tin whistle
Years active	1950s–present
Associated acts	Philharmonia Orchestra Sadler's Wells Opera Covent Garden Opera London Symphony Orchestra Royal Philharmonic Orchestra Berlin Philharmonic Orchestra London Mozart Players The Chieftains

Sir James Galway OBE (born 8 December 1939) is a virtuoso flute player from Belfast, Northern Ireland, nicknamed "The Man With the Golden Flute". Following in the footsteps of Jean-Pierre Rampal, he became one of the first flute players to establish an international career as a soloist.

Education[link]

Galway went to London as a teenager to study the flute. He studied at the Royal College of Music under John Francis and then at the Guildhall School of Music under Geoffrey Gilbert. He then studied at the Paris Conservatoire under Gaston Crunelle and Jean-Pierre Rampal and also privately with Marcel Moyse.

Career[link]

After his education time he spent fifteen years as an orchestral player.^[1] Galway played with the Philharmonia Orchestra as it rose to prominence in the 1950s.^{[citation needed]}

He then played with Sadler's Wells Opera, Covent Garden Opera, the London Symphony Orchestra and the Royal Philharmonic Orchestra.^[1] He auditioned for the Berlin Philharmonic Orchestra under Herbert von Karajan, and was principal flute of that orchestra from 1969 to 1975. To Karajan's surprise and dismay, after a period of some disagreement, Galway decided that he would leave to pursue a solo career.^{[citation needed]}

In addition to his performances of the standard classical repertoire, he features contemporary music in his programmes, including new flute works commissioned by and for him by composers including David Amram, Malcolm Arnold, William Bolcom, John Corigliano, John Wolf Brennan, Dave Heath, Lowell Liebermann and Joaquín Rodrigo. The album James Galway and The Chieftains in Ireland by Galway and The Chieftains" reached number 32 in the UK Albums Chart in 1987.^[2]

In 1990, he was invited by Roger Waters to play at The Wall – Live in Berlin concert, held in Potsdamer Platz; he played Pink Floyd's songs "Goodbye Blue Sky" and "Is There Anybody Out There?".

Galway still performs regularly and is one of the world's most well-known flute players. His recordings have sold over 30 million copies.^[3]

He is Principal Guest Conductor of the London Mozart Players, based at the Fairfield Halls, Croydon, South London.^[4]

Most recently, Galway has performed for the Academy Award-winning ensemble recording the soundtracks of Peter Jackson's Lord of the Rings film trilogy, composed by Howard Shore.

In June 2008, Galway was inducted into the Hollywood Bowl Hall of Fame along with Liza Minnelli and B. B. King.

He currently performs on Nagahara flutes, as well as some Muramatsu Flutes. Conn-Selmer produces his line of flutes, Galway Spirit Flutes.

Personal[link]

In the 1970s Galway moved from Berlin to Lucerne, Switzerland, the home town of his second wife, Anna (Annie) Renggli, one of the daughters of a well-known local architect. They had twins and a son. In 1978 he recorded for her an instrumental version of John Denver's "Annie's Song". it peaked at #3 in the UK Singles Chart.^[2] After their divorce he moved to Meggen, Switzerland, a village next to Lucerne, where he resides now with his third wife, the American born Jeanne Galway (née Cinnante). They often tour together playing duets, accompanied by Phillip Moll on piano.^{[citation needed]} In addition, they give master classes for flutists of all levels.

Galway is also president of a global organisation called Flutewise,^[5] a charitable organisation which supports young flute players,^[1] run by Liz Goodwin.

In 2003 he formed the Music Education Consortium together with Julian Lloyd Webber, Evelyn Glennie and Michael Kamen to pressure the British Government into providing better music education in schools.

Galway is a dedicated Christian who visits various types of churches while travelling (as long as they are not modern and "happy-clappy") and prays before his concert performances.^[6] He also wears a large cross necklace, about which he says, "It's not jewelry. It's something that reminds me of what I should be doing and how I should be behaving." At the same time, he has a strong sense of humor and a readiness to have fun with his music and in conversation with others.

He was made an Officer of the Order of the British Empire (OBE) in 1977, and was knighted in 2001^[1], the first wind player ever to receive that honour.^[7]

He is a National Patron of Delta Omicron, an international professional music fraternity.^[8]

Galway's nephew, Martin Galway, is a musician famous for his work on Commodore 64 computer game music in the 1980s.

James Galway has the eye condition nystagmus, and is a patron of the Nystagmus Network, a UK-based support group for people with the condition.^[9]

Publications[link]

• Galway, James (1978). An Autobiography. London: Chappell and Company Ltd.. ISBN 0-340-24721-5. 
• Galway, James; W. Mann (1982). James Galway's Music in Time. London: Mitchell Beazley. ISBN 0-85533-382-0. 
• Galway, James. (1982). Flute. Yehudi Menuhin Music Guides. London: Macdonald. ISBN 0-356-04711-3 (cloth); ISBN 0-356-04712-1 (pbk.) New York: Schirmer Books. ISBN 0-02-871380-X Reprinted 1990, London: Kahn & Averill London: Khan & Averill ISBN 1-871082-13-7

Media[link]

Flute Quintet in G major by Bernhard Romberg 1. Allegro 2. Minuet 3. Adagio 4. Rondo performed by Sir James Galway with the Young Danish String Quartet, November 2005

	Wind Quintet Op. 43 by Carl Nielsen 1. Allegro ben moderato 2. Menuetto 3. Praeludium: Adagio. Tema con variazioni: Un poco andantino performed by Sir James Galway with the Carion quintet
Problems listening to these files? See media help.

References[link]

External links[link]

• Official website
• "Official Artist's Page". http://www.imgartists.com/?page=artist&id=174.  IMGArtists.com 15 September 2008.
• "Sir James Galway's New Recording O'Reilly Street to Be Released on 16 September.". http://www.allaboutjazz.com/php/news.php?id=21399.  AllAboutJazz.com 5 August 2008.
• "YouTube". Masterclass videos, performances and interviews. http://www.youtube.com/user/LarryKrantz. 
• "Howard Shore, The Lord of the Rings: The Return of the King". Music Files. http://www.mfiles.co.uk/reviews/howard-shore-the-return-of-the-king.htm. 
• Full Biography