Vladimir Shcherbachov

Vladimir Vladimirovich Shcherbachov (Shcherbachyov, Shcherbachev) (Russian: Влади́мир Влади́мирович Щербачёв, born on 24 January 1889, Warsaw; died on 5 March 1952, Leningrad) was a Russian composer of the Soviet era.

He studied with Maximilian Steinberg, Anatoly Lyadov, and Jāzeps Vītols (Joseph Wihtol) at the St. Petersburg Conservatory from 1908 to 1914. While there he also worked as a pianist for Sergey Diaghilev and taught theory. He served in World War I and then worked in Soviet government music positions. In 1918-1923 he worked as a lecturer and ran the musical department of the Narkompros. He later became a professor at the Leningrad Conservatory (1923-1931 and 1944-1948) and the Tbilisi Conservatory. He counted Boris Arapov, Vasily Velikanov, Evgeny Mravinsky, Valery Zhelobinsky, Gavriil Popov, Valerian Bogdanov-Berezovsky, Pyotr Ryazanov, and Mikhail Chulaki among his pupils, as well as various others.[1][2][3][4]

Works

  • Anna Kolossova, opera (1939, unfinished);
  • Tabachny Kapitan, operetta (1943);
  • Five symphonies:
    • No. 1 (1914),
    • No. 2 (with soloists and chorus, 1925);
    • No. 3 (Symphony-Suite, 1931);
    • No. 4 (Izhorskaya, with soloists and chorus, 1935);
    • No. 5 (Russian, 1948, 2nd version in 1950);
  • Nonet for 7 instruments, voice and dancer (1919);
  • Suite for string quartet (1939) and other chamber music;
  • Two piano sonatas and other piano works;
  • Various Romances;
  • Film music:
    • The Thunderstorm (after Aleksandr Ostrovsky, 1934);
    • Peter I (1937-1939);
    • Polkovodets Suvorov (1941)
  • Two Suites:
gollark: Five.
gollark: Oh, there are *at least four*...
gollark: I want to be able to also make it handle rust.
gollark: I just need to figure out how to sandbox it properly.
gollark: Several, actually.

References

  • Don Randel, The Harvard Biographical Dictionary of Music. Harvard, 1996, p. 831.
  • Genrich Orlov, Vladmir Vladimirovich Shcherbachov (Leningrad, 1959)
  • Haas, David (1992). "Boris Asafyev and Soviet Symphonic Theory". The Musical Quarterly. 76 (3): 410–432. doi:10.1093/mq/76.3.410.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.