Tag Archives: Tone Poem Tuesday

As Rachmaninoff was a young man studying music in a rigorous environment (we’ll get to that in April), he–and just about every other young Russian musician of the day–was influenced heavily by a group of composers called collectively “The Five”. … Continue reading →

(via) As I gear up for All Rachmaninoff All The Time in April, I’ve been listening to a lot of Russian music that pre-dates Rachmaninoff, particularly by composers who rank amongst his prime influences. Tchaikovsky was certainly one of those; … Continue reading →

One of the finest Black composers of the 20th century, William Grant Still lived from 1895 to 1978, bearing witness to the growth of the American vernacular in classical music, as well as the ongoing struggle for civil rights. Still’s … Continue reading →

When I’ve listened to Florence Price’s music over the last few years, I’ve thought often of Antonin Dvorak’s observation from the time he spent in the United States, among American musicians and composers. Paraphrasing, Dvorak noted that the American musicians … Continue reading →

Composer Omar Thomas was born in Brooklyn in 1984 to Guyanese parents. He eventually studied at the New England Conservatory of Music and has moved on to a highly praised career as a composer. While he is mainly known as … Continue reading →

It’s not terribly surprising to learn that Nikolai Rimsky-Korsakov was one of Sergei Rachmaninoff’s early influences; after all, Rimsky-Korsakov was a gigantic name in Russian music in the late 19th century, second only to Tchaikovsky. Even in his maturity, when … Continue reading →

Staying Rachmaninoff-adjacent, as opposed to posting about Rachmaninoff directly: Rachmaninoff learned much from the great master of the Russia of his youth, Peter Ilich Tchaikovsky. Tchaikovsky met Rachmaninoff when the younger composer was still a teenaged student, and he gave … Continue reading →

Olivier Messiaen (1908-1992) was one of the major names in twentieth-century music. HIs work is always brightly modern, but also accessible in a way that much of the avant garde music of that century was not; Messiaen’s work both rewards repeated … Continue reading →