Pyotr Ilyich Tchaikovsky oor Spaans

Pyotr Ilyich Tchaikovsky

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Piotr Ilich Chaikovski

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His heirs: [Johannes] Brahms, [Pyotr Ilyich] Tchaikovsky, [Gustav] Mahler, [Richard] Strauss (?)
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Pyotr Ilyich Tchaikovsky was the greatest influence on Arensky's musical compositions.
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Pyotr Ilyich Tchaikovsky,” my father said, lost in reverence for the homosexual composer.
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Pyotr Ilyich Tchaikovsky, Piano Concerto No. 1 in B-Flat Minor.
Las causas de esto no residen únicamente en los países afectados, sino que son reflejo también del creciente escepticismo que ciertos sectores políticos muestran hacia la ampliación.Literature Literature
Pyotr ilyich tchaikovsky.
El registro de recolección debe llevarse durante la recolección y recoger el número de árboles productivos desglosado por variedades/parcela, la fecha de recolección y las cantidades diarias recolectadasOpenSubtitles2018.v3 OpenSubtitles2018.v3
The score is dedicated to Sergei Taneyev, a Russian composer, teacher, theorist, author, and pupil of Pyotr Ilyich Tchaikovsky.
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The Manfred Symphony in B minor, Op. 58, is a programmatic symphony composed by Pyotr Ilyich Tchaikovsky between May and September 1885.
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Mozart's version, with instruments only, was adapted by Pyotr Ilyich Tchaikovsky as one of the sections of his Mozartiana, a tribute to Mozart.
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In contrast to the élite status and court connections of Conservatory composers such as Pyotr Ilyich Tchaikovsky, The Five were mainly from the minor gentry of the provinces.
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Pyotr Ilyich Tchaikovsky said of this movement: "No one has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow."
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Among Timanova's other prominent admirers were Alexander Borodin and Pyotr Ilyich Tchaikovsky, who dedicated the Scherzo humoristique, part of his Six Pieces for Piano Solo, Op. 19 (1873) to her.
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His main teachers were Karl Klindworth (piano; a former pupil of Franz Liszt), and Sergei Taneyev (composition; a former pupil of Pyotr Ilyich Tchaikovsky and his successor at the Conservatory).
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After the October Revolution Korovin continued to work in the theater, designing stages for Richard Wagner's Die Walküre and Siegfried, as well as Pyotr Ilyich Tchaikovsky's The Nutcracker (1918–1920).
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Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred: Dramatic Poem with Music in Three Parts, and later by Pyotr Ilyich Tchaikovsky in his Manfred Symphony.
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Although the building was in use from April 1891, the official opening night was May 5, with a concert conducted by maestro Walter Damrosch and great Russian composer Pyotr Ilyich Tchaikovsky.
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Since the late eighteenth century it has become a more permanent element of the western orchestral percussion section, as exemplified in some of Pyotr Ilyich Tchaikovsky's dance pieces from The Nutcracker Suite.
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In 1852, aged only 11, he entered the Imperial School of Jurisprudence in Saint Petersburg, where he was a class mate of Pyotr Ilyich Tchaikovsky, who was his exact contemporary and became a lifelong friend.
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In mid- to late-19th-century Russia, Pyotr Ilyich Tchaikovsky and a group of composers known as The Five had differing opinions as to whether Russian classical music should be composed following Western or native practices.
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Pyotr Ilyich Tchaikovsky's relations with the group of composers known as the Belyayev circle, which lasted from 1887 until Tchaikovsky's death in 1893, influenced all of their music and briefly helped shape the next generation of Russian composers.
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She became a regular performer at the New York City Opera during the late 1940s into the 1950s, making her debut with the company as Tatiana in the company's first production of Pyotr Ilyich Tchaikovsky's Eugene Onegin with director Theodore Komisarjevsky in 1947.
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Samuel Barber's Adagio for Strings, Alban Berg's 3 Pieces from his Lyric Suite, Arnold Schoenberg's string sextet Verklärte Nacht and String Quartet No. 2, Pyotr Ilyich Tchaikovsky's sextet Souvenir de Florence, John Corigliano's Second String Quartet and Jean Sibelius's Andante Festivo are examples.
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He led the first performances of Boris Godunov in 1874, conducted five operas by Pyotr Ilyich Tchaikovsky, including The Maid of Orleans, Mazepa and The Queen of Spades, and five by Nikolai Rimsky-Korsakov, including May Night, The Snow Maiden and Christmas Eve.
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While these composers were more open to Western compositional practices and influences, especially through the music of Pyotr Ilyich Tchaikovsky, they closely followed many of the compositional practices of the Five to the point of mannerism, especially in their depiction of folkloric subject matter.
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Another of the Volksmärchen, "Der geraubte Schleier" ("The Stolen Veil"), was used by Pyotr Ilyich Tchaikovsky to provide the plot outline of Swan Lake (1876), though the extent of Tchaikovsky's use of Musäus' story is challenged by some such as Russian ballet patriarch Fyodor Lopukhov, who argue the ballet is essentially Russian.
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The later Romantic tradition of Pyotr Ilyich Tchaikovsky, one of the greatest composers of the Romantic era, whose music has come to be known and loved for its distinctly Russian character as well as its rich harmonies and stirring melodies, was brought into the 20th century by Sergei Rachmaninoff, one of the last great champions of the Romantic style of European classical music.
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