rimski korsakov

I’ve seen a lot of curious people wanting to dive into classical music but don’t know where to start, so I have written out a list of pieces to listen to depending on mood. I’ve only put out a few, but please add more if you want to. hope this helps y’all out. :)

stereotypical delightful classical music:

if you need to chill:

if you need to sleep:

if you need to wake up:

if you are feeling very proud:

if you feel really excited:

if you are angry and you want to take a baseball bat and start hitting a bush:

if you want to cry for a really long time:

if you want to feel like you’re on an adventure:

if you want chills:

if you want to study:

if you really want to dance:

if you want to start bouncing in your chair:

if you’re about to pass out and you need energy:

if you want to hear suspense within music:

if you want a jazzy/classical feel:

if you want to feel emotional with no explanation:

if you want to sit back and have a nice cup of tea:

pieces that don’t really have a valid explanation:

pieces that just sound really cool:

if you feel like listening to concertos all day (I do not recommend doing that):

and if you really just hate classical music in general:

a lot of these pieces apply in multiple categories, but I sorted them by which I think they match the most. have fun exploring classical music!

also, thank you to viola-ology, iwillsavemyworld, shayshay526, eternal-cadenza, tropicalmunchakoopas, shadowraven45662, and thelonecomposer for adding on! if you would like to add on your own suggestions, please reblog and add on or message me so I can give you credit for the suggestion!

The Best Solos
  • Piccolo: Tchaikovsky: Symphony No. 4, Mvmt. 3
  • Flute: Saint-Saens: The Carnival of the Animals, Aviary
  • Oboe: Stravinsky: Pulcinella Suite, Serenata
  • English Horn: Shostakovich: Symphony No. 8, Mvmt. 1
  • E-Flat Clarinet: Shostakovich: Symphony No. 7, Mvmt. 2
  • B-Flat Clarinet: Offenbach: Overture to Orpheus in the Underworld
  • Bass Clarinet: Stravinsky: The Rite of Spring
  • Bassoon: Rimsky-Korsakov: Scheherezade, Mvmt. 2
  • Contrabassoon: Dukas: The Sorcerer's Apprentice
  • French Horn: R. Strauss: Till Eulenspiegels Lustige Streiche
  • Trumpet: Mahler: Symphony No. 5, Mvmt. 1
  • Trombone: R. Strauss: Also Sprach Zarathustra
  • Tuba: Gershwin: An American in Paris
  • Percussion: Hindemith: Symphonic Metamorphosis, Mvmt. 2
  • Violin: Shostakovich: Symphony No. 5, Mvmt. 2
  • Viola: Brahms: Symphony No. 4, Mvmt. 2
  • Cello: Beethoven: Symphony No. 5, Mvmt. 2
  • Double Bass: Saint-Saens: The Carnival of the Animals, L'Elephant
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Снегу́рочка (The Snow Maiden)

50 in x of animated feature film history
Release: 1952
Country: Soviet Union
Director: Ivan Ivanov-Vano, Aleksandra Snezhko-Blotskaya

“The Snow Maiden is based on the Slavic-pagan play of the same name by Aleksandr Ostrovsky (itself largely based on traditional folk tales). Music from Nikolai Rimsky-Korsakov’s opera The Snow Maiden is used, arranged for the film by L. Shvarts.

Snegurochka––The Snow Maiden––is the daughter of Spring the Beauty (Весна-Красна) and Ded Moroz (Father Frost), and yearns for the companionship of mortal humans. She grows to like a shepherd named Lel, but her heart is unable to know love, not helped by the fact that Lel claims to love her one moment and abandons her the next. Her mother takes pity and gives her the ability to love, but as soon as she falls in love, her heart warms and she melts, happy to have known love.”

(source)

The Snow Maiden is available on YouTube with English subtitles.

George Barbier, Vaslav Nijinsky and Ida Rubinstein in Scheherazade, Paris, 1910.

Schéhérazade is a ballet in one act with choreography by Michael Fokine, libretto by Benois, music by Rimsky-Korsakov and design by Leon Bakst. Premiered 4 June 1910 by Sergei Diaghilev Ballets Russes at the Paris Opera.

Portrait of soprano Mattiwilda Dobbs as Queen Shemakhan in Rimsky-Korsakov’s opera, “Le coq d'or.” Stamped on back: “Photograph by Helga Sharland, 40 St. Margarets Rd., Edgware, Middx. Phone: STO. 7864.” Handwritten on back: “Mattiwilda Dobbs.” 1954.

  • Courtesy of the E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library

Tamara Karsavina as Zobeida in Scheherazade. Photo by E.O. Hoppe, 1911.

Choreography by Mikhail Fokine. Music by Nikolai Rimsky-Korsakov. Costumes by Léon Bakst inspired a fashion for harem pants, turbans and floor cushions.

Tamara Platonovna Karsavina (1885-1978) was a famous Russian ballerina, renowned for her beauty, who was most noted as a Principal Artist of the Imperial Russian Ballet and later the Ballets Russes of Serge Diaghilev.

IV Morceaux, Op.11, No.2
Margaret Fingerhut
IV Morceaux, Op.11, No.2

“Orchestration is part of the very soul of the work. A work is thought out in terms of the orchestra, certain tone-colors being inseparable from it in the mind of its creator and native to it from the hour of its birth.” - Nikolai Rimsky-Korsakov

IV Morceaux, Op.11, No.2 - Novellette, Allegro Risoluto In B Minor

By Composer Nikolai Rimsky-Korsakov

Margaret Fingerhut, Pianist

Classical Pieces You’ve Probably Heard but Might Not Remember the Name 2

Since the first one was such a success I figured I’ll do another.

So I’m reading Rimsky-Korsakov’s Principles of Orchestration and there are some GEMS about different instruments. 

Examples:

“The bass clarinet, though strongly resembling the ordinary clarinet, is of darker color in the low register and lakes the silver quality in the upper notes; it is incapable of joyful expression.”

“It has not been discovered how to mute the flutes; such a discovery would render great service to the piccolo”

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Rimsky-Korsakov - The Legend of the Invisible City of Kitezh - Leningrad..

Today’s birthday Mach 18th 1844 : the Russian composer Nikolai Andreyevich Rimsky-Korsakov (Russian: Никола́й Андре́евич Ри́мский-Ко́рсаков)  

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Rimsky-Korsakov: Scheherazade - Celibidache, RSS (1982)

Nikolai Rimsky-Korsakov: Scheherazade

Hans Kalafusz, violin
Radio-Sinfonieorchester Stuttgart
Sergiu Celibidache, conductor

Recorded live at the Studio Villa Berg, Süddeutscher Rundfunk, Stuttgart, November 1982