Nikolai Andreyevich Roslavets

Kazimir Malevich : Sketch for a portrait of the composer Roslavets . 1907-08. Stedelijk Museum , Amsterdam 4.2001 (002)

Nikolai Andreyevich Roslawez ( Russian Николай Андреевич Рославец * Dec. 23, 1880 ^{. Jul} / 4. January  1881 ^greg. In surazh , Chernigov Governorate , Russian Empire ; today Oblast Bryansk ; † 23. August 1944 in Moscow ) was a Russian composer , music theorist , Publicist, educator and violinist.

Musical classification

Roslawez was one of the first composers to advocate new music in Russia. At the same time he felt obliged to new musical ideas such as the preservation of tradition and therefore got involved with the "proletarian musicians", i.e. H. official cultural ideologues associated with the Soviet secret police in conflict, which led to a professional ban. For several decades Roslawez was considered an " enemy of the people " and was one of Russia's ostracized composers.

Initially inspired by Alexander Scriabin and the contemporary French ( Debussy and Ravel ), Roslawez soon broke away from their influences and developed his own tonal language, which is often compared to Arnold Schönberg's twelve-tone technique , but is based on different principles. Since around 1917, a certain tendency towards traditional forms and genres as well as the monumental can be seen in his work, whereby the tonal language in the sense of "academic innovation" ( Leonid Sabanejew ) becomes more transparent and includes traditional structures. This tendency can be seen in various works, including the Symphonie de chambre pour 18 instruments solistes (1934/35), in which classical and modern principles are combined in a completely new way.

Education and career

His family moved to Kursk in the late 1890s. Here he received lessons from Arkadi Maksimowitsch Abasa at the music school until 1902 , namely in the subjects of elementary music theory, harmony, as well as piano and violin. Until 1912 he studied composition with Sergei Wassilenko , music theory with Alexander Iljinski / Michail Ippolitow-Iwanow and violin with Jan Hřímalý (Iwan Wojzechowitsch Grshimali) at the Moscow Conservatory . He received the great silver medal for his thesis. Roslawez joined the group of contemporaries around Vladimir Dershanowski , Leonid Leonidowitsch Sabanejew, Nikolai Mjaskowski and others. a. a, a core of the future Association of Contemporary Music (ASM). In 1917 he became a member of the non-Marxist Party of Socialist Revolutionaries (SR), from which he resigned in 1918. In Moscow, together with “Comrade Sax”, the Narodniki (folk) Communists party organized , which soon became part of the Communist Party of Russia (Bolsheviks) RKP (b). From 1919 he was one of the ASM leaders. In 1921 Roslawez resigned from the RKP. In the 1920s he worked on the editorial staff of the Moscow State Music Publishing House. In 1920 he moved to Kharkov , where in 1921 he became a professor at the local music academy and later at the music institute, he also became rector of the Kharkov music institute. He was banned from working for alleged “ formalistic ” and class-hostile activities. In 1931 he moved from Moscow to Tashkent , where he became director, conductor and composer of the musical theater before returning to Moscow in 1933.

Fate of creation

Soon after the composer's death, the representatives of the KGB , accompanied by former proletarian musicians, searched Roslawez's apartment and confiscated the composer's manuscripts. However, Roslawez's widow managed to hide part of the inheritance; later she handed it over to the ZGALI (Central State Archive for Literature and Art, Moscow; now: RGALI - Russian State Archive for Literature and Art). Some of the composer's manuscripts were kept by Roslawez's favorite student, the composer P. Teplow; now they are in the State Central Glinka Museum of Musical Culture . According to Teplov, after Roslawez's death, the composer's enemies sought to destroy his manuscripts.

In 1967 the composer's niece, Yefrossinja Fyodorovna Roslavets, took the first steps towards the rehabilitation of her uncle, thanks to which it was possible to find out that the composer was a victim of political reprisals. The important step - the refusal to have the works of Roslavets performed was justified by the fact that Roslavets was supposedly one of "the arrested enemies of the people" - has hardly improved the situation: Roslavets' work was still hushed up. In 1967 the employee of the Glinka Museum, Georgi Kirkor, refused Jefrossinja Roslawez access to the card index; Kirkor claimed that Roslavets was "hostile to the people" and accused the composer of "relations with world Zionism". This absurd but dangerous accusation was based on the fact that L. Sabaneev , a friend of Roslavets and a staunch enemy of the Soviets, had promoted Jewish music; The ASM also stood up for Jewish composers. The researcher and editor Roslawez, M. Lobanova, was also accused of “Zionist activities” since the late 1970s and was therefore persecuted, not least because of her relationship to one of the founders of the State of Israel. In 1967 the leading functionaries of the Union of Soviet Composers Vano Muradeli , Anatoli Novikow and Tikhon Khrennikov refused to receive Yefrossinja Roslavets. The negative attitude towards Roslawez, characteristic of the officials of the Union of Soviet Composers, was expressed in judgments such as: "Roslawez is our enemy", "the composer whose music is not worth the paper on which it is recorded", "Roslawez 'tomb must be destroyed".

In the West, Detlef Gojowy (1934-2008) appeared as a staunch propagandist for Roslawez's work for several decades . For his activities, Gojowy was constantly attacked by the leadership of the Union of Soviet Composers, by Tikhon Khrennikov personally, as well as by the influential enemies of Roslavets, their like-minded people and the magazine Soviet Music . Up until 1989 Gojowy was forbidden from entering the USSR as a "warlike anti-communist"; the copies of his articles, which the publicist sent to his Soviet colleagues, were confiscated by Soviet customs (Gojowy 2008). As a result of this ban, Gojowy was forced to rely frequently on the secondary sources, which do not always contain correct information: e.g. For example, in some publications the assumptions about the Ukrainian origin of Roslavets were expressed, which were uncritically reproduced by other publicists: in this way a fiction about the composer was created.

On December 27, 1980, a concert with a foreword by M. Lobanova was held in the Mark Milmans Chamber Music Club, with a part of the concert dedicated to Roslavets. According to Edisson Denisov , the leadership of the Union of Soviet Composers prohibited dedicating the entire concert to Roslavets. In 1984 M. Lobanova's lecture on Roslawez's musical-theoretical system, which was part of the program of the international conference Musica nel nostro tempo (Milan), was banned by the leading functionaries of the Union of Soviet Composers: the researcher was accused of having “illegal relations with the West” . Attempts were also made to dismiss Lobanova from the Moscow Conservatory, to revoke her academic degree and teaching rights, and to instruct her in forced psychiatry with the dissident diagnosis of "creeping schizophrenia".

In 1989, Yefrossinja Roslavets approached the Moscow composers 'organization, which had just proclaimed its independence from Tikhon Nikolayevich Khrennikov's Association of Soviet Composers, with a request for the reconstruction and publication of Roslavets' works and the restoration of the composer's tomb; these tasks were officially entrusted by Roslavets' niece, M. Lobanova. In 1990, after a long struggle, including criminal structures, Roslavets 'tomb was restored thanks to the efforts of the leader of the Moscow Composers' Organization, Georgi Dmitriev, according to the record of M. Lobanova, authorized by the composer's niece. The tomb of Roslavets was later destroyed again, and all protests by M. Lobanova addressed to the Moscow authorities, the Russian organization for the protection of monuments "Archnadzor" and the leading Moscow journalists remain unsuccessful to this day.

In 1989 the Musik Verlag took over the Nikolaj Roslawez collection . Piano pieces (edited by Nikolaj Koptschewski) published. The foreword to this collection, which reproduced many of the typographical errors in earlier editions, was written by Yuri Cholopov . The text appalled Yefrossinja Roslawez: in her letters to the director of the Glinka Museum as well as the director of the Musik Verlag and the editor-in-chief of the magazine Soviet Music , the composer's niece protested against the slander, the discrediting of the relatives of Roslawez, as well as the false information Roslavets' works, the condition of the archive materials, etc. J. Roslavets' particular concern was caused by false statements on the occasion of Roslavets' work and the condition of the archive materials: from their point of view, reflections on the chaotic state of the archive materials and negligent relatives could lead to Justification of possible misuse of the Roslawez heritage for possible falsifications. After they refused to publish these letters in the Soviet Union or Russia, it was not until 1995 that one of Jefrossinja Roslawez's letters, which prohibited access to her personal materials in the Glinka Museum, was published in Germany. The greatest connoisseur of the Russian avant-garde, Nikolaj Ivanovich Khardzhiev, testified even more vehemently against Cholopov's preface in his letter to M. Lobanova of December 5, 1990.

In 1989 the score of the First Violin Concerto by M. Lobanova was rediscovered in the archive, which had previously been considered lost, mainly due to the diploma thesis by A. Putschina, which was written in 1981 at the Moscow Conservatory under the direction of Edisson Denisov . On behalf of the Le Chant du Monde publishing house , Denissow intended to orchestrate the piano reduction of the First Violin Concerto published in 1927; the rediscovery of the score made this plan superfluous. Soon after the world premiere of the orchestral version of the First Violin Concerto by Tatiana Grindenko under the direction of Fyodor Glushchenko (Moscow, November 18, 1989), an article appeared in the Russian Music Newspaper (1989, No. 12), which provided false information about the authorship of this rediscovery . The newspaper later published a counter-declaration and apologized to M. Lobanova (1990, No. 5, p. 4).

The planned world premiere of the symphonic poem Roslavets' In the Hours of the New Moon , which M. Lobanova had reconstructed, was sabotaged in 1989: the material, which had been prepared for the world premiere and had already been paid for, disappeared without a trace from the Office for Propaganda of Soviet Music. The world premiere of this work, which the Rundfunk-Sinfonie-Orchester Saarbrücken under the direction of Heinz Holliger brought about on June 14, 1990 in Saarbrücken, took place in the absence of the reconstruction author, who was forbidden to travel by the foreign commission of the Union of Soviet Composers the official invitation of the publisher B. Schott's Sons (today: Schott Music ).

Although the rediscovery of Roslavets and the beginning publication of his legacy secured the growing interest of the general public, some of his compatriots expressed themselves rather distantly towards Roslavets, including the composers of the modernist kind: Viktor Suslin emphasized in the extensive discussion that the rediscovery of Russian musicals Avant-garde was devoted (Heidelberg, November 1, 1991) that Roslawez's work was "of no importance" to him personally, and Jelena Olegovna Firsowa claimed that she was "not interested" in Roslawez 'music.

A report in the Russian newspaper "Kommersant-Daily" revealed that the former chief editor of the Moscow publishing house "Kompositor", Vladimir Pikul (* 1937), had helped Jefrossinja Roslawez in 1991 to publish the works of Nikolaj Roslawez at the Schott publishing house . According to Vladimir Pikul, he received a commission of DM 33,500 for his help, which he invested in his children's studies in Germany. When Tikhon Chrennikov found out about this, he believed that Vladimir Pikul had illegally appropriated 33,500 DM, which the Composers' Union of the Soviet Union should be entitled to. For this reason, on May 6, 1991 the Composers' Union of the Soviet Union filed a criminal complaint against W. Pikul for "misappropriating public funds" with a Moscow district prosecutor. Since it was a large amount in foreign currency and at that time there was still no moratorium on the death penalty in Russia, this charge threatened W. Pikul with the highest punitive measures up to and including execution. The investigation against Pikul was also closed. In March 1992, however, the Composers' Association demanded a new investigation, and new criminal proceedings were carried out, which were also dropped. At that time Pikul had lost his position to Grigory Voronov (1948-2008); he went to court and won two lawsuits. Despite these court decisions, Pikul did not get his position back because it was "crossed out"; Finally, Pikul demanded compensation from Tikhon Chrennikov in the amount of DM 33,500.

In 1991 the left-wing pro-Soviet publisher Le Chant du Monde , which as a member of the so-called " WAAP family" enjoyed special privileges in the Soviet Union, announced seven unfinished compositions by Roslavets, which were supposedly completed by Alexander Raskatow , namely: the vocal cycle A. Blok in memoriam , the symphonic poem In the Hours of the New Moon , Die Musik for string quartet , Sonata No. 1 (1925) and No. 2 (1926) for viola and piano, Piano Sonata No. 6 and the Chamber Symphony (1926); The list also included the arrangement of the song Klopft! for baritone and percussion.

In reality, the vocal cycle A. Blok in memoriam and the symphonic poem In the Hours of the New Moon by Roslavets were completed. The archive material for the Sixth Piano Sonata is missing the end, which excludes its authentic reconstruction. The music for string quartet is an invented title: Roslawez never composed such a piece and never intended to do it. Sonata No. 1 (1925) for viola and piano on Le Chant du Monde's list is actually a sketch that Roslawez decided not to complete. The real Viola Sonata No. 1 was composed in 1926: on the Le Chant du Monde list it is misleadingly referred to as Viola Sonata No. 2 . This composition was also finished personally by Roslawez and did not need to be completed ; the play was reconstructed and edited by M. Lobanova, who had advised A. Raskatov at the request of E. Denisov on questions relating to the work and estate of Roslavets. The real Sonata No. 2 for viola and piano was not created in 1926, as is claimed in the Le Chant du Monde list , but in the 1930s; the work also did not need “completion” and was edited by M. Lobanova. The Chamber Symphony (1926) on Le Chant du Monde's list is actually a sketch that Roslawez also decided not to complete. The sketch does not allow an authentic reconstruction of the cycle or its movements; the line-up Raskatov used seems arbitrary and doubtful: the notes in Roslavets 'Particello contain no references to harp and piano, and six percussion instruments are completely alien to Roslavets' idiom and style. The real chamber symphony by Roslawez (1934–1935) was composed for 18 instruments; the sketch from 1926 shows a smaller cast.

The hiding of information about the character and actual condition of the materials on which the so-called "Raskatov Completed Works of Roslavets" were based led to confusion, very negatively influenced studies of Roslavets and enormously difficult to spread his legacy. Several misunderstandings arose in connection with Roslavets viola sonatas and their recordings: thus, despite the claims of the editors, the viola sonatas No. 1 and 2 are not on the Roslavets CD . Musique de chambre (Harmonia mundi, LDC 288 047) included: it concerns the above-mentioned sketch from 1925 and the real Sonata No. 1, which was completed by Roslawez and, despite the claims in the booklet, did not need a "completion" (on on the CD it is misleadingly referred to as Viola Sonata No. 2 ).

Information on restoration of symphonic poetry In the New Moon Hours and other Roslavets' works have spread in the media. Gerard McBurney claimed in the article The Resurrection of Roslavets ( Tempo , June 1990, pp. 8–9) that the symphonic poem In the Hours of the New Moon had been completed by Raskatov due to the incomplete sketch of the score; In reality, M. Lobanova's reconstruction of the work Roslawez completed was based on the almost complete set of parts, and the missing orchestral parts were added on the basis of the score sketch. The information on Raskatov's reconstruction of the symphonic poem In the Hours of the New Moon was also mentioned in Anna Ferenc's article Reclaiming Roslavets: The Troubled Life of a Russian Modernist ( Tempo , 1992, No. 3, p. 7) and in the booklet text of Calum McDonald on CD 'CDA 67484' from the English record label Hyperion Records : the recording of the symphonic poem In the Hours of the New Moon by the BBC Scottish Symphony Orchestra under the direction of Ilan Volkov was again erroneously associated with the name Raskatov: In reality, this recording is also based on the reconstruction by M. Lobanova. The world premiere of the play in Saarbrücken was also erroneously linked to the name Raskatov in the booklet text by Calum McDonald. The decision of the Hamburg Regional Court of January 30, 2009 (GZ: 1004 / 08JB01 GK: 175) prohibited the sale of the Hyperion CD (CDA 67484) with the booklet that contained the above incorrect information. According to the facts that emerged, Hyperion Records, Ltd. has changed the poem In the Hours of the New Moon on its website and named the real author of the reconstruction, M. Lobanova. The other day, Calum McDonald's booklet text for the Hyperion CD (CDA 67484) was also revised to reflect the truth.

In recent years there has been a dangerous tendency to distort and instrumentalize Roslawez's work for chauvinistic or nationalistic purposes (for more details on this, see :). These attempts are in stark contrast to the beliefs of the composer, who expressed himself cosmopolitan.

The main works by Roslawez (many of them published for the first time) are currently being published by Schott Musik International and Kompozitor International , Mainz (see the publisher's website). The publication is based on the concept of presenting Roslawez 'work authentically. A substantial part of the published compositions came from the archives and required editorial work. In other cases, it was the materials for the works completed by the composer that made authentic reconstruction possible. The republication of the works published during Roslawez's lifetime were among others. a. about correcting misprints. The editorial program is not yet over; several works are in preparation.

The term In the Hours of the New Moon and the Poem by Roslawez have become a cult term in the last decade: the title In the Hours of the New Moon was carried by Eberhard Kloke's musical and visual production, which was realized in Germany in 2000 as part of the EXPO; The concerts of the Basel Sinfonietta under the direction of Fabrice Bollon (Basel, Geneva, Zurich, March 21–23, 2009), in which the poem by Roslawez were heard, ran under the program subtitle New Moon . The scandal-famous portal The Pirate Bay offered Internet users a number of works by Roslawez, for example the poem In the Hours of the New Moon , directed by Heinz Holliger .

New system of tone organization and the principle of the synthetic chord

Nikolai Roslawez is one of the most original composers of the first half of the 20th century. With his new system of sound organization he designed a peculiar theory of composition. This is based on the use of so-called “synthetic chords”, the preliminary forms of which have been observed in compositions in Roslawez since 1907. Since then, Roslawez has been working systematically to perfect his compositional method. His attempt to systematize chromatics suggested comparisons with Western endeavors of a similar nature, and in the 1920s Roslawez was still considered a kind of "Russian Schönberg". Similar to Arnold Schönberg's twelve-tone technique, the new system was intended to replace the traditional tonal principle and bring it into a teachable form. Fundamental principles of classical and romantic harmony are also incorporated into the New Fixed System and - unlike Schoenberg - are not avoided at all costs. The new system emerged completely independently and formed much earlier than the patterns of classic dodecaphony . Alexander Scriabin and his “Prometheus Chords” or “Mystical Chords”, which act as a “sound center”, are closely related to the Roslawezian method. Although Roslavets vigorously distanced himself from Scriabin in the 1920s, he inherited the principles and concepts of the Scriabin's harmonic system, which were articulated and conveyed by the mutual friend of the two composers, Leonid Sabanejew. The “synthetic chord method” also suggests aesthetic comparisons with the art movements of Futurism and later Constructivism occurring in Russia.

A synthetic chord usually consists of six or more tones. These are tone complexes specially selected for the respective piece, from which all melodic and harmonic relationships of the composition are derived. In addition, there is a tendency to have all notes of a synthetic chord sound within a limited period of time, although the order and position are completely arbitrary. These processes are essentially similar to the so-called nondodecaphonic serial composition or the pitch class set (George Perle). In the composition, the “positions” and “transpositions” of the synthetic chords are subject to a plan that is determined by the concrete structures of individual systemic chords (see: Lobanova 1983, 1997, 2001). This compositional technique is used consistently in the compositions from the 1910s and 1920s.

Works (selection)

Exclusive rights with Schott Musik International and Kompositor International, Mainz; individual editions before 1917 were published by W. Grosse, later by Muzsektor Gosizdata, Muzyka and Sovetskij kompozitor / Kompozitor in Moscow, UE in Vienna and Sikorski in Hamburg. Information on the manuscripts, archive holdings and editions in addition to the Schott editions in: M. Lobanova 1997, pp. 257–264

Stage work

• Pachta / Chlopok (cotton; L. Voščenė), ballet pantomime in 3 acts (1931/32)

Vocal music

• Vocal symphonic works and choirs
  • Nebo i zemlja (after George Gordon Byron, Heaven and Earth ), Mysterium in 3 Scenes (1912)
  • Na smert 'zemli ( To the death of the earth; after Jules Laforgue), symphonic poem for baritone, choir and orchestra (before 1919), lost
  • Oktjabr ' ( October ; Wassili Alexsandrovski / Wladimir Kirillow / Sergej Obradowitsch), cantata for mezzo-soprano, baritone, mixed choir and symphony orchestra (1927)
  • Komsomolija , symphonic poem for mixed choir and symphony orchestra (1928), first published by Marina Lobanova; Schott ED 8256
  • Čërnyj gorod ( Black City; Alexsander Sharow), symphonic poem for bass, choir and orchestra (1929?), Lost
  • Na smert 'Mayakovskogo (April 14, 1930). Traurno geroičeskij fragment (after Mayakovsky's death). A heroic fragment of mourning; (Pimen Pantschenko) for bass and orchestra (1930)

• Songs (for voice and piano; unless otherwise stated, published in: Lieder und Romanzen, 3 vols., Edited by M. Lobanova; Schott ED 8435, 8436, 8437)
  • 2 romances (Konstantin Balmont) (1909): 1. Zarnica ( The Lightning of the Weather ); 2. Cvetok ( flower ); first ed. by M. Lobanova
  • Morana (Polja večernie) ( Morana (evening fields); Konstantin Balmont) (1909–1911); first ed. by M. Lobanova
  • Beatrice. V moich sadach cvety, v tvoich - pečal ' ( Beatrice. There are flowers in my gardens, in your sadness; Nikolaj Gumiljow) (1910/11); first ed. by M. Lobanova
  • 2 romances (1910/11): 1. Lebedi ( swans; Vyacheslav Ivanov); 2. Ja segodnja ne pomnju, čto bylo včera ( I don't remember today what happened yesterday; Alexander Blok); first ed. by M. Lobanova
  • Četyre romansa (4 romances) (1911): 1. Osen ' ( autumn; Andrej Belyj), missing; 2. Kak mlečnyj put 'ljubov' tvoja ( Your love is like the Milky Way; Maximilian Voloshin); 3. Prišlica. Ja ne zval tebja ( The newcomers. I didn't call you; Alexander Blok); 4. Večer ( evening; Nikolaj Gomuljow); first ed. by M. Lobanova
  • Grustnye pejzaži (after Paul Verlaine, Paysages tristes ) (1913): 1. Osennjaja pesnja ( autumn song ); 2. Blagoslovennyj čas ( Blessed Hour ), lost; 3. Zakat ( downfall )
  • Tri sočinenija (3 compositions) (1913): 1. Sumrak tichij ( Silent Twilight; Valeri Brjussow); 2. Ty ne ušla ( You are not gone; Alexander Blok); 3. Vetr naletit ( The wind is coming ; Alexander Blok)
  • Četyre sočinenija (4 compositions) (1913/14): 1. Margaritki ( Daisy; Igor Severjanin); 2. Vy nosite ljubov 'v izyskannom flakone ( You carry love in an exquisite bottle; Konstantin Bolshakov); 3. Volkovo kladbišče ( Volkovo Cemetery; Dawid Burljuk); 4. Kuk (Wassilisk Gnedow)
  • Pesenka arlekina ( Harlequin's Song; Elena Guro) (1915)
  • Polët ( flight; Wassili Kamenski) (1915)
  • Četyre stichotvorenija Zinaidy Gippius ( 4 poems by Sinaida Gippius ) (1919): 1. Zaklinan'e ( conjuration ); 2. Vesennij veter ( spring wind ); 3. Vnezapno ( Suddenly ), missing or not executed; 4. Petuchi ( roosters ); first ed. by M. Lobanova
  • Sbylos' proročestvo moë ( My prophecy came true; Alexander Blok) (1919); first ed. by M. Lobanova
  • Na Sajme ( Am Saimaa; Valeri Brjussow) (1920): 1. V dali, blagostno sverkajuščej ( In the graciously shining distance ); first ed. by M. Lobanova; 2. My v lodke vdvoëm (the two of us in the boat ), lost or not executed
  • Plamennyj krug ( circle of flames ; Fyodor Sologub) (1920): 1. Razbudil menja rano tvoj golos, o Brama ( your voice, oh Brahma, woke me up early ); 2. Step 'moja ( My steppe ); 3. Tichaja kolybel'naja ( silent lullaby ); 4. Bezgrešnyj son ( Innocent Dream ); first ed. by M. Lobanova
  • Pamjati A. Bloka ( A. Blok in memoriam; Nadeshda Pawlowitsch) (1922): 1. Vot on v grobu ( Here he is in the grave ); 2. Posmotri, stalo nebo šire ( Look, the sky has widened ); 3. Bogomater '! Ego oseni ( Mother of God, shield him ); first ed. by M. Lobanova

Instrumental music

• Orchestral works and concerts (published by Schott Musik International or Kompositor International, Mainz)
  • Symphony in C minor (1910), first published. by M. Lobanova; Compositor International 51585
  • V časy Novolunija (In the hours of the new moon; after Jules Laforgue?) (Around 1912/13), reconstructed and first published. by M. Lobanova; Schott ED 8107
  • Čelovek i more, symphonic poem after Charles Baudelaire, L'Homme et la mer (1921), lost
  • 1st violin concerto (1925); Schott ED 7823 (score); Schott ED 7824 (piano reduction)
  • 2nd Violin Concerto (1936), first published. by M. Lobanova; Compositor International 52700

• Chamber music (unless otherwise stated, the works have been published or are in the catalog of Schott Musik International or Kompositor International, Mainz):
  • Chamber symphony / Symphonie du chambre for 18 instruments (1934/35), first published. by M. Lobanova; Kompositor International 51581;
  • Nocturne for harp, oboe, 2 violas and violoncello (1913); Schott ED 8129;
  • 5 string quartets (1913, Schott ED 8126); lost; 1920 (Schott ED 8127); 1939: score incomplete; 1941 (Schott ED 8128)
  • 5 trios for violin, violoncello and piano (lost; 1920: reconstructed and first published by M. Lobanova (Schott ED 8059); 1921 (Schott ED 8035); 1927: identified and first published by M. Lobanova (Schott ED 8036 ); lost)

for violin and piano:

• Morning Mood (1907); Schott (in preparation)
• Romance (1907); Schott (in preparation)
• Élégie (1908); Schott (in preparation)
• Gavotte (1908); Schott (in preparation)
• Rêverie (1908); Schott (in preparation)
• Sérénade (1908); Schott (in preparation)
• Arabesques (1909/10); Schott (in preparation)
• Romance (1909/10); Schott (in preparation)
• Trois Poèmes (1909/10): 1. Poème douloureux; 2. Poème lyrique; 3. Poème; Schott (in preparation)
• Poème lyrique (1910s); Schott (in preparation)
• Rondeau polonaise (probably 1910s)
• 1st Sonata (1913)
• Composition (1914)
• Poème (1915); Schott ED 8261
• 2. Sonata (1917), reconstructed and published for the first time. by M. Lobanova; Schott ED 8043
• 3rd sonata, lost
• 4th Sonata (1920); Schott ED 8044
• 5th Sonata (1922/23), lost
• Tri tanca / Three Dances (1923): 1st Val's / Waltz; 2. Noktjurn / Nocturne; 3. mazurka; Schott ED 8261
• 6th Sonata (probably 1930s), identified and first published. by M. Lobanova; Schott ED 8431
• Sem 'p'es v pervoj pozicii (7 pieces in the first position) (1930s), first ed. by M. Lobanova; Schott VLB 131
• Legenda (legend) (1930s or 1941); Schott ED 8261
• Invencija i Noktjurn (Invention and Nocturne) (1935); Schott (in preparation)
• Kolybel'naja (Lullaby) (1935)
• Scherzo (1935)
• Tanec (dance) (1935)
• Val's (Waltz) (1935)
• 24 preljudii (24 preludes) (1941/42); Schott ED 7940

for viola and piano:

• 1st Sonata (1926), reconstructed and edited for the first time by M. Lobanova; Schott ED 8177
• 2nd Sonata (1930s), first edited by M. Lobanova; Schott ED 8178

for violoncello and piano:

• Tancy belych dev (Dances of White Virgins) (1912), first edited by M. Lobanova; Schott ED 8045
• Razdum'e / Méditation (1921)
• 1st Sonata (1921); Schott ED 8038
• 2nd Sonata (1922), first edited by M. Lobanova; Schott ED 8039

Piano music (unless otherwise stated, the works have been published or are in the Schott Musik International catalog):

• 1st Sonata (1914); Schott ED 7941
• Trois Compositions (1914); Schott ED 7907
• Trois Études (1914); Schott ED 7907
• Deux Compositions (1915): 1. Quasi prelude; 2. Quasi poème; Schott ED 7907
• Prelude (1915); Schott ED 7907
• 2nd Sonata (1916), completed by E. Babasjan; Schott ED 8391
• Berceuse (1919); Schott (in preparation)
• Danse (1919); Schott (in preparation)
• Valse (1919), reconstructed by M. Lobanova; Schott (in preparation)
• Quatre Compositions (1919–1921): 1. Prélude, various; 2. Poème; 3. Prelude, various; 4. Prelude; Schott (in preparation)
• Cinq Preludes (1919-1922); Schott ED 7907
• Prelude (probably 1919 or 1921); (reconstructed by M. Lobanova); Schott (in preparation)
• Deux Poèmes (1920); Schott ED 7907
• 3rd sonata, lost
• 4th Sonata (1923), lost
• 5th Sonata (1923); Schott ED 8392
• 6th Sonata (1928); incomplete
• Poème-berceuse (1939), missing

Agitation and utility music (see catalog in: M. Lobanova 1997) Film and theater music, arrangements, potpourris

Discography (selection)

• Cello Sonata No. 1 (1921), Méditation (1921);

Boris Pergamenschikow and Pavel Gililov (together with Prokofiev ). Orfeo (C 249 921 A), 1992.

• No. 2: You have not left (A. Blok), No. 3: The wind flies up (A.Blok) from: Three compositions for voice and piano (1913); No. 1: Daisy (Igor Severjanin) from: Four compositions for voice and piano (1913/14); Harlequin's Ditty (Elena Guro; 1915); No. 3: Autumn song (Paul Verlaine) from: Sad landscapes (1913);

Anthologie de la Melodie russe et sovietique (together with Mussorgsky , Glinka , Guriljow , Dargomyschski , Tchaikovsky , Stravinsky , Prokofiev , Shostakovich , Firsowa , Denissow and Knaifel ); Elena Vassilieva, Jacques Schwab. Le Chant du Monde (LDC 278 972/73), 1989.

• 5 Préludes (1919–1922), 2 Poèmes (1920) & Prélude (1915);

Christophe Sirodeau (together with Skrjabin , Lourié and Feinberg ). Arkadia (AK 152.1), 1994.

• 2 Poèmes (1920), 5 Préludes (1919–1922), Poéme & Prélude (1919–1921), Danse (1919) & Berceuse (1919);

La musique russe des Avant-Gardes (together with Lourié , Scriabin , Mossolow , Obuchow and Shostakovich ); Jean-Pierre Armengaud. Nuova Era (7263), 1996.

• 5 Preludes (1919-1922);

Preludes to a Revolution (together with Lyadow , Glière , Stantschinski , Lourié , A. Alexandrow , Scriabin , Obuchow , Wyschnegradsky and Feinberg ); Jenny Lin. Hänssler (98.480), 2005.

• 5 Preludes (1919-1922);

Festival Alternativa, Vol. I (together with Mossolow , Deschewow and Lourié ); Antonin Bagatov. Col legno (AU 31841), 1989.

• 5 Preludes (1919-1922);

Soviet Avant-Garde 1 (together with Protopopow , Mossolow and Lourié ); Steffen Schleiermacher. Hat hat (6157), 1994.

• 2 Poèmes (1920), 3 Compositions (1914) & Prélude (1915);

Soviet Avant-Garde 2 (together with Mossolow , Lourié and Polowinkin ); Steffen Schleiermacher. Hat [now] Art (115), 1997/98.

• Nocturne (1913);

Russian music from the 1920s (together with Deschewow , Polowinkin , Knipper , Schiwotow and Popow ); Alexander Lazarev. BMG / Melodiya (74321 49955 2), 1997.

• In the Hours of the New Moon (1912/13), Violin Concerto No. 1 (1925);

Tatjana Gridenko, Heinz Holliger. Wergo (6207-2), 1990)

• Chamber Symphony (1934–35), In the Hours of the New Moon (1912/13);

Ilan Volkov. Hyperion (CDA 67484), 2006.

• 3 Compositions (1914), 3 Études (1914), Sonata No. 1 (1914), Prélude (1915), 2 Compositions (1915), Sonata No. 2 (1916), 2 Poèmes (1920), 5 Préludes (1919– 1922), Sonata No. 5 (1925);

Piano music ; Marc-André Hamelin. Hyperion (CDA 66926), 1996.

• String Quartet No. 1 (1913), String Quartet No. 3 (1920), String Quartet No. 5 (1941);

String quartets ; Hába Quartet. NCC (8010), 1997.

• Piano Trio No. 2 (1920), Piano Trio No. 3 (1921), Piano Trio No. 4 (1927);

Piano Trios Nos. 2-4 ; Trio Fontenay. Teldec (8573-82017-2), 2000.

• Meditation (1921), Cello Sonata No. 1 (1921), 5 Preludes (1919–1922), Cello Sonata No. 2 (1922), Dances of the White Virgins (1912);

Complete Music for Cello and Piano ; Alexander Ivashkin, Tatyana Lazareva. Chandos (CHAN 9881), 2001.

• String Quartet No. 1 (1913), String Quartet No. 3 (1920);

Russian Quartets of the 20th Century (together with Mossolow and Schnittke ); Novosibirsk Filarmonica Quartet. Beaux (2019), 2000.

• Violin Sonata No. 6 (1940), Violin Sonata No. 1 (1913), Violin Sonata No. 2 (1917), Violin Sonata No. 4 (1920);

Four Violin Sonatas ; Mark Lubotsky, Julia Bochkovskaya. Olympia (OCD 558), 1995.

• 24 Préludes (1941–42), Poème lyrique (? 1910s), 3 Dances (1923) & Nocturne (1935);

Works for Violin and Piano ; Mark Lubotsky, Julia Bochkovskaya. Olympia (OCD 559), 1995.

• Chamber Symphony (1926, completed and orchestrated by A. Raskatow);

Russian chamber music of the twenties (together with Prokofiev and Shcherbachev ); Alexander Lazarev. Le Chant du Monde (LCD 288 055), 1992.

It concerns the above-mentioned processing of an archive sketch, which Roslawez decided not to complete; the instrumentation as well as the compositional process and structural features are arbitrarily selected and interpreted by the arranger (see above: fate of creativity ).

• Piano Trio No. 3 (1921), Viola Sonata No. 1 (1926), Viola Sonata No. 2 (? 1930s), Piano Sonata No. 5 (1925), Cello Sonata No. 1 (1921);

The Chamber Music ; The Moscow Trio u. a. Le Chant du Monde (LCD 288 047), 1992. This is the above-mentioned adaptation of an archive sketch from 1925, which Roslawez did not complete, and the viola sonata No. 1, which was completed by Roslawez; on the CD the latter is misleadingly referred to as “Viola Sonata No. 2”.

• Piano Trio No. 3 (1921), 3 Compositions (1914) & Prélude (1915);

Music of the russian Avant Garde 1910 - 1930 (together with Lourié , Mossolow , Deschewow , Dukelsky and Matjuschin ); Alexander Titov. Autograph, 1992.

• Viola Sonata No. 1 (1926);

Le nouveaux Musiciennes (together with Ligeti , Prokofjew and Takemitsu ); Lawrence Power. Harmonia Mundi (HMN 911756), 2001.

• String Quartet No. 3 (1920);

String quartets (together with Lourié ), Leipzig string quartet. MDG (307 1192-2), 2003.

• Violin Sonata No. 6 (1940), Violin Sonata No. 4 (1920), Violin Sonata No. 1 (1913), 3 Dances (1923);

Violin sonatas ; Solomia Soroka & Arthur Greene. Naxos (8.557903), 2005.

• Piano Trio No. 3 (1921);

Piano trios (together with Shostakovich and Babadschanjan ); Seraphin Trio. Christophorus (CHE 0070), 1995.

Literature (selection)

• Detlef Gojowy: NA Roslavec, an early twelve-tone composer. In: The music research. No. 22, 1969, pp. 22-38.
• Detlef Gojowy: Soviet avant-gardists. Music and Education, 1969, pp. 537-542.
• N. Slonimsky: Music since 1900. 4th edition, New York 1971.
• Detlef Gojowy: New Soviet Music of the 20s. Laaber, 1980.
• Marina Lobanova: L'eredità the NAR ne campo della teoria musicale. In: Musica / Realtà. No. 12, 1983, pp. 41-64.
• A. Wehrmeyer: Studies on Russian musical thinking around 1920. Peter Lang, Frankfurt am Main 1991, p. 139ff.
• Detlef Gojowy: Rediscovered Past. Rehabilitated the Russian-Soviet avant-garde of the 10s and 20s? In: New Music in Political Change. Publications of the Darmstadt Institute for New Music and Musical Education. Vol. 32, Mainz 1991, pp. 9-22.
• Detlef Gojowy: Sinowi Borissowitsch discovered in the cellar. Soviet musicology in perestroika. In: The orchestra. No. 39, Vol. 11, 1991, p. 1224.
• Detlef Gojowy: The music avant-garde in Eastern Europe. An introduction. In: International Music Festivals Heidelberg 1991 and 1992. Russian avant-garde. Music avant-garde in Eastern Europe. Documentation - Congress report. Heidelberg 1992, pp. 145-150.
• Marina Lobanova: The tragedy of the Russian avant-garde - Nikolaj Roslawez, translated by Detlef Gojowy. In: International Music Festivals Heidelberg 1991 and 1992. Russian avant-garde. Music avant-garde in Eastern Europe. Documentation - Congress report . Heidelberg 1992, pp. 183-193.
• McKnight Ch. Nikolaj Roslavets. Diss. Cornell Univ., Ithaca / NY, 1994.
• Marina Lobanova: Nikolay Roslavets. Biography of an artist - legend, lie, truth. In: W. Gruhn, u. a. (Ed.): Visions and Awakenings. On the crisis of modern music 1908–1933. Kassel 1994, pp. 45-62.
• Marina Lobanova: The case of Nikolay Roslavets. In: The New Magazine for Music. No. 1, 1995, pp. 40-43.
• Marina Lobanova: Nikolaj Roslavetz - A Fate Under the Dictatorship. In: J. Braun, HT Hoffmann and V. Karbusicky (eds.): Ostracized music. Composers in the dictatorships of our century. Documentation of the colloquium from 9. – 12. January 1993 in Dresden. 2nd edition, Peter Lang, Frankfurt am Main 1998, pp. 159–176.
• Marina Lobanova: Nikolaj Andreevič Roslavec and the culture of his time. With a foreword by György Ligeti. Peter Lang, Frankfurt am Main 1997.
• Chr. Hust: Tonality construction in the piano sonatas by NA Roslavec. In: The music research. No. 54, 2001, pp. 429-437.
• Marina Lobanova: The new sound organization system by Nikolaj Andreeviè Roslavec. In: The music research. No. 54, 2001, pp. 400-428.
• Marina Lobanova: Nicolaj Roslavec and his tragic legacy. In: History of Music in Central and Eastern Europe. Communications from the international working group at the University of Leipzig , Vol. 10, Leipzig 2005, pp. 241–272.
• Marina Lobanova: Mystic, Magician, Theosophist, Theurgist: Alexander Scriabin and his time. Hamburg 2004.
• Detlef Gojowy: Music lessons. Observations, persecutions and chronicles of the new art of music. Cologne 2008.
• Marina Lobanova. Nikolaj Andrejewitsch Roslavets i kultura ego wremeni. St. Petersburg: Petroglif, 2011. 352 pp. ISBN 978-5-98712-059-0 .

Web links

• Literature by and about Nikolai Andrejewitsch Roslawez in the catalog of the German National Library
• Biography at Schott Music
• Marina Lobanova:  Roslavec, Nikolaj Andreevič. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 14 (Riccati - Schönstein). Bärenreiter / Metzler, Kassel et al. 2005, ISBN 3-7618-1134-9  ( online edition , subscription required for full access)
• Catalog raisonné at Schott Music

Individual evidence

1. ↑ Абаза Аркадий Максимович - Биография. Retrieved April 29, 2017 (Russian). 
2. ↑ Marina Lobanova: Nikolaj Andreevič Roslavec and the culture of his time. With a foreword by György Ligeti. Peter Lang, Frankfurt am Main 1997, p. 11
3. ↑ Marina Lobanova: Nikolaj Andreevič Roslavec and the culture of his time. With a foreword by György Ligeti. Peter Lang, Frankfurt am Main 1997, p. 11, 48f.
4. ↑ Marina Lobanova: Nikolaj Andreevič Roslavec and the culture of his time. With a foreword by György Ligeti. Peter Lang, Frankfurt am Main 1997, p. 11f.
5. ↑ Detlef Gojowy: The music avant-garde in Eastern Europe. An introduction. In: International Music Festivals Heidelberg 1991 and 1992. Russian avant-garde. Music avant-garde in Eastern Europe. Documentation - Congress report. Heidelberg 1992, pp. 145-150
6. ↑ Detlef Gojowy: Rediscovered Past. Rehabilitated the Russian-Soviet avant-garde of the 10s and 20s? In: New Music in Political Change. Publications of the Darmstadt Institute for New Music and Musical Education. Vol. 32, Mainz 1991, pp. 9-22
7. ↑ Marina Lobanova: Nikolaj Andrejewitsch Roslawez i kultura ego wremeni. St. Petersburg: Petroglif, 2011. p. 13
8. ↑ Marina Lobanova: Nikolaj Roslavetz - A fate under the dictatorship. In: J. Braun, HT Hoffmann, V. Karbusicky (eds.): Ostracized music. Composers in the dictatorships of our century. Documentation of the colloquium from 9. – 12. January 1993 in Dresden. Peter Lang, Frankfurt am Main 1995, pp. 175-176
9. ^ International Music Festivals Heidelberg 1991 and 1992. Russian avant-garde. Music avant-garde in Eastern Europe. Documentation - Congress report. Heidelberg 1992, pp. 95, 101
10. ↑ Andrej Grischkowez. “A lawsuit against Tikhon Chrennikov. The composers' association has written an opera ”. - "Kommersant-Daily" of August 19, 1994, p. 1
11. ↑ p .: Rodion Shchedrin. "What you write is untouchable". Autobiographical Notes. Translated from the Russian by Birgit Veit. Mainz 2009, pp. 244-246.
12. ↑ Marina Lobanova: Nicolaj Roslavec and his tragic legacy. In: History of Music in Central and Eastern Europe. Communications from the international working group at the University of Leipzig , Vol. 10, Leipzig 2005, pp. 241–272
13. ↑ Lobanova, Marina. Mystic, magician, theosophist, theurgist: Alexander Scriabin and his time. Hamburg: Von Bockel Verlag, 2004, pp. 226–232