Alexander Konstantinovich Glazunov (10 August [O.S. 29 July] 1865 – 21 March 1936 ) was a Russian composer, music teacher, and conductor of the late Russian Romantic period. He was director of the Saint Petersburg Conservatory between 1905 and 1928 and was instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued as head of the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return. The best-known student under his tenure during the early Soviet years was Dmitri Shostakovich. Glazunov successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned, while also admitting he remained a composer with an imposing reputation, and a stabilizing influence in a time of transition and turmoil.

Sergei Vasilyevich Rachmaninoff (1 April [O.S. 20 March] 1873 – 28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom notable for its song-like melodicism, expressiveness, dense contrapuntal textures, and rich orchestral colours. The piano is featured prominently in Rachmaninoff's compositional output and he used his skills as a performer to fully explore the expressive and technical possibilities of the instrument. Born into a musical family, Rachmaninoff began learning the piano at the age of four. He studied piano and composition at the Moscow Conservatory, from which he graduated in 1892, having already written several compositions. In 1897, following the disastrous premiere of his Symphony No. 1, Rachmaninoff entered a four-year depression and composed little, until supportive therapy allowed him to complete his well-received Piano Concerto No. 2 in 1901. Rachmaninoff went on to become conductor of the Bolshoi Theatre from 1904 to 1906, and relocated to Dresden, Germany, in 1906. He later embarked upon his first tour of the United States as a concert pianist in 1909. After the Russian Revolution, Rachmaninoff and his family left Russia permanently, settling in New York in 1918. Following this, he spent most of his time touring as a pianist in the US and Europe, from 1932 onwards spending his summers at his villa in Switzerland. During this time, Rachmaninoff's primary occupation was performing, and his compositional output decreased significantly, completing just six works after leaving Russia. By 1942, his declining health led him to move to Beverly Hills, California, where he died from melanoma in 1943.

This is a list of compositions by Alexander Glazunov (1865–1936).

Commemorative Cantata for the Centenary of the Birth of Pushkin (Russian: Торжественная кантата в память 100-летней годовщины А. С. Пушкина), Op. 65, is a cantata by Alexander Glazunov, composed in 1899 in memory of author Alexander Pushkin. It is also known as Memorial Cantata (Мемориальная кантата) and Cantata in Memory of Pushkin's 100th Birthday (Кантата к 100-летию А. С. Пушкина). The work in five movements on lyrics by Konstantin Romanov is scored for solo voices, choir and piano.

Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading composer of his era whose "poetic genius was based on a professional technique that was without equal in his generation". Chopin was born in Żelazowa Wola and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his early works in Warsaw before leaving Poland at age 20, less than a month before the outbreak of the November 1830 Uprising; at 21, he settled in Paris. Thereafter he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many musical contemporaries, including Robert Schumann. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Aurore Dupin (known by her pen name George Sand). A brief and unhappy visit to Mallorca with Sand in 1838–39 proved one of his most productive periods of composition. In his final years he was supported financially by his admirer Jane Stirling. In poor health most of his life, Chopin died in Paris in 1849 at age 39. All of Chopin's compositions feature the piano. Most are for solo piano, though he also wrote two piano concertos before leaving Warsaw, some chamber music, and 19 songs set to Polish lyrics. His piano pieces are technically demanding and expanded the limits of the instrument; his own performances were noted for their nuance and sensitivity. Chopin's major piano works include mazurkas, waltzes, nocturnes, polonaises, the instrumental ballade (which Chopin created as an instrumental genre), études, impromptus, scherzi, preludes, and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of Mozart and Schubert, and the atmosphere of the Paris salons, of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period. Chopin's music, his status as one of music's earliest celebrities, his indirect association with political insurrection, his high-profile love life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity. Among his many memorials is the Fryderyk Chopin Institute, which was created by the Polish parliament to research and promote his life and works, and which hosts the prestigious International Chopin Piano Competition, devoted entirely to his works.

Les Sylphides (French: [le silfid]) is a short, non-narrative ballet blanc to piano music by Frédéric Chopin, selected and orchestrated by Alexander Glazunov. The ballet, described as a "romantic reverie", is frequently cited as the first ballet to be simply about mood and dance. Les Sylphides has no plot but instead consists of several white-clad sylphs dancing in the moonlight with the "poet" or "young man" dressed in white tights and a black tunic. Its original choreography was by Michel Fokine, with Chopin's music orchestrated by Alexander Glazunov. Glazunov had already set some of the music in 1892 as a purely orchestral suite, under the title Chopiniana, Op. 46. In that form, it was introduced to the public in December 1893, conducted by Nikolai Rimsky-Korsakov. Subsequently, the choices of Chopin pieces and the orchestrations have been revised several times by a variety of composers.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

This is a list of compositions by Alexander Glazunov (1865–1936).

This is a list of compositions by Alexander Glazunov (1865–1936).

This is a list of compositions by Alexander Glazunov (1865–1936).

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

This article lists compositions written for the viola. The list includes works in which the viola is a featured instrument: viola solo, viola and piano, viola and orchestra, ensemble of violas, etc. Catalogue number, date of composition and publisher (for copyrighted works) are also included. Ordering is by composer surname. This pages lists composers whose surname falls into the F to H alphabetic range. For others, see respective pages: List of compositions for viola: A to B List of compositions for viola: C to E List of compositions for viola: I to K List of compositions for viola: L to N List of compositions for viola: O to R List of compositions for viola: S List of compositions for viola: T to Z

This is a list of compositions by Alexander Glazunov (1865–1936).

This is a list of compositions by Alexander Glazunov (1865–1936).

The Symphony No. 1 in D minor, Op. 13, is a four-movement composition for orchestra written from January to October 1895 by the Russian composer Sergei Rachmaninoff. He composed it at his Ivanovka estate near Tambov, Russia. Despite its poor initial reception, the symphony is now seen as a dynamic representation of the Russian symphonic tradition, with British composer Robert Simpson calling it "a powerful work in its own right, stemming from Borodin and Tchaikovsky, but convinced, individual, finely constructed, and achieving a genuinely tragic and heroic expression that stands far above the pathos of his later music." The premiere, which took place in St. Petersburg on March 28, 1897, was an absolute disaster for reasons which included under-rehearsal and the poor performance by the possibly intoxicated conductor Alexander Glazunov. Rachmaninoff subsequently suffered a psychological collapse but did not destroy or attempt to disown the score. It was left in Russia when he went into exile in 1917 and subsequently lost. In 1944, after the composer's death, the separate instrumental parts of the symphony were discovered and were used to reconstruct the full score. The symphony's second performance took place at the Moscow Conservatory on October 17, 1945, conducted by Alexander Gauk. Following a general reassessment of Rachmaninoff's music, the First Symphony has been performed frequently and recorded several times.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

G major is a major scale based on G, with the pitches G, A, B, C, D, E, and F♯. Its key signature has one sharp. Its relative minor is E minor and its parallel minor is G minor. The G major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G harmonic major and melodic major scales are:

Below is a list of compositions by Fritz Kreisler sorted by genre.

G major is a major scale based on G, with the pitches G, A, B, C, D, E, and F♯. Its key signature has one sharp. Its relative minor is E minor and its parallel minor is G minor. The G major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G harmonic major and melodic major scales are:

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

This is a list of compositions by Alexander Glazunov (1865–1936).

This is a list of compositions by Alexander Glazunov (1865–1936).

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.

The Piano Concerto No. 2 in C minor, Op. 18, is a concerto for piano and orchestra composed by Sergei Rachmaninoff between June 1900 and April 1901. The piece established his fame as a concerto composer and is one of his most enduringly popular pieces. After the failure of the premiere of his Symphony No. 1 (Op. 13) in March 1897, Rachmaninoff continued to compose some short pieces for piano, song and choral work while appearing in a number of concerts as an opera conductor. Just as he was finally beginning to recover from his ordeal, in January 1900, he had the opportunity to meet with the great Lev Tolstoy. However, he once again lost confidence after receiving harsh criticism for his original song "Fate" (Op. 21-1). After an unsuccessful meeting with Tolstoy meant to revoke his writer's block, relatives decided to introduce Rachmaninoff to the neurologist Nikolai Dahl. Between January and April 1900, Rachmaninoff underwent hypnotherapy and supportive therapy sessions with Dahl on a daily basis for over 3 months, specifically structured to improve his sleep patterns, mood, and appetite and reignite his desire to compose. That summer, Rachmaninoff felt that "new musical ideas began to stir" and successfully resumed composition. In July 1900, Rachmaninoff finally composed the "Love Duet," a key scene in the opera Francesca da Rimini, which was to be completed in 1906. This song was written earlier than his Piano Concerto No.2, which he began composing in the autumn of 1900, and the "Love Duet" became an important work that marked Rachmaninoff's rebirth as a composer. He first worked on the second and third movements of the concerto, with the first movement causing him difficulties. Both movements of the unfinished concerto were first performed with him as soloist and his cousin Alexander Siloti conducting on 15 December [O.S. 2 December] 1900. The first movement was finished in 1901, and the complete work had an astoundingly successful premiere on 9 November [O.S. 27 October] 1901, again with the same duo. Gutheil published the concerto the same year. Rachmaninoff dedicated the concerto to Dahl for successfully treating him by restoring his health and confidence in composition.

This is a list of compositions by Alexander Glazunov (1865–1936).

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

This is a list of compositions by Alexander Glazunov (1865–1936).

The Concerto in E flat major for alto saxophone and string orchestra, Op. 109, was written by Alexander Glazunov in 1934. The piece lasts about fourteen minutes and is played without pause. It is deeply rooted in Romanticism, and has entered the standard saxophone repertoire.

Igor Stravinsky was a Russian composer, pianist, and conductor known for being one of the most important and influential figures in twentieth-century classical music. His unique approach to rhythm, instrumentation, and tonality made him a pivotal figure in modernist music. Stravinsky studied composition under composer Nikolai Rimsky-Korsakov from 1902 to 1908, Stravinsky's Feu d'artifice being his last piece composed under Rimsky-Korsakov. During this time, Stravinsky completed his first full composition, the Symphony in E-flat major, catalogued Op. 1. Attending the premiere of Stravinsky's Scherzo fantastique and Feu d'artifice in 1909 was the Russian impresario Sergei Diaghilev, owner of the Ballets Russes ballet company. Diaghilev was impressed enough that he commissioned Stravinsky to write some arrangements for the 1909 ballet season. In the following years, Diaghilev commissioned Stravinsky to write three ballets: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). These ballets remain Stravinsky's most famous works today. Stravinsky's music is typically divided into three style periods: the Russian period (c. 1907–1919), the neoclassical period (c. 1920–1954), and the serial period (1954–1968). Stravinsky's Russian period is characterized by the use of Russian folk tunes and the influence of Rimsky-Korsakov, Tchaikovsky, Glazunov, and Taneyev. His neoclassical period reflected back to the techniques and themes of the Classical period, like his use of the sonata form in the first movement of his Octet (1923) and the Greek mythological themes in Apollo (1928), Perséphone (1933), and Orpheus (1947). His serial period began with using Schoenberg's twelve-tone technique dodecaphony in Agon (1954–57), later experimenting with non-twelve-tone techniques in his Cantata (1952) and Septet (1953).

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Program music is a term applied to any musical composition on the classical music tradition in which the piece is designed according to some preconceived narrative, or is designed to evoke a specific idea and atmosphere. This is distinct from the more traditional absolute music popular in the Baroque and Classical eras, in which the piece has no narrative program or ideas and is simply created for music's sake. Musical forms such as the symphonic poem, ballade, suite, overture and some compositions in freer forms are named as program music since they intended to bring out extra-musical elements like sights and incidents. Opera, ballet, and Lieder could also trivially be considered program music since they are unintended to accompany vocal or stage performances. They will be excluded from this list except where they have been extensively popularised and played without the original vocals and/or stage performance. The orchestral program music tradition is also continued in some pieces for jazz orchestras. For narrative or evocative popular music, please see Concept Album. Any discussion of program music brings to mind Walt Disney's animated features Fantasia (1940) and Fantasia 2000 (1999), in which the Disney animators provided graphic visualisation of several famous pieces of program music. However, not all the pieces used in the films were particularly programmatic, and in most cases, the narratives illustrated by the animators were different from whatever programmatic narrative might have existed originally.

Program music is a term applied to any musical composition on the classical music tradition in which the piece is designed according to some preconceived narrative, or is designed to evoke a specific idea and atmosphere. This is distinct from the more traditional absolute music popular in the Baroque and Classical eras, in which the piece has no narrative program or ideas and is simply created for music's sake. Musical forms such as the symphonic poem, ballade, suite, overture and some compositions in freer forms are named as program music since they intended to bring out extra-musical elements like sights and incidents. Opera, ballet, and Lieder could also trivially be considered program music since they are unintended to accompany vocal or stage performances. They will be excluded from this list except where they have been extensively popularised and played without the original vocals and/or stage performance. The orchestral program music tradition is also continued in some pieces for jazz orchestras. For narrative or evocative popular music, please see Concept Album. Any discussion of program music brings to mind Walt Disney's animated features Fantasia (1940) and Fantasia 2000 (1999), in which the Disney animators provided graphic visualisation of several famous pieces of program music. However, not all the pieces used in the films were particularly programmatic, and in most cases, the narratives illustrated by the animators were different from whatever programmatic narrative might have existed originally.

Stenka Razin, Op. 13, is a symphonic poem composed by Alexander Glazunov in 1885. Dedicated to the memory of Alexander Borodin, it is one of the few compositions written by Glazunov on a nationalist subject and is composed in a style reminiscent of Borodin and Pyotr Ilyich Tchaikovsky. Glazunov's composition dramatizes and romanticizes the career of the Cossack Stenka Razin. After leading raids against the Tsarist regime, Razin was captured and given amnesty in exchange of an oath of allegiance. He broke his promise, leading an army of several hundred thousand in an attempt to overthrow the government. Captured again, he was executed in 1672. The score focuses on a dramatic moment immediately preceding Razin's recapture. Razin and his mistress, a captured Persian princess, are afloat on a richly caparisoned boat on the River Volga. There, in one version of the story, the princess relates an ominous dream, warning of imminent disaster and her own death in the river. They are suddenly surrounded by tsarist soldiers. Razin casts the princess into the water, declaring, "Never in all my thirty years have I offered a sacrifice to the Volga. Today I will give it what is for me the most precious of all the world's treasures." The Cossacks then descend desperately upon the Russian troops. Another version of the story has Razin's men claiming that his love of the princess has dulled his lust for fighting—a charge Razin counters by drowning the princess before leading his followers once again into battle.

Anton Stepanovich Arensky (Russian: Анто́н Степа́нович Аре́нский; 12 July [O.S. 30 June] 1861 – 25 February [O.S. 12 February] 1906) was a Russian composer of Romantic classical music, a pianist and a professor of music.

Alexander Konstantinovich Glazunov (10 August [O.S. 29 July] 1865 – 21 March 1936 ) was a Russian composer, music teacher, and conductor of the late Russian Romantic period. He was director of the Saint Petersburg Conservatory between 1905 and 1928 and was instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued as head of the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return. The best-known student under his tenure during the early Soviet years was Dmitri Shostakovich. Glazunov successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned, while also admitting he remained a composer with an imposing reputation, and a stabilizing influence in a time of transition and turmoil.

The Symphony No. 2 in F-sharp minor, Op. 16, was composed by Alexander Glazunov in 1884–1886, premiered in 1886 in St Petersburg, and published in 1889. It is dedicated to the memory of Franz Liszt. It is in four movements: Andante maestoso – Allegro Andante Scherzo. Allegro Finale. Intrada – Andante sostenuto – Allegro

The Symphony No. 1 in D minor, Op. 13, is a four-movement composition for orchestra written from January to October 1895 by the Russian composer Sergei Rachmaninoff. He composed it at his Ivanovka estate near Tambov, Russia. Despite its poor initial reception, the symphony is now seen as a dynamic representation of the Russian symphonic tradition, with British composer Robert Simpson calling it "a powerful work in its own right, stemming from Borodin and Tchaikovsky, but convinced, individual, finely constructed, and achieving a genuinely tragic and heroic expression that stands far above the pathos of his later music." The premiere, which took place in St. Petersburg on March 28, 1897, was an absolute disaster for reasons which included under-rehearsal and the poor performance by the possibly intoxicated conductor Alexander Glazunov. Rachmaninoff subsequently suffered a psychological collapse but did not destroy or attempt to disown the score. It was left in Russia when he went into exile in 1917 and subsequently lost. In 1944, after the composer's death, the separate instrumental parts of the symphony were discovered and were used to reconstruct the full score. The symphony's second performance took place at the Moscow Conservatory on October 17, 1945, conducted by Alexander Gauk. Following a general reassessment of Rachmaninoff's music, the First Symphony has been performed frequently and recorded several times.

The Symphony No. 4 in E-flat major, Op. 48, was written by Alexander Glazunov in 1893. The symphony was a departure from Glazunov's three earlier symphonies, which were based on nationalistic Russian tunes and, according to the composer, allowed him to give "personal, free, and subjective impressions of myself."

The Symphony No. 6 in C minor, Op. 58, was composed by Alexander Glazunov in 1896, and was published two years later. It is dedicated to Sigismond Blumenfeld, brother of the composer Felix Blumenfeld. It is in four movements: Adagio ( = 66) – Allegro passionato ( = 66) Tema con variazioni: Andante ( = 66) Intermezzo (Scherzo allegretto) ( = 138) Finale: Andante maestoso ( = 60) – Moderato ( = 92)

The Symphony No. 7 in F major, Pastoral, Op. 77, was completed by Alexander Glazunov on July 4, 1902. It is dedicated to Mitrofan Belyayev. It is in four movements: Allegro moderato Andante Scherzo: Allegro giocoso Finale: Allegro maestoso

The Symphony No. 8 in E-flat major, Op. 83, was composed by Alexander Glazunov in 1905, and was published two years later. This four-movement symphony (his last one) was premiered on December 22, 1906 in Saint Petersburg, the composer conducting. It was an important influence on Igor Stravinsky's Symphony in E-flat. It is in four movements: Allegro moderato ( = 100) Mesto ( = 50–54) Allegro ( = 120) Finale: Moderato sostenuto ( = 66)

Alexander Glazunov's Symphony No. 9 in D minor was begun in 1910, but was still unfinished by the time of his death in 1936. Gavril Yudin orchestrated the first movement piano sketch. The symphony takes about ten minutes to perform in its entirety. It has been recorded by the Alexander Anissimov and the Moscow Symphony Orchestra for Naxos and José Serebrier and the Royal Scottish National Orchestra for Warner Classics.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

This is a list of compositions by Alexander Glazunov (1865–1936).

This is a list of compositions by Alexander Glazunov (1865–1936).

The Cincinnati Symphony Orchestra is an American orchestra based in Cincinnati, Ohio. Its primary concert venue is Music Hall. In addition to its symphony concerts, the orchestra gives pops concerts as the Cincinnati Pops Orchestra. The Cincinnati Symphony is the resident orchestra for the Cincinnati May Festival, the Cincinnati Opera, and the Cincinnati Ballet. Additionally, the orchestra supports the Cincinnati Symphony Youth Orchestra (CSYO), a program for young musicians in grades 9 to 12.

Russia, or the Russian Federation, is a country in Eastern Europe and North Asia. It is the largest country in the world, spanning eleven time zones and sharing land borders with fourteen countries. With a population of over 140 million, Russia is the most populous country in Europe and the ninth-most populous in the world. It is a highly urbanised country, with sixteen of its urban areas having more than 1 million inhabitants. Moscow, the most populous metropolitan area in Europe, is the capital and largest city of Russia, while Saint Petersburg is its second-largest city and a major cultural centre. Human settlement on modern Russian territory dates back to the Lower Paleolithic. The emergence of the East Slavs as a prominent group in Europe between the 3rd and 8th centuries AD led to the creation of Kievan Rus' in the 9th century. Rus' adopted Orthodox Christianity from the Byzantine Empire in 988. Following its disintegration, the Grand Principality of Moscow began the process of unifying Russian lands in the late 13th century, leading to the formation of the Tsardom of Russia in 1547. By the early 18th century, the Tsardom had expanded vastly through conquest, annexation, and the efforts of Russian explorers. It was proclaimed as the Russian Empire in 1721, which remains the third-largest in history. The Russian Revolution of 1917 led to the abolition of monarchic rule and the creation of the first constitutionally socialist state in the world. Following the Russian Civil War, Russia established the Soviet Union as its largest and principal constituent. Amidst rapid industrialisation in the 1930s, the Soviet Union saw deaths of millions under the totalitarianism of Joseph Stalin. It played a decisive role for the Allies in World War II by leading large-scale efforts on the Eastern Front. During the Cold War, the Soviet Union emerged as a superpower and competed with the United States for ideological dominance and international influence. The 20th-century Soviet era saw some of the most significant Russian technological achievements, including the first human-made satellite and the first human expedition into outer space. In 1991, Soviet Russia emerged from the dissolution of the Soviet Union as the independent Russian Federation. Following a constitutional crisis in 1993, the Soviet government structure was abolished and a new constitution was adopted, which established a federal semi-presidential system. Since the turn of the century, the political system of Russia has been dominated by Vladimir Putin, under whose leadership it has experienced democratic backsliding and transformed into an authoritarian regime. Post-Soviet Russia has been militarily involved in numerous conflicts, including its war with Georgia in 2008 and its war with Ukraine since 2014. The latter has involved the internationally unrecognised annexation and occupation of Ukrainian territories, including that of Crimea in 2014 and four other regions in 2022, during an ongoing war. Russia is generally considered a great power and wields significant regional influence in Europe, possessing the largest stockpile of nuclear weapons and having the third-highest military expenditure in the world. Its advanced economy ranks among the largest in the world, relying on its vast mineral and energy resources, mainly oil and natural gas. Russia continues to rank very low in measurements of democracy, human rights and media freedom, while having high levels of corruption. As the successor state of the Soviet Union, it retains its seat as a permanent member of the United Nations Security Council and is a member state of several international organisations. Russia is also home to 32 UNESCO World Heritage Sites.

The Violin Concerto in A minor, Op. 82, by Alexander Glazunov is one of his most popular compositions. Written in 1904, the concerto was dedicated to violinist Leopold Auer, who gave the first performance at a Russian Musical Society concert in Saint Petersburg on 15 February 1905. The British premiere of the concerto followed just over a year later, under the direction of Sir Henry Wood and with Mischa Elman as soloist. The American premiere of the work was not until 27 October 1911. It was performed by Efrem Zimbalist at his American debut with the Boston Symphony Orchestra. The violin concerto is quite representative of Glazunov's technically brilliant style. There are no pauses or numbered sections in the concerto; it is nevertheless often described as consisting of either three or four movements, which may be variously labeled. The slow second movement is seamlessly inserted by the composer into the middle of the first movement, which is an original and rare structural peculiarity of this composition. The main cadenza at the end of the first movement was composed by Glazunov himself. It utilizes extensive double-stopping technique and is considered one of the most difficult parts of the concerto.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.