600:. But any influence was considered by him as a step on his path of self-education. Contemporary techniques of composition were not a dogma for him, he treated them selectively and interpreted them freely. After all, the technical design of his works (Falik called it an "engineering plan") was always as original and logically verified, as it was predetermined by the tasks of embodying an artistic concept. Thus, in the same work an expanded tonality and modal structures coexist with dodecaphony technique elements; melodic themes alternate with timbre and texture complexes-themes and colorful sonority; rigid, elastic and "gestural" rhythm is replaced with a free speech-recitation or chant-monody development of musical time. The intonation origins of his music are often rooted in the ancient layers of folk and professional music of the Russian, European and Jewish traditions. Archaic intonations, marked by his own style and placed in the stylistic context of music of the XX-XXI centuries, determine the sound image of the most significant compositions of the central and late works (such as Violin Concerto, String Quartets, Second and Third Symphonies, Elegiac Music, Symphony Etudes, Concerto della Passione, Mess, Liturgical Chant et.)
425:, completed in 1976, to the memory of Shostakovich. The conversation that took place between Falik and Shostakovich in 1975, became an impulse to start working on this opus. Shostakovich noticed it is impossible to compose a joyful String Quartet. According to him, it was beyond anybody but Mozart. Falik sportingly undertook to refute this statement and promised Shostakovich to compose such a Quartet. The beginning of the work on the first movement in 1975 showed that the argument was already lost. Soon, tragic news of Shostakovich's death predetermined the mourning and memorial character of the second and the third movements of the Quartet. Instead of a joyful quartet it turned out to be a requiem. Without stylistic borrowings or quotations from Shostakovich's music Falik created a musical portrait of the Master, expressed personal thoughts and feelings, his own pain of the irreparable loss.
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the Soviet Union composers, as well as Falik's own compositions. According to his friend Adam
Stratievsky, there were two youth quartets (1953 and 1954) written for the ensemble. The Quartet in e-moll (1954) was subsequently published by the Soviet Composer Publishing House in 1982 and was included in the list of the composer's works as the First Quartet. By the time he left school, Falik had composed a number of works, including quartets, works for an orchestra, choirs, romances, and a piano prelude. However, he decided to enter the performing faculty of the
393:(1971) marked the beginning of the period of creative maturity. A lyrical-philosophical concept of the Concerto is embodied on a new technique level: the five-movement composition consists of open parts following each other without interruption and provides the effect of continuous development of the principal intonation idea. Melodic material of the Concerto grows out of several simple tunes which are presented in the Introduction and pass evolving and varying through the whole cycle. The Concerto was dedicated to his friend
548:. However, it is necessary to be careful in choosing the object of imitation, to distinguish the "open" and "closed" types of composing style systems. The influence of an "open style system", such as Prokofiev's, Stravinsky's, or Schoenberg's works pose no danger for beginners. On the contrary, it is better, in his opinion, to avoid the influence of such composers as Shostakovich's and Rachmaninoff's "closed style systems".
196:. His father volunteered on the front lines of the war, and perished in 1942. The family tragedy and traumatic experiences of his early childhood strongly influenced not only Falik's personality but also his art. After returning to Odessa in 1944, he started to study cello under the guidance of his father's friend from the Odessa Opera House symphony orchestra, David Abramovich Mevzhinsky.
421:, he was strongly influenced by Shostakovich's personality and works, as were many young musicians of Falik's generation. Nevertheless, the young composer sought to avoid borrowing any elements of Shostakovich's musical language, as he mostly embraced the poetics of master's works, tragic spirit and deep psychological tension of his music. He dedicated the
275:. The words sank deep into the young composer's soul, strengthening the long-cherished idea of treason to the cello. For the next several years, Falik devoted more and more time to composition even though he still continued to perform solo and as a member of chamber ensembles. In 1975, Falik expressed his piety for the Maestro in
560:'s play "A Peasant Woman from Getafe" for Leningrad Film Studio. A few years later he was entrusted with artistic direction of the Leningrad Conservatory's Student Chamber orchestra. Besides, he performed as a conductor all over Russia and abroad. During his American tour in the 1990s, his performances with the
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with lyrics of Silver Age
Russian poets brought him a wide fame as a choral composer. He interprets choir in an unusual manner, so it quite often sounds like an orchestra or a chamber instrumental ensemble. Colorful harmony, metaphorical musical images, melodic and rhythmic virtuosity of chorus parts
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In 1980, Falik became a senior lecturer at the
Leningrad Conservatory. Since 1988, he worked there as a professor of composition and instrumentation. As a mentor of young composers, Falik realized that his task was not to push the talent, but to guide it in the right direction, by keeping a talented
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for two narrators, children choir and symphony orchestra was completed. In the following year Falik was invited to
America to conduct the Chicago Symphony Orchestra at the world premiere of his musical Fairy Tale. Followed by his family, Falik spent a week in Chicago, conducting orchestra and choir
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based on the text of a
Russian Orthodox prayer book. It became the most considerable amongst the choral works of those years and marked a watershed on his way, his own new Millennium. In his Interview with A. Yepishin in 2006 Falik recalled that his creative impulse for writing the choral cycle was
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Falik had a special interest in quartets. In addition, as a cellist, he played in the school's academic quartet ensemble. In 1952, he organized his own quartet ensemble, which consisted of his schoolmates and friends. Along with classical works, the repertoire of this quartet included new works of
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The following year, Falik entered his class at the famous Odessa
Secondary Special Music Boarding School, beginning his systematic music education. At the age of 11, Falik began composing, often neglecting his schoolwork in favor of his new hobby. Soon he got his first mentor in composition, the
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A super master of every aspect of technique, he treats new methods selectively – only using them as his artistic concepts require. First, he searches for hidden resources in traditional genres and forms but foremost is the emergence of the idea, the conviction of the decision, the grasp of the
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for soloists, chorus and chamber orchestra was written surprisingly quickly – in a month and a half. The premiere took place in St. Petersburg in 1997 (performed by the Choir of Youth under Yu. Khutoretskaya), then, in 1999, in
America at St. John's Church of Youngstown city (USA, Ohio). Both
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On the whole, the period of the 1970s became very fruitful for Falik in terms of searching his own style. At this time, he became renowned as a chamber-instrumental and an orchestral composer. Since 1966, Falik was a regular participant of the
Leningrad Musical Spring Festival. In 1972, his
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233:, and a few months later he won the First prize in the International Cello Competition at the Eight World Festival of Youth and Students in Helsinki. Almost half a century later, in 2007, Falik took part in the Tchaikovsky Competition again, but as a jury member in the cello category.
498:(1977) etc. Musical language elements of these compositions refer to such Christian choral traditions as Znamenny chant, Gregorian chant, early forms of church polyphony. A focus on prototypes of the sacred genre sometimes can be "read" in titles of works or movements, for example,
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which greatly impressed and inspired him. To Falik, it wasn't just luck, but a "sign of destiny" to get acquainted with
Stravinsky at the Leningrad Philharmonic. Having heard that the young musician combined a professional performing career with composition, Stravinsky said:
572:, he performed music of little-known and young Russian composers. As a conductor, Falik participated in the Second and Third World congresses of cellists (1997, Saint Petersburg, and 2000, Baltimore, respectively) under Mstislav Rostropovich's leadership.
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while he was touring in the USSR in 1962. Stravinsky had been his music idol since his childhood. Falik heard
Stravinsky's music for the first time in his youth on a record brought by friends from abroad. He listened to Stravinsky's
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Perhaps due to Stravinsky's influences, the next few years of Falik's career in composition were devoted to the ballet genre. Between 1966 and 1968, he created three ballets in collaboration with choreographer Georgy Aleksidze:
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rehearsals, besides he lectured to composition students from Northwestern and De Paul universities and the University of Chicago (Illinois, USA). He returned to the Northwestern University as a visiting professor in 1991-1992.
229:'s guidance. He successfully started his performing career with his first solo concert in Leningrad in 1958. He then performed concert tours in Soviet cities. In 1962, Falik became a Diploma-winner of the Second International
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62:
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Though he had a very busy life as a cellist, Falik never lost his desire to compose music, and in 1959 he was accepted to the composition class of the Conservatory first under Yuri Balkashin's guidance, then under
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was staged during two seasons in Leningrad Kirov Opera and Ballet Theatre, then in Tbilisi (1973) and Estonia (1979). At Leningrad premiere production in 1969 Falik made his debut as a conductor on a big stage.
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At the turn of the 1960-70s, Falik discovered a new field of work – music for choir a cappella. Since 1969, choral cycles and separate compositions for choir appeared every year. Works of the 1970-80s, such as
522:. She considered that only a Soviet composer should continue this tradition. On the advice of Vladimir Ovcharek, head of the Leningrad Taneyev Quartet, she addressed the proposal to Yu. Falik. "
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are titled "Lacrimosa", "Dies irae", "Libera me", "Lux aeterna". However, Falik doesn't seek to recreate the genre, treating prototypes generically as symbols of the spiritual human being.
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for symphony orchestra was performed at the Third International Festival "Prague Spring" by a Czechoslovak radio orchestra under conductor Eduard Serov. In 1977, Falik participated in the "
188:. In early childhood, Yuri Falik was often present at orchestra rehearsals and opera productions, easily memorizing and humming the music he heard. Yuri and his mother were evacuated to
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544:" from the beginning. He particularly focused on the issue of influence and imitation: in his opinion, a young composer should not be afraid of someone else's influence:
909:, musical fairy tale after the fairy tale by Jeraldin Freund for two narrators, children choir and symphony orchestra after the Fairy Tale by Geraldin Freund (1989)
1346:. In: Ruchievskaya E. A. Works of Different Years: V. 1. Articles, notes, memories. St. Petersburg. Kompozitor-St. Peterburg Publ., pp. 211–270. (in Russian)
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orchestras were highly appreciated by the press. Lists of his programs always included music of the 20th century, along with the venerable names of Stravinsky or
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291:(1965) dedicated to Yuri Balkashin's memory. This work clearly defined Falik's compositional personality. The Quartet was performed with great success by the
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In the end of the 1980s the American producer Geraldine Freund set out to revive the genre of symphonic musical fairy tale for children, like Prokofiev's
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327:. He outlined the plan, action and atmosphere of a ballet and later developed dance movements in detail for the each phrase of Falik's music.
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346:" was never staged, its music is well known in Russia as the First Concerto for Symphony orchestra. The premiere of the Concert conducted by
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in 1966 and was recommended for publication by the Leningrad Composers' Union. Considering this work a milestone, he arranged it for
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style to the composer's choral music. At the same time, Falik appears as a lyricist and a fine connoisseur of poetry in this genre.
279:("Elegiac Music") for sixteen strings and four trombones, timed to coincide with the five-year anniversary of Stravinsky's death.
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For the first time, he picked up the conductor's baton, while a student of the Conservatory, when he had to record music for
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1402:(ed.) (2012). In: Muzykal'nyj mir v novom tysyacheletii: vzglyad iz Peterburga , part 1. Interv'yu s kompozitorami/ ed. by
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Yuri Falik was born into the family of orchestral musicians. His father Alexander Efimovich Falik played percussion in the
1868:
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210:
20:
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903:("Zveniden'") vocal-symphony cycle for mezzo-soprano and orchestra on lyrics by early XX century Russian poets (1986)
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provoked by the prayer book published in 1887, which he discovered in 1983 in the belongings of his deceased mother.
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It should be noted the sacred theme matured over the previous two decades in his instrumental works such as the
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1425:
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for brass quintet (Brass quintet of the Chicago Symphony orchestra) (2 trumpets, French horn, trombone) (2003)
1078:, four miniatures for children's (women's) choir based on poems by Marshak, Mayakovsky, and Reznikova (1985)
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A few years later, in 1996, another sacred choral work appeared. American choirmaster Larry Сook, who heard
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1096:("Liturgicheskie pesnopeniya"), the texts of the Russian orthodox "Prayer Book" ("Molitvoslov") (1990–1993)
1393:. Diss. kand. iskusstvovedeniya . Nizhnij Novgorod: N. Novgorod State Conservatory, 25 p. Available from:
1784:
Catalog of Yuri Falik's published works by the St.-Petersburg Publish House "Kompozitor - St. Petersburg"
226:
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Metamorphoses. Yuri Falik: cellist, composer, conductor, teacher. Dialogue with the composer Yuri Falik
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1813:
1808:
1316:, no. 4, pp. 108–110. Available from: https://www.elibrary.ru/item.asp?id=13031596 (in Russian)
597:
526:, Freund recalled. Falik accepted and soon, by August of 1989 full score of the musical fairy tale
418:
406:
398:
273:
It's impossible to combine: a cello is a very difficult instrument and takes a huge amount of time"
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366:(1977), dedicated to G. Rozhdenstvensky. Thus, it was within the ballet genre that the composer's
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composer Vladimir Afanasievich Shvets, who taught musical literature at the P. Stolyarsky School.
593:
265:
1283:
Grove Dictionary Online. Available from: https://doi.org/10.1093/gmo/9781561592630.article.09261
941:("Poluskazki"), the Cycle of vocal miniatures on poems by Krivina, for baritone and piano (1965)
307:(a chamber ballet for four dancers to the similarly-named music of Falik's Concerto for Winds),
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in Professor Alexander Shtrimmer's cello class. He then pursued his postgraduate studies under
1716:
1563:
963:
Vocal Cycle for Mezzo-soprano and Orchestra (lyrics by early XXth century Russian poets (1980)
585:
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matured, quite clearly exposing the theatrical and playful nature of Falik's creative talent.
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897:, chamber cantata for soprano and chamber orchestra based on poems by Anna Akhmatova (1978)
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1537://Adam Solomonovich Stratievsky: Kniga pamyati. St. Petersburg: Art- Express Publ. p. 272
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Adam Solomonovich Stratievsky: Kniga pamyati - Adam Solomonovich Stratievsky: Memory Book
1114:, Сoncerto for soprano solo and choir a cappella, lyrics by Akhmatova and Gumilyov (2001)
1260:(2020) Balety Yu. Falika: zhanrovye vzaimodejstviya i muzykal'no-dramaticheskie idei //
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1802:
741:
for viola and small symphony orchestra (for the day of Saint Petersburg) （1973, 2002）
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1380:(ed.) (2016). St. Petersburg: Art- Express Publ., pp. 270–348. Available from:
1788:
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140:; July 30, 1936, Odessa, USSR – January 23. 2009, Saint-Petersburg, Russia) was a
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Sigitov S. (1996) Beseda s Yuriem Falikom //Mariinskij teatr. 1996, № 5-6, p. 6
1406:. St. Petersburg: Kompozitor-Sankt-Petersburg Publ., pp. 94–102 (in Russian)
1205:
from J. Gershwin's Opera "Porgy and Bess": arrangement for Cello and Piano (1966)
1547:
1300:
Yuri Falik: violonchelist, kompozitor, dirizher, pedagog. Dialogi s kompozitorom
1216:
350:
took place in 1971, in Moscow. A similar fate befell the fourth planned ballet
1171:, the play by Lope de Vega/ Leningrad TV Studio, dir. by P. K. Veisbrem (1962)
546:"If your own nature is strong, it will gain strength and make its voice heard"
189:
148:
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1302:(2010). St. Petersburg: Kompozitor-Sankt-Peterburg Publ., 366 p. (in Russian)
1289:(2017) "Liturgicheskie Pesnopeniya" Yuriya Falika: problema tsiklichnosti //
1084:, ("Troicyn den'"), Concerto for Choir a cappella, lyrics by Tsvetaeva (1987)
502:(1975), an orthodox funeral service, or the Second Movement "Requiem" of the
241:'s. He graduated from the Conservatory as a composer in 1964, submitting the
1262:
Vestnik Akademii russkogo baleta - Bulletin of the Vaganova Ballet Academy's
524:
I was told that Falik is the only soviet composer who still writes melodies"
316:
257:
During this period, the young Falik had a significant meeting with composer
1225:
Sher. Children's Concerto for violin and piano. Editing and instrumentation
981:
for soprano and piano, lyrics by Maximovich translated by Akhmatova (1995)
487:
premieres (Russian and American) were played under the composer's baton.
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144:
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921:, chamber cantata for mixed choir, clarinet, piano and percussion (2007)
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61:
32:
1605:, ed. (2010). St. Petersburg: Composer-Saint-Petersbur Publ., p. 130.
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The influences which formed his style include those of I. Stravinsky,
334:
was produced on the stage of the Leningrad Academic Cappella in 1967.
86:
1274:, Issue 5. Moscow: Kompozitor Publ., pp. 279 – 317 (in Russian)
837:, for flute, bassoon, violin, cello and piano (from the Opera Buffa
482:, suggested that Falik write a catholic Mass. Falik remembered, the
1400:
Yu. Falik: "Nuzhno vernut' russkij fol'klor v pravoslavnuyu muzyku"
1000:, Chorus Cycle, lyrics by Kedrin, Balmont, Nikitin, Zhigulin (1970)
401:) with great success. In 1973, Falik received a positive review on
1381:
1272:
Kompository Rossijskoj Federacii - Composers of Russian Federation
152:
1165:
Leningrad Young Spectator Theatre , dir. by P. K. Veisbrem (1962)
725:, overture for Symphony orchestra (Vivat Chicago-Symphony) (1991)
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intricacy of his musical development and the beauty of the sound
1270:(ed.) (1994) Yuri Falik. Shtrihi k tvorcheskomu portretu . In:
1126:("Pred Svyatye Ikony"), Cycle for mixed choir a cappella (2004)
701:
for three flutes (by one performer) and String Orchestra (1983)
1672:"Петербургская филармония посвятит концерт памяти Юрия Фалика"
1576:"Конкурс имени Чайковского: лауреаты и члены жюри за все годы"
184:
orchestra. His mother Yevgenia Mikhailovna also worked at the
1144:
Chorus Cycle in two parts, lyrics by European poets of the XI
1120:
with lyrics by Arseny Tarkovsky, for Choir (and Flute) (2003)
1090:, Concerto for Choir a cappella, lyrics by Pasternak (1988),
975:
for Tenor and Piano, lyrics by Soloukhin and Zhigulin (1985)
640:("Plutni Skapena") opera-buffa after Moliere's comedy (1982)
1326:. Leningrad: Sovetsky Kompozitor Publ., 104 p. (in Russian)
665:
for orchestra after the legends of Thiel Ulenspiegel (1967)
634:
choreographic tragedy after the tragedy by Aeschylus (1968)
1370:, Issue 3. Leningrad - Moscow. pp. 20–39 (in Russian)
1036:, Suite for Women's Choir, lyrics by Vaarandy, Lyiv (1976)
358:. The music of the failed ballet formed the basis for the
947:, lullabies for Mezzo and Piano, lyrics by Mistral (1972)
689:("Elegiac Music") for 4 trombones and 16 strings) (1975)
1769:Юрий Фалик — виолончелист, композитор, дирижёр, педагог
1426:
Fantasy comes to Life in `Polly and the Dinosaurs`//
1364:
Kompozitor Yuri Falik: shtrikhi tvorcheskogo portreta
354:
based on F. Goya's works to a libretto by the artist
1613:
1611:
1211:: Editorial, recitatives, and instrumentation (1974)
1154:
for Chorus a cappella, lyrics by Solzhenitsyn (2009)
1233:
Transcriptions for string ensemble and piano (2003)
409:, who congratulated Falik on his "excellent opus".
287:Falik's independent composer path started with the
116:
108:
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1521:. Booklet. Composers Union of St.-Petersburg Publ.
1030:, lyrics by Pasternak, Zabolotsiy, Zhigulin (1975)
951:Five poems by Anna Akhmatova for Soprano and Piano
397:and performed by him in Leningrad under conductor
330:Only two of three ballets of the 1960s were staged
1192:Moscow Central Science Film, dir. Burimsky (1976)
1130:Four Russian songs for Women's Choir, with lyrics
891:, cantata for soloist, choir and orchestra (1968)
299:and published it as "Music for Strings" in 1968.
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915:for soloists, choir and chamber orchestra (1996)
765:(1954, 1965, 1974, 1976, 1978, 1984, 1993, 2001)
417:Despite the fact that Falik wasn't a student of
1839:Academic staff of Saint Petersburg Conservatory
1472:The New Grove Dictionary of Music and Musicians
1138:("Dva molitvosloviya") for Women's choir (2007)
386:(the violin part was performed by G. Zhislin).
470:In 1990-1992 Falik completed the main part of
1548:https://tchaikovskycompetition.ru/history/484
1529:
1527:
1291:Observatoria kulturi / Observatory of Culture
1186:, Leningrad Science Film, dir. Zhvania (1974)
795:for Vibrophone, Marimba and 5 Tom-toms (1972)
315:" (a choreographic tragedy after the work by
8:
1376:(ed.) (2016) O kvartetah Yuria Falika . In:
243:Symphony for String Orchestra and Percussion
1336:. St. Petersburg: Soyuz Kompozitorov Publ.
1293:, 14, no. 4. Available from: (in Russian)
1012:for Men's Choir, lyrics by Sumarokov (1974)
934:, vocal cycle for Baritone and Piano (1961)
1731:. St. Petersburg: Soyuz Kompozitorov Publ.
1024:, chorus poem, lyrics by Mejelaitis (1974)
994:, Сhorus Сycle, lyrics by Soloukhin (1969)
659:for string orchestra and percussion (1963)
221:From 1955 till 1960, Falik studied at the
60:
41:
1443:Honored Artists of the Russian Federation
1354:Mariinskij teatr – Mariinskii Opera House
1344:Simphonicheskoe tvorchestvo Yuriya Falika
878:, Invention and Chaconne for piano (1981)
695:for orchestra ("Symphonic Etudes") (1977)
463:– all of these impart bright features of
1684:John von Rhein. "Staging a Pet Project"
342:Despite the fact that the second ballet
1717:10.1093/gmo/9781561592630.article.09261
1564:10.1093/gmo/9781561592630.article.09261
1508:. Leningrad: Sovetsky Kompozitor, p. 5
1464:
1197:Editions, Arrangements, Instrumentation
783:Concerto for wind and percussion (1966)
719:for cello and symphony orchestra (1988)
713:for bassoon and string orchestra (1987)
492:Third, Fourth, Fifth and Sixth Quartets
1794:Video recordings of Yury Falik's works
1789:Audio recordings of Yuri Falik's works
1593:Ruch'evskaya, Ekaterina (1981) – p. 18
1042:, Concerto for Choir a cappella (1979)
1018:("Neznakomka"), lyrics by Block (1974)
813:for Flute, Clarinet and Bassoon (1978)
1707:
1705:
1486:(in Russian). compozitor.spb.ru. 2022
1314:Musikalnaya Akademiya – Music Academy
1102:, five Prayers for mixed Choir (1997)
653:for oboe and chamber orchestra (1961)
458:as well as three Concertos for choir
7:
1864:Saint Petersburg Conservatory alumni
1589:
1587:
1585:
1546:Ruch'evskaya E. (1981), p. 11. And:
1254:, no. 4, pp. 36–40 (in Russian)
1246:(1986) Obrashchayas' k Mol'yeru //
1231:S. Joplin, G. Gershwin, O. Peterson:
1221:: editing and instrumentation (1993)
1108:Concerto for Choir a cappella (1998)
277:"Mourning Mass for Igor Stravinsky"
1844:Recipients of the Medal of Pushkin
1352:(1996) Beseda s Yuriem Falikom //
687:"Morning Mass for Igor Stravinsky"
500:"Morning Mass for Igor Stravinsky"
14:
1391:Horovoe tvorchestvo Yuriya Falika
1356:, no. 5-6, p. 6 (in Russian)
1158:Music for Drama Theatre and Films
1072:, with lyrics by Tarkovsky (1984)
384:Concerto for Violin and Orchestra
159:(Saint-Petersburg) branch of the
1368:Muzïka i zhizn' - Music and Life
860:, a piano cycle for youth (1969)
771:for Oboe, Cello and Piano (1959)
130:Yuri (Yury ) Alexandrovich Falik
1824:Russian male conductors (music)
1758:Личности Петербурга. Юрий Фалик
1631:Ruch'evskaya E. (1981) – p. 13.
1412:(1990) Staging a Pet Project //
1184:"The Near World, the Far World"
1060:with lyrics by Lermontov (1983)
835:Introduction and Three Canzones
683:for Violin and Orchestra (1971)
1699:Metamorphoses, (2010), p. 127
1661:Ruch'evskaya E. (1981) – p. 5
1209:R. Plunkett "Cornevil's Bells"
508:Concerto della Passione (1988)
186:Odesa Opera and Ballet Theatre
112:Violinist, conductor, composer
1:
1517:Ruch'evskaya E., ed. (1995).
1169:"A Peasant Woman from Getafe"
1054:with lyrics by Vinonen (1980)
969:for Baritone and piano (1984)
506:. Likewise, movements of the
311:(based on a Flemish legend),
21:Eastern Slavic naming customs
1535:About Quartets of Yuri Falik
1281:Falik, Yuri Aleksandrovich//
1180:, directed by Shapiro (1972)
1533:Stratievsky A. ed. (2016).
1418:, March 4. Available from:
1148:XVII centuries (2007, 2008)
707:for String Orchestra (1984)
1890:
1834:People's Artists of Russia
1048:with lyrics by Blok (1980)
1040:"Poems by Igor Severianin"
1006:, Prelude and Fuga (1973),
986:Works for Choir a cappella
825:for flute and piano (1980)
756:Chamber Instrumental Works
638:"The Impostures of Scapin"
19:In this name that follows
18:
1859:Soviet conductors (music)
1558:Grove Dictionary Online.
1452:People's Artist of Russia
1132:by Nikolai Klyuyev (2005)
807:for Horn and Piano (1975)
293:Leningrad Taneiev Quartet
165:People's Artist of Russia
137:
59:
53:People's Artist of Russia
1711:Grove Dictionary Online
1504:Ruch'evskaya E. (1981).
1264:, no. 3, pp. 85–98.
831:for Clarinet Solo (1983)
155:, a board member of the
138:Юрий Александрович Фалик
48:
1727:Ruch'evskaya E. (1995)
1424:(1990) Available from:
1175:"Theme with Variations"
1034:"Estonian Watercolours"
876:"Dedicated to Paganini"
717:Concerto della Passione
626:Works for Music Theatre
542:"wrapped in cotton wool
319:). Aleksidze worked on
231:Tchaikovsky Competition
1849:Soviet music educators
1819:Russian male composers
1340:Ekaterina Ruch'evskaya
1330:Ekaterina Ruch'evskaya
1320:Ekaterina Ruch'evskaya
864:Children's Piano Album
823:Pastoral and Burlesque
811:English Divertissement
801:for Solo Violin (1975)
614:Ekaterina Ruch'evskaya
456:Estonian Watercolours"
413:Falik and Shostakovich
249:as his diploma works.
223:Leningrad Conservatory
211:Leningrad Conservatory
69:Background information
1874:20th-century cellists
1652:(2010) – pp. 151–152
1052:"Karelian Watercolor"
973:"…From lyrical Diary"
907:"Polly and Dinosaurs"
819:for Cello Solo (1979)
596:, W. Lutosławski and
528:"Polly and Dinosaurs"
423:Fourth String Quartet
289:Second String Quartet
227:Mstislav Rostropovich
1869:Musicians from Odesa
1619:"Фалик. Метаморфозы"
1190:"Five Years of Life"
1106:"Stanzas by Pushkin"
883:Vocal-symphony Works
520:"Petya and the Wolf"
504:Sixth String Quartet
149:orchestral conductor
1674:. 21 February 2009.
1094:"Liturgical Chants"
926:Chamber Vocal Works
480:"Liturgical Chants"
472:"Liturgical Chants"
419:Dmitri Shostakovich
407:Dmitry Shostakovich
403:The Violin Concerto
309:"Thiel Ulenspiegel"
176:Childhood and youth
1688:, 1990. March 4.
1278:Arkady Klimovitsky
1268:Arkady Klimovitsky
1124:"Miraculous Faces"
939:A Half-fairy Tale"
866:(10 pieces) (1974)
566:Baltimore Symphony
514:"Polly" in America
496:"Symphonic Etudes"
399:Alexander Dmitriev
364:"Symphonic Etudes"
362:for the orchestra
344:"Thiel Ulenspiegel
1248:Sovetskaya Musika
1163:"Pushkin's Tales"
1142:"Book of Canzons"
1076:"Colorful Images"
1046:"The City sleeps"
1016:"A Stranger Lady"
787:Partita for organ
669:Music for Strings
247:Quintet for Winds
124:
123:
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1854:Soviet composers
1829:Russian cellists
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1749:
1748:// kino-teatr.ru
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1374:Adam Stratievsky
1360:Adam Stratievsky
1244:Mikhail Galushko
967:"Beranger Songs"
945:"The Sad Mother"
872:for piano (1982)
839:"Plutni Skapena"
777:for winds (1964)
749:Canto In Memoria
739:Lyric Concertino
699:Chamber Concerto
645:Orchestral Works
444:A Stranger Lady"
395:Victor Lieberman
368:concertato style
356:Gavriil Glickman
348:Dmitry Kitayenko
297:string orchestra
161:Composers' Union
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103:Saint-Petersburg
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1415:Chicago Tribune
1287:Andrey Kovalyov
1240:
1070:"Ivan's Willow"
1004:"Two solfeggio"
895:"Praying Voice"
889:"A Solemn Song"
858:"Nadia's Tales"
763:String Quartets
693:Second Concerto
623:
598:D. Shostakovich
578:
576:Music and style
554:
537:
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440:"Two Solfeggio"
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391:Violin Concerto
360:Second Concerto
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259:Igor Stravinsky
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1778:External links
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376:First Concerto
284:
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266:Rite of Spring
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213:as a cellist.
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1028:"Winter Sons"
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998:"Autumn Sons"
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1488:. Retrieved
1484:"Юрий Фалик"
1478:
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1396:(in Russian)
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582:P. Hindemith
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332:. "Buffoons"
331:
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194:World War II
182:Odessa Opera
179:
129:
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98:(2009-01-23)
84:30 July 1936
36:
28:
1814:2009 deaths
1809:1936 births
1490:October 14,
1217:Prince Igor
1215:Borodin's "
1118:Four Сhoirs
852:Piano Works
845:Retro-music
817:Composition
799:Composition
570:Lutoslawski
49:Юрий Фалик
33:family name
1803:Categories
1746:Yuri Falik
1729:Yuri Falik
1519:Yuri Falik
1506:Yuri Falik
1459:References
1430:, March 5.
1334:Yuri Falik
1324:Yuri Falik
1112:"Ellegies"
1010:Cant-Vivat
992:"Triptich"
901:"Ringaday"
781:"Buffoons"
711:Concertino
651:Concertino
632:"Oresteia"
552:Conducting
465:concertato
460:a'cappella
452:Cant-vivat
336:"Oresteia"
305:"Buffoons"
253:Stravinsky
190:Kyrgyzstan
117:Instrument
80:1936-07-30
46:Yuri Falik
25:patronymic
1258:Anna Gorn
1100:"Prayers"
1082:"Trinity"
979:Two songs
959:Zveniden'
793:Invention
586:B. Bartok
382:" with a
317:Aeschylus
313:"Oresteia
171:Biography
157:Leningrad
1332:(1995).
1308:(2009).
1152:"Prayer"
1064:Doloroso
1058:"Prayer"
1022:"A Harp"
841:) (1995)
751:" (2005)
733:Kaddish"
681:Concerto
535:Teaching
321:libretto
245:and the
145:composer
1389:(2009)
1342:(2011)
1322:(1981)
1178:Lenfilm
805:Toccata
775:Quintet
562:Chicago
540:person
204:Quartet
192:during
153:cellist
142:Russian
134:Russian
1454:(2002)
1445:(1981)
1437:Awards
1227:(2003)
1066:(1983)
953:(1972)
789:(1966)
761:Eight
735:(1993)
677:(1971)
671:(1968)
283:Career
163:, and
120:Violin
87:Odessa
23:, the
723:Vivat
621:Works
405:from
37:Falik
1492:2022
913:Mass
769:Trio
564:and
484:Mass
389:The
323:and
93:Died
74:Born
1713:doi
1560:doi
1312://
454:, "
446:, "
442:, "
35:is
27:is
1805::
1736:^
1704:^
1610:^
1584:^
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1366:.
1250:–
961:")
608:"
592:,
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268:",
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136::
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1494:.
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1146:-
937:"
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132:(
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78:(
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
