Musician's or Publisher's Notes With the rise of interest in folk music throughout the 19 th century, the Ukrainian duma pl. Thus, the word dumka pl. The composition of dumky became quite popular after the publication of an ethnological study and a number of lectures given by the Slavic composer Mykola Lysenko in in Kiev and St. Petersburg, which featured performances by a Ukrainian kobzar.
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Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country. Creative Commons Attribution 3. Work Title Dumka Alt ernative. Jurgenson , 13 pages. Plate Duration 9 minutes Composer Time Period Comp. Dumkas ; For piano ; Scores featuring the piano ; For 1 player. Contents 1 Performances 1.
Editor Anatoly Drozdov — Plate M. New York: E. Kalmus , n. Piano Series No. Original publisher info and plate numbers omitted in reprint.
Editor Fritz Weitzmann. Plate E. Editor Vassily Checkin. Mutopia Project, Tchaikovsky, Pyotr. Tchaikovsky Research.
Dumka (musical genre)
The word "dumka" literally means "thought". Originally, it is the diminutive form of the Ukrainian term duma , pl. The composition of dumky became popular after the publication of an ethnological study and analysis and a number of illustrated lectures were made by the Ukrainian composer Mykola Lysenko in and in Kiev and Saint Petersburg. The lectures and publication were illustrated by a live performances by the blind kobzar Ostap Veresai who performed a number of dumky singing to the accompaniment of his bandura.
Dumka, for piano in C minor, Op. 59
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Dumka, Op.59 (Tchaikovsky, Pyotr)
Classical Music | Piano Music
The dumka, a narrative Slavic folk song that veers abruptly from melancholy to exhilaration, was a source of inspiration for a number of composers; its best-known incarnation is probably that in Dvorak's popular "Dumky" Trio, Op. Despite its subtitle, "Russian rustic scene," Tchaikovsky's version of the dumka lacks a detailed program. It begins with an Andantino cantabile ballad that may derive from a Russian folk song. The theme undergoes some rudimentary development before giving way to an eccentric, exciting con anima section, followed by a more relaxed passage, a bravura cadenza, and a hammering Moderato con fuoco. Relief arrives with two broader passages, Andante meno mosso and Adagio, diminuendo. The opening ballad sneaks back in, very quietly at first but marking its departure with three loud, abrupt chords.