Alexander Wassiljewitsch Mossolow

Alexander Wassiljewitsch Mossolow (Russian АлександрВасильевичМосолов wiss. Transliteration Aleksandr Vasil'evič Molosov; * 29. July 11. August 1900 in Kiew; † 12. July 1973 in Moscow) was a Russian composer.

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Mossolow spent its childhood and youth predominantly in Moscow, where it came with the newest currents of the Russian music scene into contact. Before it began its studies, it fought from 1918 to 1920 in the Red Army. From 1921 to 1925 it studied piano and composition at the Muscovite conservatoire. To its teachers Reinhold Glière and Nikolai Mjaskowski belonged. Into the 1920er years often appeared it as a pianist and worked as a Rezensent. Mossolow engaged itself much in the 1924 created ASM (association for contemporary music), which it the enmity with representatives of the RAPM (Russian association of proletarian musicians) brought in, of which it publicly one diffamiert. Occasionally its works were not any longer specified. When this problem with the dissolution of both combinations at the beginning of the 1930er had taken care of itself years, Mossolow came into conflict with the state, since its personnel style could not be agreed with the aesthetics of socialist realism. In November 1937 Mossolow was arrested therefore as the allegedly counter revolutionary and condemned to eight years of hard hard labour. But in August 1938 reached his teachers Glière and Mjaskowski by personal intervention that he was begnadigt and its punishment to a five-year banishing from Moscow, Leningrad and Kiew was reduced. Of this time to visited Mossolow frequently remote areas of the USSR such as Usbekistan and Kirgisien, in order to collect Volkslieder. Later it established again in Moscow and led themselves an inconspicuous life, without turning out a further mark with the Staatsmacht in conflict. Certainly only few of its compositions were specified. After its death Mossolow was rehabilitated.


during its first works still lateRoman , developed Mossolow is coined/shaped into the 1920er years a completely own, new style. This is anti-romantically, anti-emotional, radically and provoking. In many works Mossolow avoids the well-being sound formally and sets nearly all rules of the tradition repealed. Atonalität is to be found in its works of this time very frequently. Special admittingness attained the section “the iron foundry” from the ballet “steel”: inspired of Arthur Honeggers “Pacific 231” converts Mossolow here the noises of an iron foundry as in a true-to-life manner as possible in music. This dissonance-rich, boring rhythmic “machine music” is typical for Mossolows joy in experiments, with which it affected also different young composers at that time. The “iron foundry” found also international at that time to acknowledgment. Mossolow was at this time one the outrider of the musical avant-garde in Russia. After its detention it however all modernistic tendencies schwörte off. From this time on it wrote clearly tonal and music very traditional within all ranges, which corresponded to the demands of socialist realism. The topic is based on Volksliedern. He co-operated much with people instrument orchestras and people choirs. Many of its compositions have political purchases, by glorifizieren the Soviet state system. Mossolows music-historical meaning is based particularly on its early work, which was shocking almost in its Radikalität for the time at that time.


  • of orchestra works
    • Symphonie op.20 (1927/28, verschollen)
    • Symphonie E major (1944)
    • Symphonie Nr.2 C major (1946)
    • Symphonie Nr.3 B major “song Symphonie” (1949/50)
    • Symphonie C major (1959/60)
    • Symphonie Nr.4 A-moll (1959/60)
    • Symphonie Nr.5 e-moll (1965)
    • Symphonie Nr.6 (until 1973, unfinished)
    • “soldier songs”, Suite for people instrument orchestra (1970 ago)
    • Russian Ouvertüre (1956)
  • concerts
    • piano concert Nr.1 op.14 (1927)
    • piano concert Nr.2 op.34 (1932)
    • Violoncellokonzert Nr.1 (1935, verschollen)
    • Violoncellokonzert Nr.2 C-moll (1945/46)
    • Elegi Poem for Violoncello and orchestra (1960/61)
    • harp concert (1939)
  • stage works
    • “steel”, ballet op.19 (1926-28), from it: “The iron foundry”
    • “the hero”, opera (1928)
    • “the dam”, opera op.35 (1929-31)
    • “signal”, opera (1941, verschollen?)
    • “Masquerade”, opera after Lermontow (1944)
  • vowel music
    • of “hero cities”, Oratorium (1945)
    • “honour large October” for bass and orchestra (1947)
    • “homeland”, Oratorium (1948/49)
    • “honour of the city Moscow”, Oratorium (1967)
    • “Volksoratorium over G. I. Kotowski " (1970)
    • “Kolchosfelder”, 8 choirs
    • some further choirs
    • of songs
    • people song working on
  • chamber music
    • caper quartet Nr.1 A-moll op.24 (1926)
    • caper quartet Nr.2 C major (1943, rev. 1963)
    • Putting one for Violoncello and piano op.5 (1924)
    • Sonatine for Violoncello and piano (1946)
  • piano music
    • Sonate Nr.1 C-moll op.3 (1924)
    • Sonate Nr.2 h-moll op.4 (1923/24)
    • Sonate Nr.3 op.8 (1927, lost)
    • Sonate Nr.4 op.11 (1928)
    • Sonate Nr.5 D-moll op.12 (1929)
    • “Turkmeni nights” (1928)
    • further pieces

of note: This list of works cannot lay a claim on correctness. Each source exhibits other data and other works. This does not have to do last with the fact that many of Mossolows works verschollen are, in addition, thus that only very few saw so far the light of the public. Sometimes it cannot even be clarified perfectly whether a work verschollen is or not. At present (2005) a final clarifying all these problems seems completely impossible.

Web on the left of

note: Double data are first of all indicated in accordance with Julian calendar, which applied in Russia up to the October Revolution 1917, secondly in accordance with in the west since that 16. /18. Jh. used Gregorian calendar. See also: Wikipedia: Name conventions/cyrillic


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