Anatoli Nikolajewitsch Alexandrow

Anatoli Nikolajewitsch Alexandrow (* 13. /25. May 1888 in Moscow; † 16. April 1982 ebenda) was a Russian composer.

Table of contents


Alexandrow came of to a musical family. Its nut/mother was even Pianistin. From it Alexandrow received its first piano instruction. During its childhood its family moved several times, lived however since 1906 again in Moscow. At this time Alexandrows decided nut/mother to look for a composition teacher for their son. On switching of Sergei Tanejews received to this starting from 1907 first with Tanejews pupil Nikolai Schiljajew, starting from the following year with Tanejew themselves instruction. 1910 occurred Alexandrow Muscovites the conservatoire, where he studied piano with Konstantin Igumnow ( until 1915) as well as composition with Sergei Wassilenko. Its composition study completed it 1916 with gold medal. Subsequently, it had to participate as a soldier in the First World War and fought later for the Red Army in the civil war. From 1923 at and starting from 1926 as a professor he taught composition at the Muscovite conservatoire. This training activity terminated it only 1964, when it was retired. Toward end of the 1920er years Alexandrow, member of the combination for contemporary music (ASM) was violently attacked, by representatives of the Russian association of the proletarian musicians (RAPM). This led to a temporary work crisis, which found an end by the dissolution of both organizations at the beginning of the 1930er years. Alexandrow was married with a singer and led a calm, withdrawn life. Although it had to numerous composers such as Nikolai Mjaskowski and Dmitri Schostakowitsch contact, it avoided the public. Alexandrow was provided nevertheless with several national honors.


Alexandrow takes stylistic a central position between Alexander Skrjabin and Nikolai Medtner . Also its teacher Sergei Tanejew had large influence on his musical opinions. Although Alexandrow did not do without musical innovations, he remained nevertheless always for the tradition of Russian music obligated and belonged never the avant-garde on. Its piano works and song cycles form the emphasis of its work. Its early work, which reaches for instance up to the end of the 1920er years, generally receives the strongest attention in its work. In this time Alexandrow showed up particularly experiment-joyfully and obtained nearly impressionistisch seeming exotic sound effects. It turned often mystischen to ekstatischen tendencies and went to to the edge to the tonality. When however 1932 the officially desired aesthetics of socialist realism was announced, Alexandrow changed its style substantially. This meant a simplification of its music language in harmonious and melodischer regard. Particularly it turned to the people song property and used themselves folkloristische idioms in some works. Of this time to busy itself Alexandrow also with the composition of educational piano music. Skrjabins influence diminished clearly. But its music was angehaucht now lateromantic and used a clearly tonal Idiom. In the compositions of its last Lebensjahre Alexandrow looked on its kompositorische career back. Today its work does not receive unfortunately the attention, which would be entitled to it. It nevertheless applied into the 1920er years as one of the prominent composers of Russian piano music.


  • of orchestra works
    • symphony Nr.1 C major op.92 (1965)
    • symphony Nr.2 B major op.109 (1977/78)
    • piano concert op.102 (1974)
    • Ouvertüre over Russian people ways op.29 (1915, rev. 1930)
    • Ouvertüre over two Russian people ways op.65 (1948)
    • stage and film music
  • vowel music
    • “two worlds”, opera (1916)
    • “the Einundvierzigste”, opera op.41 (1933-35, unfinished)
    • “Béla”, opera op.51 (1940-45)
    • “the wild Bara”, opera op.82 (1954-57)
    • “Lewscha”, child opera op.103 (1975)
    • numerous songs for Singstimme and piano
  • chamber music
    • caper quartet Nr.1 op.7 (1914, rev. 1921)
    • Caper quartet Nr.2 cis moll op.54 (1942)
    • caper quartet Nr.3 op.55 (1942)
    • caper quartet Nr.4 C major op.80 (1953)
    • Violoncellosonate A-moll op.112 (1981/82)
  • piano music
    • Sonate Nr.1 fis moll op.4 “Märchensonate” (1914)
    • Sonate Nr.2 D-moll op.12 (1918)
    • Sonate Nr.3 fis moll op.18 (1920, rev. 1956 and 1967)
    • Sonate Nr.4 C major op.19 (1922, rev. 1954)
    • Sonate Nr.5 gis moll op.22 (1923, rev. 1938)
    • Sonate Nr.6 G major op.26 (1925)
    • Sonate Nr.7 D major op.42 (1932)
    • Sonate Nr.8 B major op.50 (1939-44)
    • Sonate Nr.9 C-moll op.61 (1945)
    • Sonate Nr.10 F major op.72 (1951)
    • Sonate Nr.11 C major op.81 “Sonate Fantasie” (1955)
    • Sonate Nr.12 h-moll op.87 (1962)
    • Sonate Nr.13 fis moll op.90 “Märchensonate” (1964)
    • Sonate Nr.14 E major op.97 (1971)
    • small Suite Nr.1 op.33 (1929)
    • small Suite Nr.2 op.78 (1952)
    • small Suite Nr.3 op.101 (1973)
    • “Obsession passée”, 4 fragments op.6 (1911-17)
    • of “eight pieces after motives of songs of the peoples of the USSR “op.46 (1937)
    • “Romantic episodes”, 10 pieces of op.88 (1962)
    • “memories”, 5 pieces of op.110 (1979)
    • “visions”, 2 pieces of op.111 (1979, unfinished)
    • numerous smaller pieces

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


  > German to English > (Machine translated into English)