Works
- Opera
- In 1812 (В 1812 году) (1899–1900); incomplete
- Orchestral
- Fugue in D minor (1889)
- Nymphs (Нимфы), Symphonic Picture after Ivan Turgenev (1889)
- Serenade (Серенада) in G minor for string orchestra (1891)
- Suite (Сюита) in B Minor (1891–1892)
- Bylina (Былина: Эпическая поэма), Epic Poem (Overture) (c. 1892)
- Overture in D minor (1894)
- Symphony No. 1 in G minor (1894–1895)
- Symphony No. 2 in A major (1895–1897)
- Intermezzo No. 1 (Интермеццо № 1) in F♯ minor (1896)
- Intermezzo No. 2 (Интермеццо № 2) in G major (1897)
- The Cedar and the Palm (Кедр и пальма; Le Cèdre et le palmier), Symphonic Picture after Heinrich Heine (1897–1898)
- Tsar Boris (Царь Борис), Incidental Music to the tragedy by Aleksey Konstantinovich Tolstoy (1898)
- Piano
- Moderato in E♭ minor
- Polonaise on a Theme from Symphony No. 1 (Полонез на темы Симфонии № 1) in B♭ major for piano 4-hands
- Scherzo in F major (1888–1889)
- Chanson triste (Грустная песенка) in G minor (1892–1893)
- Nocturne (Ноктюрн) in F♯ minor (1892–1893)
- Élégie (Элегия) in B♭ minor (1894)
- Minuet (Менуэт) in E major (1894)
- Russian Intermezzo (Русское интермеццо) in F minor (1894)
- Waltz (Вальс) in A major (1894)
- Vocal
- Come to Me (Приди ко мне) for soprano, alto, baritone and piano; words by Aleksey Koltsov
- I Am Yours, My Darling (Я ли тебя, моя радость) for voice and piano; words by Heinrich Heine
- I Would Like to Make My Songs into Wonderful Flowers (Я желал бы своей песней) for voice and piano; words by Heinrich Heine
- On the Old Burial Mound (На старом кургане) for voice and piano (1887); words by Ivan Savvich Nikitin
- On Your Lovely Little Shoulder Dear (На чудное плечико милой; An Liebchens schneeweisse Schulter) for voice and piano (1887); words by Heinrich Heine in translation by Vasily Pavlovich Fyodorov (1883–1942)
- When Life Is Weighed Down with Suffering (Когда жизнь гнетут страданья и муки) for voice and piano (1887); words by Polivanov
- 16 Musical Letters (16 Музыкальных писем) for voice and piano (1892–1899)
- Bright Stars (Звёзды ясные) for voice and piano (1894); words by Konstantin Fofanov
- The Gentle Stars Shone Down on Us (Нам звёзды кроткие мерцали) for voice and piano (1894); words by Aleksey Pleshcheyev
- There Was an Old King (Был старый король) for voice and piano (1894); words by Heinrich Heine in translation by Aleksey Pleshcheyev
- A Present for 1 January 1900 for voice and piano (1899)
- Bells (Колокола) for voice and piano (1900); words by K. R.
- Prayer (Молитва: "О Боже мой") for voice and piano (1900); words by Aleksey Pleshcheyev
- Do Not Ask Why I Smile in Thought (Не спрашивай, зачем...) for voice and piano (1901); words by Alexander Pushkin
- Choral
- The Triumph of Lilliput for chorus and piano
- Cherubic Hymn No. 1 (Херувимская песнь № 1) for chorus (1885)
- Cherubic Hymn No. 2 (Херувимская песнь № 2) for chorus (1886)
- The Mountain Tops (Горные вершины) for chorus (1887)
- Christe Eleison for chorus (1889)
- Lord, Our Lord for chorus (1889)
- Ioann Damaskin (Иоанн Дамаскин), Cantata for soloists, chorus and orchestra (1890); words by Aleksey Konstantinovich Tolstoy
- A Beautiful Girl Sits by the Sea (Баллада: Над морем красавица дева сидит), Ballade for female chorus and orchestra (1894); words by Mikhail Lermontov
Read more about this topic: Vasily Kalinnikov
Famous quotes containing the word works:
“Every man is in a state of conflict, owing to his attempt to reconcile himself and his relationship with life to his conception of harmony. This conflict makes his soul a battlefield, where the forces that wish this reconciliation fight those that do not and reject the alternative solutions they offer. Works of art are attempts to fight out this conflict in the imaginative world.”
—Rebecca West (18921983)
“Most works of art, like most wines, ought to be consumed in the district of their fabrication.”
—Rebecca West (18921983)
“Was it an intellectual consequence of this rebirth, of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (18751955)