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Maximilian Steinberg
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Maximilian Osseyevich Steinberg (Russian ??????????? ??????? ?????????; born in Vilnius – December 6 1946 in Leningrad) was a Russian composer of classical music born in what is now Lithuania.
nberg, was born into a Jewish family. His father, Osey (Hosea) Steinberg, was a leading Hebraist. Steinberg spent his youth in Vilnius. In 1901 he went to Saint Petersburg, to study biology at Saint Petersburg University. He graduated in 1906.

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Encyclopedia
Maximilian Osseyevich Steinberg (Russian ??????????? ??????? ?????????; born in Vilnius – December 6 1946 in Leningrad) was a Russian composer of classical music born in what is now Lithuania.
Life
Steinberg, was born into a Jewish family. His father, Osey (Hosea) Steinberg, was a leading Hebraist. Steinberg spent his youth in Vilnius. In 1901 he went to Saint Petersburg, to study biology at Saint Petersburg University. He graduated in 1906. In the meantime he also started studying at the Saint Petersburg Conservatory. He entered Anatoly Lyadov's harmony class, moving on to Nikolai Rimsky-Korsakov's harmony class and Alexander Glazunov's counterpoint class. His considerable talent in composition soon showed, encouraged especially by his mentor Rimsky-Korsakov. He graduated from the Conservatory in 1908. Fellow student Igor Stravinsky felt disgruntled at the apparent favor of Steinberg by Rimsky-Korsakov over him.
In this same year 1908 Steinberg married Rimsky-Korsakov's daughter Nadezhda, and became, first a lecturer, then in 1915 Professor for Composition and Orchestration at the Conservatory. He held numerous posts at the conservatory; among other things, he was, from 1934 to 1939 a deputy director, before he went into retirement in 1946. Steinberg played an important role in Soviet music life as a teacher of composers such as Dmitri Shostakovich and Yuri Shaporin.
Musical style Steinberg was considered first as a great hope of Russian music, and was occasionally even more highly estimated than his student colleague, Igor Stravinsky. He rejected Stravinsky's and other modern styles, staying close in many of his compositions to the style of his teachers and showing the influence of the nationalistic Mighty Handful as well. His composing technique is handled with firm control and brilliant orchestration- these features have been noticed most often about his compositions.
Many of his works fall on world literature for their subjects. The dictates of socialist realism as they affected music starting in 1932 meant no great changes for him, since his style already was mostly in conformity with what was requested. He tended to select the topics of his programmatic works more often now on national topics, and let himself be influenced more often by musical and literary folklore. As a composer Steinberg is today little-known; it did not help that even at the time he was considered eclectic. More importance is attached to him now as a teacher.
His first two symphonies have been recorded by Neeme Järvi for the company Deutsche Grammophon.
Partial list of works
- For orchestra
- Symphony No. 1 in D major op. 3 (1905/06)
- Symphony No. 2 in B-flat minor op. 8 "In memoriam Nikolai Rimsky-Korsakov" (1909)
- Symphony No. 3 op.18 (1928)
- Symphony No. 4 "Turksib" (1933)
- Symphony No. 5 "Symphonic Rhapsody on Uzbek Themes" (1942)
- Variations for Large Orchestra in G major op. 2 (1905)
- Symphonic Prelude in memoriam Nikolai Rimsky-Korsakov op. 7 (1908)
- Fantaisie dramatique op.9 (1910)
- Solemn Overture on Revolutionary Songs from 1905-7 and 1917 (1930)
- In Armenia, Capriccio (1940)
- "Forward!", heroic Uzbek Overture (1943)
- Violin concerto (1946)
- Stage works
- Vocal music
- "The Water Nymph", Cantata for Soprano, Women's Chorus and Orchestra op. 7 (1907)
- "Heaven and Earth" for Voice and Orchestra after Byron (1918)
- Four Songs with Orchestra after Rabindranath Tagore op. 14 (1924)
- Songs
- Choruses
- Chamber music
- String quartet no. 1 (1907)
- String quartet no. 2 op. 16 (1925)
The eleventh (opus 34, in B flat minor) of Nikolai Myaskovsky's symphonies is dedicated to Steinberg. ( which also contains a transcription, dated 1930, by the slightly older composer of Steinberg's third symphony for piano four-hands.)
Further reading
- Walsh, Stephen. Stravinsky: A Creative Spring: Russia and France, 1882-1934. New York: A. A. Knopf, 1999. ISBN 0-679-41484-3. Contains many details about the course of the relationship between Stravinsky and Steinberg.
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