里亚多夫(Anatob Konstantinovich Liadov 1855-1914)　　俄罗斯作曲家、音乐教育家和指挥家阿那托里·康斯坦丁诺维奇·里亚多夫,在1855年5月11日生于彼得堡一个音乐世家.1870年,里亚多夫进彼得堡音乐学院学习,通过他的老师里姆斯基-柯萨科夫的关系,他结交了"强力集团"的其他作曲家,得到了莫索尔斯基、斯塔索夫和巴拉基列夫等人的青睐.毕业后,里亚多夫留校教授理论课程,后来又兼授宫廷歌手团器乐班的理论课.作曲家米亚斯科夫斯基、普罗科菲耶夫和阿萨菲耶夫等都是他的学生.1879年,他担任彼得堡音乐爱好者小组的乐队和合唱队的指挥,在那里结识了一位拉中提琴的贝莱耶夫----著名的俄罗斯音乐活动家和艺术保护人,就此,里亚多夫成为"贝莱耶夫小组"的主要成员之一,他的一些作品在贝莱耶夫家的"星期五晚会"上演奏,他还同里姆斯基-柯萨科夫和格拉祖诺夫一起为贝莱耶夫创办的乐谱出版社担任选拔作品出版的工作.八十至九十年代,他还时常担任安东·鲁宾斯坦开创的交响音乐会和贝莱耶夫举办的罗斯交响音乐会的指挥.　　里亚多夫的创作多半是一些小型的乐曲,如间奏曲、阿拉伯风格曲、新事曲、即兴曲、前奏曲和玛祖卡舞曲等.俄罗斯民歌和俄罗斯民间传说中的富有诗意的形象,成为他的创作构思的新源泉;他集中在二十世纪初、他一生中最后十年间写出的主要管弦乐作品,如管弦乐套曲《八首俄罗斯民歌》,据俄罗斯民间神话写成的音画《妖婆》和《魔湖》,以及管弦乐传奇《基基摩拉》等,都是在俄罗斯民间音乐艺术的深刻影响之下写出的.　　里亚多夫在1914年8月28日在诺夫戈罗德逝世.　　The Enchanted Lake　　The Russian composer Anatol Liadov (1855-1914) is somewhat less known than his contemporaries Rimsky-Korsakov and "The Mighty Five," at least partly because of his lifelong habit of procrastination. During his student years at the St. Petersburg Conservatory he was expelled from Rimsky Korsakov's composition class because he didn't bother to attend! Despite this fact, his fellow musicians always liked and respected him, and his concepts for teaching music theory later formed the basis for a textbook written by Rimsky-Korsakov. In 1873, Modest Moussorgsky, who was an elder statesman among composers by that time, described Liadov as "a new, unmistakable, original and Russian young talent."　　Volshebnoye ozero, or "The Enchanted Lake," is one of three colorfully-descriptive orchestral works that are considered among the finest pieces Liadov ever wrote (the others being BabaYaga and Kikimora). Written in 1909, it was intended for inclusion in an opera, Zoriushka that was never completed. The music weaves a quiet spell of fairy-tale beauty, with richness of color and orchestral effect that surely would have been admired by his Russian colleagues as much as it is today.　　Anatol Liadov(1855-1914) Anatol Liadov belongsto the younger generation of Russian nationalist composers, one of the first toattend the musical Friday evenings of Belyayev that were to replace inpopularity the Tuesdays of Balakirev, self-appointed guide to Stasov’s MightyHandful. He was born into a musical family. His grandfather had been a musicianand his father was for eighteen years, until 1868, conductor at the MaryinskyTheatre in St. Petersburg, where his son was born in 1855. Conservatories hadbeen established in St. Petersburg and in Moscow by the Rubinstein brothers inthe 1860s, against the opposition of Stasov, who took exception to AntonRubinstein’s description of his favourite musicians as amateurs, and feared theregimentation that German-style conservatories might impose. Liadov’s firstlessons were from his father, followed, in 1870, by admission to St. PetersburgConservatory, where he initially studied piano and violin. These interests weresoon to be replaced by lessons from Johannsen in counterpoint, an abidinginterest, and composition classes with Rimsky-Korsakov, from the second ofwhich he was expelled after unexcused absences. Composition classes wereresumed in 1878 and Liadov graduated with a setting of part of Schiller’s Brideof Messina as his graduation composition.After completing hisstudies, Liadov was employed at the Conservatory as a teacher of elementarytheory, later taking over classes in counterpoint. He resigned in 1905 at thetime of Rimsky-Korsakov’s dismissal, after the student disturbances of thatyear, with which Rimsky-Korsakov had expressed sympathy. He resumed hisposition, as did other members of staff, when Rimsky-Korsakov was reinstated,with Glazunov replacing Bernhard as director of the establishment. Even in the 1870sLiadov had made an impression on the Five, with whom his name was to beassociated. Mussorgsky described him as an original and Russian young talent,and his collaboration with Borodin, Cui, Rimsky-Korsakov and Shcherbachov in a light-heartedset of variations, Parafrazi, on a common-place theme, had delighted Liszt, whoused the work as a demonstration piece for his pupils. At first Liadov hadreceived encouragement from Balakirev, emerging from a period of silence, butstill inspired with uncomfortable religious zeal. In the 1880s he became one ofthe first to join Belyayev’s group, serving as an adviser on the publicationsthat the latter paid for and sharing the responsibility for the concern withRimsky-Korsakov and Glazunov after Belyayev’s death in 1904. As a composer Liadovwas less hard-working than he might have been. It was his tendency toprocrastinate that was to win Stravinsky his chance with Dyagilev, when thescore commissioned for The Firebird was not finished in time, althoughthe work had already been advertised for performance in Paris. It was on thatoccasion that he was asked by Dyagilev how the music was progressing, andreplied that things were going very well and that he had just bought some ruledpaper. Liadov’s music was tobe used by Dyagilev’s company after the composer’s death in 1914. In 1916Massine choreographed Kikimora, which was performed first in SanSebastian. This was to form part of a longer ballet, Contes russes, offered inParis in 1917 season. The part of Kikimora was created by LydiaSokolova. Baba-Yaga, completed in 1904, was to form part of Massine’s ballet,the story of the witch Baba-Yaga, who crunches up children’s bones and fliesthrough the air, with her hut on bird’s legs.The Intermezzo,Opus 8, was written for piano in 1883 but orchestrated by the composer in 1902.The Ballade subtitled About olden times (Prostarinu), was composed for piano in1889 and arranged for orchestra in 1906. The Enchanted Lake (Volshebnoye ozero), Opus 62, was completed in1909, a magic creation, based on Russian legend, while the Mazurka, Opus 19,described as A Village Scene by the Inn (Sel’skaya stsena u korchnoi), a selfexplanatory sub-title, was the work of 1889, its origins clear enough. Nénie, Opus 67(Skoronaya pesn), Liadov’s final symphonic poem, a lament written in the lastyear of his life, marks something of an extension of harmonic idiom, while thePolonaise, Opus 49, and the Polonaise, Opus 55, written in 1899 and 1902respectively, are commemorative works, the first in memory of the poet Pushkinon the centenary of his birth, and the second to mark the unveiling of a statueto Anton Rubinstein. Kikimora evokes one ofthe ugliest of Russian demons, trouble-making wife of the Domovoi, thehouse-spirit, to be propitiated only by washing pots and pans in fern-tea. Thepiece was written in 1909, followed in 1912 by From the Apocalypse, Opus66 (Iz Apoklipsisa). Both Kikimoraand The Enchanted Lake contain music intended for an abortive opera, Zoryushka,its subject old Slavonic legend. The programmatic appeal of these pieces andBaba-Yaga and the strong rhythms of the dance-pieces explain easily enough theattraction the music of Liadov has had for choreographers.Stephen Gunzenhauser The American conductorStephen Gunzenhauser was educated in New York, continuing his studies atOberlin, at the Salzburg Mozarteum, at the New England Conservatory and atCologne State Conservatory. His period at the last of these was the result of aFulbright Scholarship, followed by an award from the West German Government anda first prize in the conducting competition held in the Spanish town ofSantiago. For NAXOS Gunzenhauserrecorded Tchaikovsky’s Symphony No. 5, Beethoven’s Overtures, the Saint-SaënsOrgan Symphony, Orff’s Carmina Burana and the symphonies of Borodin.　　在下实在找不到更多的自资料，否则也不会弄英文的。　　希望对楼主有帮助。