Kikimora, Op. 63 Cover Image

Kikimora, Op. 63: Full Orchestra, Ensemble Works, Conductor Score

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Kikimora, Op. 63 Cover Image

Kikimora, Op. 63: Full Orchestra, Ensemble Works, Conductor Score

By Anatoly Lyadov / Kikimora story from Russian Folk-Tales by I.P. Sakharov (translated by Carl Simpson) included.

Item: 36-A163101

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Anatoly Lyadov (1855-1914) composed KIKIMORA, Op. 63 in 1909. Based on the familiar figure from Slavic mythology, the following description from Russian Folk-Tales of I.P. Sakharov (translated by Carl Simpson) is included in the score: "Kikimora began life in a sorcerer's hut in a range of rocky mountains. From morning until evening, a talking cat amused the young witch Kikimora with tales of exotic places. She was then weighed on crystal scales from evening until first light. When exactly seven years old, Kikimora was fully mature. She was frail and dark with a head the size of a thimble and a body as thin as a piece of straw. Her knocks and rattles last from morning until evening, her whistles and hisses from evening until midnight. At midnight Kikimora starts her spinning - not only hemp but evil and mischief for all mankind - until the break of day." The work premiered in St. Peterburg's Hall of the Nobility on December 12, 1909, by the Imperial Court Orchestra, Alexander Siloti conducting. Instrumentation: 2+Picc.2+EH.2+BCl.2: 4.2.0.0: Timp.Perc(1): Clst: Str (9.8.7.6.5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-810264-X
ISBN13: 979-889-810-2647
UPC: 605258635594
SKU: 36-A163101
Instrumentation: 2+Picc.2+EH.2+BCl.2: 4.2.0.0: Timp.Perc(1): Clst: Str (9.8.7.6.5 in set)

More about this title

About the Composer: Anatoly Lyadov

Anatoly Lyadov was a Russian composer and conductor whose orchestral works demonstrate a distinctive gift for tone painting and orchestral color. Though he lived during the same period as Rimsky-Korsakov and Glazunov, Lyadov carved out his own path by focusing on shorter, highly concentrated orchestral pieces that showcase Russian folklore and nationalist elements with remarkable economy of material.

Lyadov's catalog, though modest in size, earned him respect as a master of orchestration and a composer unafraid to let orchestral texture carry the narrative weight of a work. His teaching at the St. Petersburg Conservatory influenced a generation of Russian musicians, and his concert pieces remain touchstones for conductors seeking richly colored, narratively vivid orchestral music.

Why we love this

Lyadov's approach to orchestration here is lean and inventive, avoiding the heavy hand that can weigh down Russian nationalist pieces. The mythology provides instant program narrative that engages audiences while the orchestral writing challenges your ensemble to achieve genuine precision and clarity in a densely colorful score. This is repertoire that rewards careful rehearsal with unmistakable musical payoff.

What to expect

Kikimora captures supernatural unease through delicate, almost chamber-like orchestration rather than bombast. The work moves from bright, conversational morning hours through increasingly restless evening and midnight passages, culminating in a spinning frenzy that feels both sinister and oddly fragile. Lyadov's orchestration makes the mythological character tangible through color and rhythm rather than melodic assertion.

Who it's for

Orchestras with strong technical facility and conductors drawn to Russian nationalism and tone poetry will find this score rewarding. The piece demands precision and clarity more than virtuosic display, making it accessible to ambitious high school or undergraduate ensembles with solid fundamentals and attention to orchestral balance.

How to get the most out of it

  • Balance the piccolo and flutes against the thimble-headed character Lyadov creates; these high voices should pierce but never screech, making the distinction between Kikimora's mischievous earlier hours and her malevolent spinning crucial.
  • Isolate the percussion gestures in rehearsal separate from the string foundation. These knocks and rattles define the piece's narrative arc, so clarity and rhythmic independence from the larger ensemble matter deeply.
  • Shape the English horn solos with care; Lyadov uses it to anchor emotional weight within the fantastical scenario, so these lines deserve the same attention you'd give to a vocal melody.
  • Lock the timpani and bass clarinet together during the spinning section. Their relationship anchors the harmonic movement and prevents the texture from dissolving into mere atmosphere.

How to use it

Program this alongside other Russian tone poems to create an evening centered on Russian orchestral imagination, or pair it with more substantial works by Rimsky-Korsakov as a contrasting, finely detailed statement. Its moderate length and clear narrative arc make it ideal for opening a concert or occupying a featured spot in a mixed orchestral program where color and storytelling matter as much as virtuosity.

Skills your students will build

  • Distinguishing pitch and rhythmic clarity in densely orchestrated textures
  • Balancing high woodwind colors (piccolo, flutes) against lower strings and brass
  • Executing precise rhythmic figures in accompaniment roles while maintaining musical shape
  • Reading and realizing program music through conductor's physical gesture and rehearsal language
  • Coordinating independent percussion gestures with harmonic movement in the ensemble

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