Artistically and pedagogically these suites are of interest to an unusually large circle of bayan players. The interpretations of the suites demand diverse artistic and technical skills from all students, whether from music schools or conservatories. When performing, bayan players like to include these Children’s suites in their concert repertoire, since they always are a great success and are always very popular with wide audiences.

In these pieces many different techniques are employed as well as a manigfold variety of methods of playing the instrument. Many moods and images are expressed in this music: sadness, melancholy, hesitation, joy, humor and fairylike magic. Moods alternate with images taken from nature.

The suites are very varied in their themes and styles. One can hear melodies taken from traditional Russian songs and dances as well as marches and so-called music-box music, also themes for the harmonica. Individual movements from the Children’s suites somehow reflect theatrical scenes; for example the second movement of the third suite which was composed under the influence of Robert Burns’ poem “Findley” and is presented expressively in dialogue form.

In the first three suites realistic stylistic images dominate. They express a more intense joy of life. The last two suites represent more abstract images. The dominant moods are sadness and melancholy.

SUITE N. 1 (7:10)

Ministrels at court

Mashenka’s sighs

Jester playing on a squeeze-box

That queer thing from Düsseldorf

Toy soldier’s march

 

SUITE N. 2 (10:06)

Awakening

A stroll

Melancholy ditty

Game

Prankish tom-cat

Doll’s waltz

Matryoshkas’ dance

 

SUITE N. 3 (4:11)

Four movements

 

SUITE N. 4 (6:19)

The repercussions of the theatre

Medidation

Bagatelle

Antique clock

Magic box

 

SUITE N. 5 (6:08)

Karabas-Barabas

One-inch girl

Toy-ship

Christmas carol

Oriental tune and dance

 

SUITE N. 6 (9:36)

Winter morning

In the country

Bagpipes

Dusk

Tararushki

 

Total time 43:30