Soviet and Russian music of the first third of the 20th century--with the exception of the music of a few high-profile composers who were officially sponsored by the State--is still largely unexplored territory, known only to a few specialists. Nevertheless, the music has considerable intrinsic value well beyond its curiosity appeal, and includes many pieces unaccountably forgotten and certainly worth reviving, to the ultimate enhancement of our concert repertoire. The study of this music also explains much about the foundations of Soviet culture and its subsequent suppression and decline under the Stalinist yoke. The purpose of this volume is to stimulate interest in this little-known area of Soviet/Russian music. The works charted here constitute a great flowering of avant-garde music which was then savagely dealt with for Stalin's political purposes.
Reihe
Sprache
Verlagsort
Verlagsgruppe
Bloomsbury Publishing Plc
Zielgruppe
Für höhere Schule und Studium
Interest Age: From 7 to 17 years
Maße
Höhe: 240 mm
Breite: 161 mm
Dicke: 24 mm
Gewicht
ISBN-13
978-0-313-26709-3 (9780313267093)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
LARRY SITSKY is Head, Department of Composition, Canberra School of Music, Australia. He is the composer of many musical compositions, and is probably Australia's most commissioned composer. He has, as a pianist, issued a number of CDs of contemporary and mainstream music. As an author, he has written extensively for professional publications. He is the author of Greenwood's Busoni and the Piano (1986) and The Reproducing Piano Roll (2 vols., 1990), as well as the forthcoming Piano Compositions of Anton Rubinstein.
Preface
Abbreviations
Acknowledgments
Historical Background: Anatoliy V. Lunacharsky, the Cultured Commissar
The Precursors
Vladimir I. Rebikov: The Inventor of Whole-Tone Music
Aleksei V. Stanchinskiy: The Diatonic Webern
The Big Three
Nikolai A. Roslavets: The Russian Schoenberg
Aleksandr V. Mosolov: The Man of Steel
Arthur V. Lourie: The Decadent Out of Place
The Smaller Five
Leonid A. Polovinkin: The Partial Avant-Gardist
Vladimir V. Shcherbachev: Old Wine in New Vessels
Lev K. Knipper: Wind from the West
Boris N. Liatoshinski: The Passionate Slav
Vladimir M. Deshevov: The Man of the Theater
The Reluctant Avant-Gardists
Samuil E. Feinberg: The Post-Scriabin Pianist
Anatoliy N. Aleksandrov: The Post-Rachmaninovian
Boris A. Aleksandrov: Son of the Composer of the Soviet Anthem
The Jewish School
Aleksandr A. Krein: Voice in the Wilderness
Grigoriy A. Krein: Toward Assimilation
Yulian G. Krein: Precocious Cosmopolitan
Aleksandr M. Veprik: The Ukrainian Bartok and Bloch
Mikhail F. Gnessin: The Jewish Glinka
Composers in Exile
Ivan A. Vishnegradsky: Microtones
Nikolai Obukhov: Mystic Beyond Scriabin
Iosif M. Schillinger: Gershwin's Teacher
Aleksandr N. Tcherepnine: Suave Internationalist
Musicologists and Transients
Sergei V. Protopopov: The Post-Scriabin Composer
Leonid L. Sabaneev: Would-be Scientist Becomes Critic
Dmitriy M. Melkikh: Rhapsodist
Gavrill N. Popov: Contrapuntalist
Aleksei S. Zhivotov: Notorious for One Piece
Efim Golyshchev: The First Serialist?
Georgi M. Rimsky-Korsakov: Microtonist
Appendix: Further Scores for Study and Reference
Index
