By Neil Edmunds
This publication investigates where of tune in Soviet society in the course of the eras of Lenin and Stalin. It examines the several suggestions followed through composers and musicians of their makes an attempt to carve out careers in a quickly evolving society, discusses the function of tune in Soviet society and people's lives, and indicates how political ideology proved an concept in addition to an inhibition. It explores how tune and politics interacted within the lives of 2 of the 20 th century's maximum composers - Shostakovich and Prokofiev - and in addition within the lives of much less famous composers. additionally it considers the expert composers of early Soviet musical propaganda, novice track making, and musical existence within the non-Russian republics. The e-book will attract experts in Soviet track heritage, people with an curiosity in 20th century song generally, and likewise to scholars of the background, tradition and politics of the Soviet Union.
Read or Download Soviet Music and Society under Lenin and Stalin: The Baton and Sickle (Basee Routledge Series on Russian and East European Studies) PDF
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Additional resources for Soviet Music and Society under Lenin and Stalin: The Baton and Sickle (Basee Routledge Series on Russian and East European Studies)
Sample text
16 In retrospect, Mastfor was given a mixed press. It was evidently an amateurish organisation and came to a sudden end in January 1924, when a fire destroyed the sets and costumes.
It became the prototype of a new genre of ‘song opera’ of which Tikhon Khrennikov’s V buriu [ Into the Storm , 1939] counts as the most successful < previous page page_14 next page > < previous page page_15 next page > Page 15 example. As composers began to avoid abstract music for safety’s sake, a parallel development in the orchestral repertoire became the song symphony, which included simple, politically correct vocal passages within large-scale symphonic forms. Alternatively, indigenous folk music became an invaluable compositional resource.
The broad Russian land, with its rivers and forests, possessed the same power of geographical association as did the White Cliffs of Dover in Britain or the trysting place under the apple tree in the United States. Nostalgia for the familiar ruled the day. The 1938 hit Katiusha illustrated perfectly how a simple idyll could be adapted for wartime emotions: The apple and pear trees were in bloom. Mists had foated out over the river. Katiusha came out to the river bank, To the high steep bank. Though a modern composed song, Katiusha drew readily from folk styles – contraction, repetition, a natural setting, and a young maiden.
