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Author: Arthur Lourie
Publisher: Read Books Ltd
ISBN: 1473386225
Category : Biography & Autobiography
Languages : en
Pages : 169
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Book Description
Arthur-Vincent Lourié was a significant Russian composer. Lourié played an important role in the earliest stages of the organization of Soviet music after the 1917 Revolution but later went into exile. His music reflects his close connections with contemporary writers and artists, and also his close relationship with Igor Stravinsky. Lourié gives a biographical sketch of Sergei Koussevitzky, with a chronicle of the musical life of his time as its setting, solely because the fifteen years during which they knew each other bound them together with the combined memories of so many important events, experienced simultaneously, though perhaps in a different way, and for ever unforgettable. From the author; 'What I have written is not a criticism nor a jubilee offering, but only, as I understand it, the objective testimony of one musician concerning another; the testimony of a friend and contemporary in regard to a period in which we met on a common path and in which we took an active part, each according to his abilities.'
Author: Arthur Lourie
Publisher: Read Books Ltd
ISBN: 1473386225
Category : Biography & Autobiography
Languages : en
Pages : 169
Get Book Here
Book Description
Arthur-Vincent Lourié was a significant Russian composer. Lourié played an important role in the earliest stages of the organization of Soviet music after the 1917 Revolution but later went into exile. His music reflects his close connections with contemporary writers and artists, and also his close relationship with Igor Stravinsky. Lourié gives a biographical sketch of Sergei Koussevitzky, with a chronicle of the musical life of his time as its setting, solely because the fifteen years during which they knew each other bound them together with the combined memories of so many important events, experienced simultaneously, though perhaps in a different way, and for ever unforgettable. From the author; 'What I have written is not a criticism nor a jubilee offering, but only, as I understand it, the objective testimony of one musician concerning another; the testimony of a friend and contemporary in regard to a period in which we met on a common path and in which we took an active part, each according to his abilities.'
Author: Arthur Lourié
Publisher:
ISBN:
Category : Conductors (Music)
Languages : en
Pages : 0
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Book Description
Author: Arthur Vincent Lourié
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Arthur Lourie
Publisher: Forgotten Books
ISBN: 9780282525958
Category : Music
Languages : en
Pages : 314
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Book Description
Excerpt from Sergei Koussevitzky and His Epoch: A Biographical Chronicle If these words of Dostoevsky's are true of life and how true they are still! - the more certainly they are true of art. What is the life of an artist, and what is it called upon to serve? Particularly, is an artist constrained by his vocation to be an intermediate link between men and art? If we take this to be his allotted destiny, his supreme task, his glorious exploit, his ideal service, with all the ensuing consequences, what more can we add to Dostoevsky's assertion? Every thing is contained in it, as in a Simple and elementary formula. Always, in all times, it has been so. Of course there are occasions when this material satis faction of the spiritual hunger - a satisfaction which appears to be a normal and fundamental need of men in their relation to art - is eclipsed and replaced by something else, by certain artificial demands, com plex and abstract. Such eclipses occur from time to time, when one great period in art gives way to an other. They usually happen at the very moment when the change takes place, when one era has departed into the past and its successor has not yet matured. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Arthur Vincent Lourié
Publisher:
ISBN:
Category :
Languages : en
Pages : 253
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Book Description
Author: Arthur Lourié
Publisher: Ams PressInc
ISBN: 9780404040369
Category : Music
Languages : en
Pages : 253
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Book Description
![Sergei Koussevitzky and His Epoch. A Biographical Chronicle ... Translated ... by S.W. Pring. [With Plates, Including Portraits.]. PDF](https://books.google.com/books/content/images/frontcover/7eEtMwEACAAJ?fife=w80-h100)
Author: Artur LUR'E
Publisher:
ISBN:
Category :
Languages : en
Pages : 253
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Book Description
Author: Arthur Lourié
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Author: Louis K. Epstein
Publisher: Boydell & Brewer
ISBN: 178327669X
Category : Music
Languages : en
Pages : 256
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Book Description
Challenges the longstanding perception that modernist composers made art, not money, and that those who made money somehow failed to make art.Patrons have long appeared as colorful, exceptional figures in music history, but this book recasts patrons and patronage as creative forces that shaped the sounds and meanings of new French music between the world wars. Far from mere sources of funding, early twentieth-century patrons collaborated closely with composers, treating commissions for new music as opportunities to express their own artistry. Patrons developed new pathways to participate in music-making, going beyond commissions to establish ballet companies, manage performance venues, and establish state programs. The impressive variety of patronage activities led to an explosion of new music as well as new styles and -isms, indelibly marking the repertoire that this book examines, including a number of pieces frequently heard in concert halls today. In addition to offering new perspectives on well-known French repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons. as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.
Author: Frederick W. Skinner
Publisher: Indiana University Press
ISBN: 0253063078
Category : History
Languages : en
Pages : 271
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Book Description
How did Ludwig van Beethoven help overthrow a tsarist regime? With the establishment of the Russian Musical Society and its affiliated branches throughout the empire, Beethoven's music reached substantially larger audiences at a time of increasing political instability. In addition, leading music critics of the regime began hearing Beethoven's dramatic works as nothing less than a call to revolution. Beethoven in Russia deftly explores the interface between music and politics in Russia by examining the reception of Beethoven's works from the late 18th century to the present. In part 1, Frederick W. Skinner's clear and sweeping review examines the role of Beethoven's more dramatic works in the revolutionary struggle that culminated in the Revolution of 1917. In part 2, Skinner reveals how this same power was again harnessed to promote Stalin's campaign of rapid industrialization. The appropriation of Beethoven and his music to serve the interests of the state remained the hallmark of Soviet Beethoven reception until the end of communist rule. With interdisciplinary appeal in the areas of history, music, literature, and political thought, Beethoven in Russia shows how Beethoven's music served as a call to action for citizens and weaponized state propaganda in the great political struggles that shaped modern Russian history.
