The Songs Of St Petersburg
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|Author||: Solomon Volkov|
|Editor||: Simon and Schuster|
The definitive cultural biography of the “Venice of the North” and its transcendent artistic and spiritual legacy, written by Russian emerge and acclaimed cultural historian, Solomon Volkov. Long considered to be the mad dream of an imperious autocrat—the "Venice of the North," conceived in a setting of malarial swamps—St. Petersburg was built in 1703 by Peter the Great as Russia's gateway to the West. For almost 300 years this splendid city has survived the most extreme attempts of man and nature to extinguish it, from flood, famine, and disease to civil war, Stalinist purges, and the epic 900-day siege by Hitler's armies. It has even been renamed twice, and became St. Petersburg again only in 1991. Yet not only has it retained its special, almost mystical identity as the schizophrenic soul of modern Russia, but it remains one of the most beautiful and alluring cities in the world. Now Solomon Volkov, a Russian emigre and acclaimed cultural historian, has written the definitive cultural biography of this city and its transcendent artistic and spiritual legacy. For Pushkin, Gogol, and Dostoyevsky, Petersburg was a spectral city that symbolized the near-apocalyptic conflicts of imperial Russia. As the monarchy declined, allowing intellectuals and artists to flourish, Petersburg became a center of avant-garde experiment and flamboyant bohemian challenge to the dominating power of the state, first czarist and then communist. The names of the Russian modern masters who found expression in St. Petersburg still resonate powerfully in every field of art: in music, Stravinsky, Prokofiev, and Shostakovich; in literature, Akhmatova, Blok, Mandelstam, Nabokov, and Brodsky; in dance, Diaghilev, Nijinsky, and Balanchine; in theater, Meyerhold; in painting, Chagall and Malevich; and many others, whose works are now part of the permanent fabric of Western civilization. Yet no comprehensive portrait of this thriving distinctive, and highly influential cosmopolitan culture, and the city that inspired it, has previously been attempted.
|Author||: Vadim Bytensky|
|Editor||: Author House|
A fascinatingly many-sided personality ... Vadim Bytensky retains the broadly arching interests of the traditional Russian intellectual ... a man with a broad and devoted knowledge of world literature, music, philosophy, and politics that constantly illuminate his traveler’s observations.” “Bytensky emerges ... as a well-rounded and harmonious personality, who combines sober reasoning with a romantic enthusiasm, a sentimental attachment to an old cultural inheritance, and an open, if sometimes skeptical and critical, curiosity about things new.”
|Author||: John Slade|
|Editor||: WOODGATE INTERNATIONAL|
Daily life for the real people in St. Petersburg, Russia during the 1990s. This book was written by an American teacher who lived there.
Humans have always made music and this authoritative and lavishly illustrated guide is your companion to its fascinating history across the globe. Music - that mysterious alchemy of harmonies, lyrics, and rhythm - is a constant in our lives. Discover how music has evolved with human society, accompanying our leisure, religious rituals, and popular festivities. Watch its development during prehistory and before musical notation, when melodies were memorized or improvised. Enjoy galleries of historical instruments such as dulcimers, shawms, psalteries, and tabor pipes. The universal language of music is expressed in an astonishing number of styles today, and Music presents its evolution around the globe, including the classical European tradition of JS Bach, the passionate sounds of Spain's flamenco, and the sonic power of electronica and heavy rock. With spectacular timelines of key events and profiles of musicians from Amadeus Mozart to David Bowie, Music is an unrivaled and comprehensive reference. Whether you are into the Blues, Brahms, or Bhangra, it is essential reading and guaranteed to hit the right note.
|Author||: Shirlee Emmons,Wilbur Watkin Lewis|
|Editor||: Oxford University Press|
Singers are faced with a unique challenge among musicians: they must express not just the music, but the lyrics too. To effectively communicate the meaning behind these words, singers must understand the many references embedded in the vast international repertoire of great art songs. They must deal with the meaning of the lyrics, frequently in a language not their own and of a culture unfamiliar to them. From Zelter and Schubert to Rorem and Musto, Researching the Song serves as an invaluable guide for performers, teachers, and enthusiasts to the art song repertoire. Its more than 2,000 carefully researched entries supply information on most of the mythological, historical, geographical, and literary references contained in western art song. The authors explain the meaning of less familiar literary terms, figures, and authors referenced in song while placing songs in the context of larger literary sources. Readers will find entries dealing with art songs from the German, French, Italian, Russian, Spanish, South American, Greek, Finnish, Scandinavian, and both American and British English repertoires. Sources, narratives, and explanations of major song cycles are also given. Organized alphabetically, the lexicon includes brief biographies of poets, lists of composers who set each poet's work, bibliographic materials, and brief synopses of major works from which song texts were taken, including the plots of all Restoration theater works containing Purcell's vocal music. The more performers know and understand the literary elements of a song, the richer their communication will be. Researching the Song is a vital aid for singers and teachers in interpreting art songs and building song recital programs.
|Author||: Artur Holde|
|Editor||: Open Road Media|
This authoritative history chronicles the work and lives of great Jewish musicians around the world from the early nineteenth century to the mid-twentieth. Since the Age of Enlightenment, Jewish musicians, composers, and musicologists have greatly enriched the artistic legacies of cultures and countries on a global scale. Their contributions have been a major influence on numerous musical forms, both secular and sacred. Jews in Music presents a survey of these accomplishments through the rise of Zionism, the settlement of the Jewish Homeland, and the burgeoning Jewish music developments in America. Jews in Music presents a detailed history ranging from the symphonies of Felix Mendelssohn to the Broadway musicals of Leonard Bernstein, from the great touring violinists of Western Europe to the pioneers of commercial music recording. Plus, a section on sacred music explores in depth the evolution of the musical components of the synagogue, including the chants, compositions, and traditional songs of the chazzanim.
|Author||: Miliĭ Alekseevich Balakirev|
|Editor||: Alfred Music Publishing|
Balakirev's Grande Fantaisie, for piano and orchestra has never appeared in print until now. Joseph Banowetz provides careful research and thorough editing of the original manuscript to provide performer and scholar alike with the definitive urtext edition of this work. Banowetz has reduced the orchestral score for a second piano. This landmark edition features a world premiere CD recording of this work performed by Joseph Banowetz with the Russian Philharmonic (Moscow). Joseph Banowetz graduated with a First Prize from the Vienna Akademie für Musik und darstellende Kunst. Banowetz has been a piano recitalist and orchestral soloist on five continents. He was awarded the Liszt Medal by the Hungarian Liszt Society in recognition of his outstanding performances of Liszt and the Romantic literature.
|Author||: Malcolm H. Brown,Alexander Poznansky|
|Editor||: Indiana University Press|
The result is a dynamic portrayal of the composer, with all the complexities and paradoxes of a real life.
|Author||: Stuart Campbell,Campbell Stuart|
|Editor||: Cambridge University Press|
The volume reveals, through contemporary Russian eyes, how the foundations of the hugely popular Russian classical repertory were laid, providing a vivid picture of the musical life of the opera house and the concert hall from which this repertory sprang.
|Author||: James Cracraft|
|Editor||: Harvard University Press|
Many books chronicle the remarkable life of Russian tsar Peter the Great, but none analyze how his famous reforms actually took root and spread in Russia. In The Revolution of Peter the Great, James Cracraft offers a brilliant new interpretation of this pivotal era. Linking together and transcending Peter's many reforms of state and society, Cracraft argues, was nothing less than a cultural revolution. New ways of dress, elite social behavior, navigation, architecture, and image-making emerged along with expansive vocabularies for labeling new objects and activities. Russians learned how to build and sail warships; train, supply, and command a modern army; operate a new-style bureaucracy; conduct diplomacy on a par with the other European states; apply modern science; and conceptualize the new governing system. Throughout, Peter remains the central figure, and Cracraft discusses the shaping events of the tsar's youth, his inner circle, the resistance his reforms engendered, and the founding of the city that would embody his vision--St. Petersburg, which celebrated its tercentenary in 2003. By century's end, Russia was poised to play a critical role in the Napoleonic wars and boasted an elite culture about to burst into its golden age. In this eloquent book, Cracraft illuminates an astonishing transformation that had enormous consequences for both Russia and Europe, indeed the world.
|Author||: Charlie Souza,Keith Wilkins|
|Editor||: Arcadia Publishing|
When the Peerless Quartet wrote "Way Down On Tampa Bay" in 1914, Tampa Bay's musical roots started growing. Tampa Bay is where Ray Charles created his first song, Hank Ballard wrote and recorded "The Twist," and the Rolling Stones cranked out their hit "Satisfaction." Stephen Stills attended both Plant High School and Admiral Farragut Academy, and Jim Morrison studied at St. Petersburg Junior College. Ella Fitzgerald kicked off her career on the storied Central Avenue in Ybor City. Savatage, Stranger, Diamond Grey, the Outlaws, Bleeding Hearts, Blackkout, the Arena Twins, Tampa Red, and Cheeky Monkey are all artists who have made a huge impact both locally and nationally. From its rock 'n' roll boom in the 1960s to the birth of death metal in the 1980s . . . Tampa Bay has had a rich musical history!
|Author||: Richard Taruskin|
|Editor||: Univ of California Press|
This new collection views Russian music through the Greek triad of “the Good, the True, and the Beautiful” to investigate how the idea of "nation" embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, post–Cold War, and now post–9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much of the volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; and to the tension between the compelling artistic quality of works such as Stravinsky’s Sacre du Printemps or Prokofieff’s Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating Taruskin’s authority and ability to bring living history out of the shadows.
|Author||: Klara Moricz|
|Editor||: Univ of California Press|
Jewish Identities mounts a formidable challenge to prevailing essentialist assumptions about "Jewish music," which maintain that ethnic groups, nations, or religious communities possess an essence that must manifest itself in art created by members of that group. Klára Móricz scrutinizes concepts of Jewish identity and reorders ideas about twentieth-century "Jewish music" in three case studies: first, Russian Jewish composers of the first two decades of the twentieth century; second, the Swiss American Ernest Bloch; and third, Arnold Schoenberg. Examining these composers in the context of emerging Jewish nationalism, widespread racial theories, and utopian tendencies in modernist art and twentieth-century politics, Móricz describes a trajectory from paradigmatic nationalist techniques, through assumptions about the unintended presence of racial essences, to an abstract notion of Judaism.
|Author||: Polina Eismont,Natalia Konstantinova|
This book constitutes the proceedings of the First International Workshop on Language, Music and Computing, LMAC 2015, held in St. Petersburg, Russia, in April 2015. The 13 papers presented in this volume were carefully reviewed and selected from 38 submissions. They were organized in topical sections on music and language in education; corpus studies of language and music; problems of notation; and linguistic studies of music.
|Author||: Nikolai Findeizen|
|Editor||: Indiana University Press|
In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history. Volume 2 of Findeizen’s landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century.