Harmony and Discord: Music and the Transformation of Russian by Lynn M. Sargeant

By Lynn M. Sargeant

Concord and Discord: song and the Transformation of Russian Cultural existence explores the advanced improvement of Russian musical existence throughout the 19th and early 20th centuries. on the center of this cultural historical past lies the Russian Musical Society, as either a different driver at the back of the institutionalization of tune and a consultant of the growing to be significance of voluntary institutions in public lifestyles. Sustained at the same time via inner most initiative and cooperative relationships with the kingdom, the Russian Musical Society performed a key function within the production of Russia's infrastructure for track and song schooling. writer Lynn M. Sargeant explores the fluid nature of Russian social identification throughout the huge scope of musical lifestyles, together with not just the "leading lighting fixtures" of the period but additionally rank-and-file musicians, academics, and scholars. even if Russian musicians longed for a safe position in the new hierarchy of professions, their social prestige remained ambiguous during the 19th century. conventional reliance on serf musicians and foreigners left lasting scars that encouraged musicians' efforts to procure criminal rights and social respectability. And women's expanding visibility within the musical international provoked acrimonious debates that have been, at center, efforts by way of male musicians to bolster their claims to specialist prestige through denying the legitimacy of woman participation. Sargeant demonstrates that the winning improvement of a Russian musical infrastructure salved power anxieties approximately Russia's position vis-???-vis its eu cultural rivals. Remarkably, the associations constructed by way of the Russian Musical Society survived the upheavals of warfare and revolution to develop into the basis for the Soviet musical system.A wealth of old documentation makes concord and Discord required examining for musicologists, sociologists and historians attracted to this era, and the abundance of fun anecdotes and the author's lucid and vigorous literary variety make it an stress-free heritage for all readers.

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By Lynn M. Sargeant

Concord and Discord: song and the Transformation of Russian Cultural existence explores the advanced improvement of Russian musical existence throughout the 19th and early 20th centuries. on the center of this cultural historical past lies the Russian Musical Society, as either a different driver at the back of the institutionalization of tune and a consultant of the growing to be significance of voluntary institutions in public lifestyles. Sustained at the same time via inner most initiative and cooperative relationships with the kingdom, the Russian Musical Society performed a key function within the production of Russia's infrastructure for track and song schooling. writer Lynn M. Sargeant explores the fluid nature of Russian social identification throughout the huge scope of musical lifestyles, together with not just the "leading lighting fixtures" of the period but additionally rank-and-file musicians, academics, and scholars. even if Russian musicians longed for a safe position in the new hierarchy of professions, their social prestige remained ambiguous during the 19th century. conventional reliance on serf musicians and foreigners left lasting scars that encouraged musicians' efforts to procure criminal rights and social respectability. And women's expanding visibility within the musical international provoked acrimonious debates that have been, at center, efforts by way of male musicians to bolster their claims to specialist prestige through denying the legitimacy of woman participation. Sargeant demonstrates that the winning improvement of a Russian musical infrastructure salved power anxieties approximately Russia's position vis-???-vis its eu cultural rivals. Remarkably, the associations constructed by way of the Russian Musical Society survived the upheavals of warfare and revolution to develop into the basis for the Soviet musical system.A wealth of old documentation makes concord and Discord required examining for musicologists, sociologists and historians attracted to this era, and the abundance of fun anecdotes and the author's lucid and vigorous literary variety make it an stress-free heritage for all readers.

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Additional resources for Harmony and Discord: Music and the Transformation of Russian Cultural Life (The New Cultural History of Music)

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Although a ball in the capital would have featured an orchestra of hired professional musicians, this provincial ball relied on the enthusiasm of local society, whose members made up the “orchestra . . ”9 What richness and variety provincial cities enjoyed in their cultural life depended on the aesthetic sensibilities and artistic training of local society. Enthusiasm for music was not always accompanied by skill. Literaturnaia gazeta sardonically described midcentury St. Petersburg as so enamored of music that its inhabitants could not “live without music, .

Purely instrumental, music. From the mid 1830s, interest in specifically Russian music grew substantially. This reflected both broader changes in society, including the impact of 34 harmony and discord nationalist intellectual currents and official policies, as well as the growing confidence of Russian composers. Nevertheless, events such as the St. Petersburg “Russian Concert” of March 15, 1850 remained novelties. The concert, which featured works by luminaries such as Glinka and Dargomyzhsky, as well as by composers less familiar to us, such as A.

37 The choir, similarly, was comprised of male and female members of the society. During its heyday, the Symphonic Society was a significant force in Russian musical life, presenting concerts that featured serious and substantive repertoire. In the winter of 1848–1849, for example, it offered a series of twelve concerts, the last of which included Felix Mendelssohn’s Symphony No. 1, Beethoven’s Missa Solemnis, and a festive overture on the Russian national hymn. ” Critics such as Platon Smirnovsky invested their hopes in the society, noting with approval that its relatively well-attended concerts featured “the classical creations of the great maestros” rather than light salon music.

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