Russia Under the Bolshevik Regime by Richard Pipes

By Richard Pipes

Pipes is a well known authority on Russia and is at the moment Baird professor of heritage at Harvard college. this is often the ultimate quantity in his magisterial historical past of the Russian Revolution, protecting the interval from the outbreak of the Civil conflict in 1918 to Lenin's demise in 1924.

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By Richard Pipes

Pipes is a well known authority on Russia and is at the moment Baird professor of heritage at Harvard college. this is often the ultimate quantity in his magisterial historical past of the Russian Revolution, protecting the interval from the outbreak of the Civil conflict in 1918 to Lenin's demise in 1924.

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Extra resources for Russia Under the Bolshevik Regime

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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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