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e-book Tchaikovskys Pathétique and Russian Culture

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Bibliography (2014/25)

Landscapes of Mobility: Culture, Politics, and Placemaking. Our world is unquestionably one in which ubiquitous movements of people, goods, technologies, media, money, Our world is unquestionably one in which ubiquitous movements of people, goods, technologies, media, money, and ideas produce systems of flows.

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While some While some contend that criminal participation by migrants is the result of environmental factors found in the host country that are beyond the control of migrants, others It just felt right to assume that the composer drank the infected water on purpose. The awkward prose is unfortunately typical of the entire book and of the edito- rial standards at Ashgate Publishing , yet the hypothesis has much to offer. This is where things get tricky. The fourth move- ment is related to the Crucifixion, but also to the afterlife.

Bibliography (/25) - Tchaikovsky Research

In other words, there is no explanation for the movement within the Passion plot. To be fair, this is but one interpretation of the theme proposed by the author, and her intent is less to affix certain meaning to the score than to suggest another way of experiencing the sym- phony apart from the suicide nonsense.

It is not a personal work, yet deals with the most personal of experiences. Here was a composer who dedicated his career to representing the di- vinely beautiful in human existence, and so took the exquisite risk, at the age of 52, of repre- senting the hopeless, helpless finitude of life. The sun will set on us all, but in his music, love and empathy for our pathetic plight remain. New York: Berghahn Books, His research covers the poetics of composi- tion and lighting techniques, which have generally been neglected but are fundamental for a more comprehensive understanding of the creative image.


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The author examines Russian experimental. Related Papers. By Denise Clarke. But the products are strangely mixed. It is obvious that when the most cultured audiences prefer the music of the less developed races to their own, a lowering of the standard of their artistic perception and taste is implied, and a lessening of their sympathy with the productions of the best of their own composers is sure to follow.

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Few things have contributed more effectively to perpetuate in this country the prejudice against the musical profession […] than the impression that musicians are a class wanting in the manlier quantities. My own experience has taught me that immediately after that excess of feeling which has of its own force taken shape in the poem or tone-picture, the gun, the bicycle, the football or cricket ball, the rod and line, or the gloves are the best possible antidotes to the poisons of sedentary occupation and passions that alternately feed and waste the energies of life.

Men who wished to take up musical careers were obliged to project virile identities and write strongly nationalist music; Elgar would be the prime example here, as the work of recent scholars has amply demonstrated. As to music, this is certainly the art which in its subtlety and tenderness — and perhaps in a certain inclination to indulge in emotion — lies nearest to the Urning nature. There are few in fact of this nature who have not some gift in the direction of music — though, unless we cite Tschaikowsky, it does not appear that any thorough-going Uranian has attained to the highest eminence in this art.

Moreover, stereotypes linking the emotions, sexuality and music were strongly linked to issues of national identity that tended to portray Russia in terms of a feminised, emotional oriental culture. In the Sixth, Tchaikovsky seems to have concentrated the brooding melancholy which is the most characteristic and recurrent of all his emotional phases. Throughout the whole of his music we are never far away from this shadow.

Sometimes this mood seems real enough; sometimes it strikes us as merely artificial and rhetorical. But melancholy in some form constitutes the peculiar quality of his genius, and nowhere does it brood more heavily or with more tragic intensity than in the last movement of this symphony.


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On the one hand, she downplays the importance of melancholy and morbidity in his music — a crucial strategy if establishment doubters such as Parry were to be converted to appreciating a music that Newmarch valued highly. We who in England know Tchaikovsky so well — so much too well — by his Sixth Symphony , are disposed to interpret the whole trend of his character by this one dark-toned work, which may reflect — for all we know — as much the tragic historical destinies of his country as the shadow of a personal sorrow. Then perhaps we shall turn with pleasure to the wholesome vigour and dramatic interest of The Tempest ; to the poetic sentiment, the intense passion, the poignant — but controlled — melancholy of Francesca da Rimini , one of the most beautiful examples of programme music ever written; and the numerous other interesting works of his best and most robust period.

Meanwhile it is good to see Tchaikovsky in a sober, business-like capacity, sane and clear-headed, exercising his critical faculties with a discretion and reserve that goes far to correct any false impressions of his extreme morbid subjectivity. At the time Newmarch was writing, British music was undergoing what is often termed a renaissance, and Newmarch was keen to play a part in shaping that process:.

As to the influence exerted by foreign music on the revival, she thinks that some of our composers have submitted too much to the influence of Brahms, who, although a sincere and natural composer, produces on his disciples the curious effect of making them wearisome, even though he gives them academic respectability. As to young composers, the influence of Russian music has been extensive and salutary. They have learned from Tchaikovsky a certain emotional pessimism and in general the art of effective orchestration.


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Rather, it was a vital and generative influence on the limited emotional range of British music, which was constrained by durable prejudices against music as an art form likely to encourage moral degeneracy. Newmarch in fact wrote about Rimsky-Korsakov more than nearly any other figure — there are at least 6 articles or chapters devoted to him in her output, dating from to Later, she makes the same point a greater length:.

Rimsky-Korsakov does not correspond to our stereotyped idea of the Russian temperament.