By Pauline Fairclough

Musicologist Pauline Fairclough explores the evolving function of tune in shaping the cultural id of the Soviet Union in a revelatory paintings that counters yes hitherto approved perspectives of an unbending, unchanging kingdom coverage of repression, censorship, and dissonance that existed in all parts of Soviet creative activity. Newly opened documents from the Leninist and Stalinist eras have shed new mild on Soviet live performance existence, demonstrating how the track of the prior used to be used to aid mould and convey cultural coverage, how “undesirable” repertoire used to be weeded out in the course of the Nineteen Twenties, and the way Russian and non-Russian composers corresponding to Mozart, Tchaikovsky, Wagner, Bach, and Rachmaninov have been “canonized” in the course of varied, precise classes in Stalinist tradition. Fairclough’s attention-grabbing learn of the ever-shifting Soviet musical-political panorama identifies 1937 because the commence of a cultural chilly warfare, instead of taking place post-World battle , as is usually maintained, whereas documenting the efforts of musicians and bureaucrats in this interval to maintain musical channels open among Russia and the West.

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Classics for the Masses: Shaping Soviet Musical Identity under Lenin and Stalin by Pauline Fairclough

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