Richard Taruskin
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199829446
- eISBN:
- 9780199377244
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199829446.003.0003
- Subject:
- Music, History, Western, Theory, Analysis, Composition
This chapter takes up the politically charged subject of Lourié’s involvement with the Eurasianist movement in interwar Paris and its lasting mark on his, and temporary mark on Stravinsky’s, ...
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This chapter takes up the politically charged subject of Lourié’s involvement with the Eurasianist movement in interwar Paris and its lasting mark on his, and temporary mark on Stravinsky’s, aesthetics. The chapter includes analyses of Lourié’s Sinfonia dialectica and Second Symphony, the “Kórmtchaïa, in comparison with Stravinsky’s neoclassical output, while also taking into account Lourié’s appropriation of liturgical and quasi-liturgical music and anhemitonicism. Lourié’s critical reception in Paris is a point of focus, likewise his diverse writings on melody, harmony, and the future of music as defined by the composers of the Second Viennese School, Soviet composers, and French neoclassical composers. The writings of the cultural critic and Eurasianist ideologue Pyotr Suvchinsky provide a context for Taruskin’s sociopolitical discussion.Less
This chapter takes up the politically charged subject of Lourié’s involvement with the Eurasianist movement in interwar Paris and its lasting mark on his, and temporary mark on Stravinsky’s, aesthetics. The chapter includes analyses of Lourié’s Sinfonia dialectica and Second Symphony, the “Kórmtchaïa, in comparison with Stravinsky’s neoclassical output, while also taking into account Lourié’s appropriation of liturgical and quasi-liturgical music and anhemitonicism. Lourié’s critical reception in Paris is a point of focus, likewise his diverse writings on melody, harmony, and the future of music as defined by the composers of the Second Viennese School, Soviet composers, and French neoclassical composers. The writings of the cultural critic and Eurasianist ideologue Pyotr Suvchinsky provide a context for Taruskin’s sociopolitical discussion.
