Classics for the Masses: Shaping Soviet Musical Identity by Pauline Fairclough

By Pauline Fairclough

Musicologist Pauline Fairclough explores the evolving function of tune in shaping the cultural identification of the Soviet Union in a revelatory paintings that counters definite hitherto permitted perspectives of an unbending, unchanging country coverage of repression, censorship, and dissonance that existed in all components of Soviet inventive activity. Newly opened information from the Leninist and Stalinist eras have shed new gentle on Soviet live performance lifestyles, demonstrating how the song of the previous used to be used to assist mould and convey cultural coverage, how “undesirable” repertoire used to be weeded out throughout the Nineteen Twenties, and the way Russian and non-Russian composers equivalent to Mozart, Tchaikovsky, Wagner, Bach, and Rachmaninov have been “canonized” in the course of diversified, specified classes in Stalinist tradition. Fairclough’s interesting learn of the ever-shifting Soviet musical-political panorama identifies 1937 because the commence of a cultural chilly conflict, instead of taking place post-World warfare , 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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