A History of Russian Music: From Kamarinskaya to Babi Yar

Features

• Cover Type: Paperback with 441 pages
• Published by: University of California Press
• Edition: 1st Edition February 20, 2006
• Written in: English
• ISBN 10 Number: 0520248252
• ISBN 13 Number: 978-0520248250
• Book Dimensions: 8.9 x 6 x 1.4 inches
• Weighs: 1.6 pounds

From Library Journal
Russian music scholarship has been completely overhauled over the last twenty years, largely through the writings of influential musicologist Richard Taruskin (Berkeley). Now Maes, a Dutch writer who as a Fulbright scholar worked closely with Taruskin, presents an overarching view of Russian music History that draws upon and extends the new historical approach espoused by Taruskin. In brief, this school argues for a rejection of the 19th-century view absolutely equating Russian nationalism and folklorism with political and social progressivism. The new view, based on rigorous scholarship and unbiased musical analysis, reveals a far more nuanced and complex picture of Russian music. Originally published in Dutch in 1997, Maes's work is superbly translated here and proceeds from Mikhail Glinka to Dmitri Shostakovich in 14 chronological chapters, each rich in detail and illuminating in content. While no musical examples are presented, Maes does on occasion refer to specific terminology but always in ways that are clear to the lay reader. An great addition to all collections. Larry Lipkis, Moravian Coll., Bethlehem, PA
Copyright 2001 Reed Business Information, Inc. --This text refers to the Hardcover edition.

From Booklist
Maes traverses the major periods of modern Russian music, from Glinka to Shostakovich. (Apparently, little Russian music before the nineteenth century is worth mentioning, though Prokofiev and Stravinsky incorporated folk themes and some religious music into theirs.) Glinka's Life for the Tsar began Russia's operatic tradition, but the royal family soon preferred Italian opera of the time. The later 1800s saw the rise of Balakirev, Mussorgsky, Borodin, Tchaikovsky, and Rachmaninoff, composing symphonic, chamber, and theatrical music within the Western classical tradition but influenced by Eastern tonalities. The revolution brought a new class of composers with it, among them Prokofiev and Shostakovich, who accommodated the Communist Party under Stalin by composing to satisfy the ever-changing political environment. Russian music has both adhered to tradition and advanced into modernism under the influence of politics, and Maes' brief analyses of many compositions bespeak composers buffeted by the political winds of their times. Glossing over lesser-known composers and stopping short of the post-Soviet period, the book is worthwhile for seeing how Russia's politics affected her music. Alan Hirsch
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.

Reader Reviews
This review is from: A History of Russian Music: From Kamarinskaya to Babi Yar (Hardcover) "A History of Russian Music," by Francis Maes, could have been better titled: "Music's Place in the History of Russia and the Soviet Union." Though there are some basic definitions given (scattered on pages throughout), there is not one musical example of any of the folk song types listed. For example, no one will, after reading this book alone, understand what a "protyazhyana" is, other than a "drawn-out song." One could say the same about any of Kenny G's music. Analysis of the music is limited. The author obviously assumes the reader has no knowledge of music theory. For example, in a particularly pedantic passage, he acknowledges that his explanation of the octatonic scale "sounds complicated." If you are interested in "play by play" examination of opera plots, etc., then this is the book for you. For an actual understanding of Russian musical style, there are better sources. This book appeared to be a dumbed-down version of Richard Taruskin's scholarship - one will note Taruskin is the most cited author in the book. All in all, not bad for the musical novice, and a great look at how music fit in with the history of Russia and the Soviet Union, but lacks clarity and detail in its definitions, and is without the technical analysis required for scholarly research. More frustrating than helpful. Great cover art though. Comment | Permalink | (Report this)