Over the past four decades, Richard Taruskin s publications have redefined the field of Russian music study This volume gathers thirty six essays on composers ranging from Bortnyansky in the eighteenth century to Tarnopolsky in the twenty first, as well as all of the famous names in between Some of these pieces, like the ones on Chaikovsky s alleged suicide and on the interpretation of Shostakovich s legacy, have won fame in their own right as decisive contributions to some of the most significant debates in contemporary musicology An extensive introduction lays out the main issues and a justification of Taruskin s approach, seen both in the light of his intellectual development and in that of the changing intellectual environment, which has been particularly marked by the end of the cold war in Europe....
|Title||:||On Russian Music|
|Publisher||:||University of California Press First edition September 30, 2010|
|Number of Pages||:||416 pages|
|File Size||:||881 KB|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
On Russian Music Reviews
well written and comprehensive.
You may not agree with everything Richard Taruskin says, but you can rest assured he will never bore you. Taruskin is one of those rare scholars who can give you a lot of information in a readable, witty way. On Russian music, he is certainly the authority in the English language, both from the point of view of music and of musicology. Taruskin exacts from artists high moral standards that artists simply do not have, but even in this position he is informative and well documented. A lovely book.
ON RUSSIAN MUSIC collects Richard Taruskin's articles on the subject, published in a variety of periodicals from 1975 to the early millennium. For this volume, the critic has written an ample introduction, and for many of the articles he adds postscripts that discuss the media fallout from his remarks.
This is a book that no lover of Russian music should miss. Just in case you don't know, Richard Taruskin is one of the brightest and most trenchant musicologists around today, with a formidable range of expertise, as his six-volume `Oxford History of Western Music' has demonstrated, particularly since his idea of musical history is not just a story about notes but places them in a cultural and historical setting. The present volume is made up of occasional articles and reviews, but they form a satisfying sequence, leading us from Glinka right down to the present day. Particularly impressive is a series of pieces on Tchaikovsky, where Taruskin criticizes the conventional picture that treats nineteenth-century German music as normative and everything else as `nationalist', not to say provincial. He shows how Tchaikovsky is just as indebted to Russian sources as Mussorgsky, but must be treated as primarily a composer in the European mainstream. He is effective in demolishing the view that Tchaikovsky was a guilt-ridden homosexual, whose music is self-indulgent and at times hysterical. In what is perhaps the best chapter in the book he argues that we are wrong to enjoy Evgeny Onegin condescendingly, as it were great fun but not worthy of Puskhin, since the orchestral accompaniment makes all sorts of subtle points and connections, akin to the authorial voice in the Pushkin poem. This volume has nothing, strangely, on Stravinsky and Scriabin and their generation, but a whole series of pieces on Prokofiev and Shostakovich. Taruskin adds powerful support to Laurel Fay's demolition of the pseudo-Shostakovich 'Testimony'. The volume concludes (almost) with a wide-ranging piece on post-Shostakovich Russian music, though omitting Schnittke and Gubaidulina. It is a real strength of the volume that it does not, however, reduce the reader to dumb admiration, but often provokes disagreement. I would particularly protest against his view that any interpretation of music that satisfies our 'private, selfish interests' is 'justified by securing these benefits' (p. 356) - as if the value of music did not lie precisely in its ability to take us beyond the mushy terrain of solipsistic fantasy. Taruskin is deeply concerned by what he perceives as the marginal status of classical music in modern culture, as if it had nothing to do with serious concerns, but here he is contributing to its trivialization.
but, as someone interested in the present and even future of music, I find his relentlessly conservative agenda annoying. Despite his knowledge, he has no genuine sense of the vision of "modern" (1900-the present) musicians.