What Was The Impact Of Music And Power In The 1930s

Peter Ilyich Tchaikovsky is the author of six symphonies and the finest and most popular operas in the Russian repertory. Tchaikovsky was also one of the founders of the school of Russian music. He was a brilliant composer with a creative imagination that helped his career throughout many years. He was completely attached to his art. His life and art were inseparably woven together. "I literally cannot live without working," Tchaikovsky once wrote, "for as soon as one piece of work is finished and one would wish to relax, I desire to tackle some new work without delay." The purpose of this paper is to give you a background concerning Tchaikovsky's biography, as well as to discuss his various works of

In this essay I will be discussing the extent that Dmitri Shostakovich adhered to and rebelled from the conventions and traditions that were normalized in classical music and I will offer varied examples of the many times Shostakovich has obeyed and dissented within music throughout his career. The career span of Shostakovich extends from 1926 when he presented his first major work, Symphony No.1 to 1970 when he presented Quartet No. 7.

After Dvorak left the Organ School in 1859, he basically disappeared from the public eye for twelve years until 1871, which is when he emerged back into the public as a composer. For those twelve years he spent in seclusion, he was occupied with extensive writing in the classical form (8). To much grief and disappointment Dvorak’s first son died in September and his second daughter in October of 1877. These tragic losses were experienced within his grandiose oratorio “Stabat Mater.” For the next twenty years, Dvorak was invited to other European countries to conduct performances of his own works while enduring a struggling relationship with his publisher Hitherto Simrock (7).

Mandelshtam was imprisoned and tortured for his satirization of Stalin and his fascist policies. Even when in captivity, however, Mandelshtam retained some of his brazen qualities, evident in how while, “the 1933 “Epigram” offers an unambiguous attack on a fascist dictator, the “Ode” can be read as a celebration of fascism, but inasmuch as the celebration is fascist, it exposes Stalin as fascist as well” (Brinkey). Mandelshtam, sent away to a labor camp, was forced into a sort of rebellious form of repentance. His contrived poems glorifying Stalin were double-edged swords, acknowledging his fascist basis even if it was theoretically derived from praise. This final retaliation was ultimately his downfall. Soon after its publication, a “letter from Vladimir Stavsky, the General Secretary of the Writers Union, to Nikolai Yezkov, the Soviet Commissar of Internal Affairs…describes Mandelshtam as “a writer of obscene, libellous verse about the leadership of the Party and all the Soviet people”…[and] recommends Mandelshtam’s [re]arrest” (Brinkley). Mandelshtam’s “Ode to Stalin” was meant to satiate the hunger of Socialist Realism’s grip on all artistic output; however, his attempted reconciliation with the Soviet Union was

All of these topics I talk about connect to how Stalin used a totalitarian government misguidedly. A totalitarian government is relating to a centralized government that does not tolerate parties of differing opinion and that exercises dictatorial control over many aspects of life. This government did not want to do anything with what the people wanted but what only politician wanted to make a better country. “Artists were forced to produce work which glorified the achievements of soviet workers and peasants, or of the Revolution. This was called Socialist Realism”(Fiehn 115). Social Realism was the only work people could publish. Social Realism displays the country coming together and helping industrialize. If anyone tried to publish any other work it was not acceptable, and could face severe consequences leading to being sent to the gulags which many were. “In speeches, publications, and other media, Stalin was described in phrases such as ‘Supreme genius of humanity,’ ‘leader of genius of the toilers of the whole world,’ and ‘inspirer and organizer of the victory of socialism”(Fiehn 89). This implies that Stalin obsessed with having all the power and eyes on him. These nicknames that were given to him are god like structures that make him be seen as everyone's hero and a man of character. This indoctrination or brainwashing of the people minds made them think that Stalin was the wisest man in the world and their country were making the most

Certain music styles were banned like jazz or avant-garde music. Under this plan, all Russian composers were not allowed to compose any music that showed the Soviet Union in a negative light. All music had to be created with the intent of inspiring patriotism for Russia (“Dmitri Shostakovich: A Life”). Of course, it did not take long for Shostakovich’s work to be banned from the Soviet Union. His two operas, The Nose and Lady Macbeth of the Mtsensk District, satirically made fun of parts of Russian culture. Stalin himself attended a performance of the Lady Macbeth of the Mtsensk District and was angered by the opera. In the Russian newspapers, his opera was described “This bedlam of noise quacks, grunts, growls, and suffocates itself in an orgy of depravity” (“Dmitri Shostakovich: A Life”). The media was controlled by the communist government and of course it was negative towards Shostakovich’s

During nineteenth century, there were five major players who worked together to establish the unique and distinct sound that is Russian classical music. Mily Balakirev, Cesar Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. The five composers all lived in Saint Petersburg, Russia, and worked together to created amazing works of music from 1856 to 1870. The Mighty Handful got their name from an article entitled Mr. Balakirev’s Slavic Concert, by acclaimed critic Vladimir Stasov which was a concert that was performed for visiting Slavic delegates in May 1867 at the All-Russian Ethnographical Exhibition” in Moscow, Russia. The four Russian composers whose worked were featured at the concert were Mikhail Glinka, Alexander Dargomyzhsky, Mily Balakirev, and Nikolai Rimsky-Korsakov. The article itself ended with the statement that lead to be named “The Mighty Handful” “God grant that our Slav guests may never forget today’s concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small but already might handful of Russian musicians.”

Sofiya Vasilievna Kokoulina, both the parents of Shostakovich. Shostakovich had taken the name of his father, as his full name is Dmitri Shostakovich. In 1926, Shostakovich’s career was launched, making him one of the young soviet composers. “No doubt he was the golden child of the soviet union,” most would say.

Durring this time in Shostavovich life, Stalin was against muscians who did not have a potical languge in their music. Shostavovich musical creativity was of his own and would be soon called out by Stalin. Shostavovich felt as if he was writing for his life. Also durring that time many composers were silinced, but Beethovens music survived. This in a sense slows down creativity. The thought of fear, " If my music is not politically fullfeeling, then my family or I could be assanssanted." Stalin then went to Shostavovich performance. There he left durring intermission. The encounter was not favorable for Shostavoich. Stalin later placed in the press how Shostavovich's music corrupted the soviet spirit. This was the fear once dreamed. It

The dictionary provides biographies of Soviet Composers. Short but valuable descriptions will assist when choosing composers to highlight in the essay. Shostakovich as one example has been chosen due to the insightful knowledge provided by the dictionary. It states that although successful, the opera “Lady Macbeth” not only caused much controversy in the public eye but also provoked Stalin. It provides examples of publications that highlight the fury caused by the opera and gives many arguments which emphasise the large restrictions placed upon Shostakovich. This is a highly credible source due to the historical factors at the time of publication and the large body of sources used to construct the biographies. It will be used as a reference

Sergei Prokofiev was a Russian composer born on April 23rd, 1891 in what is now known as Krasnoe. His mother, Maria, was a part of a family of former serfs that was owned by the Sheremetev family. The family who owned them taught children theatre and the arts from an early age. Maria, after Sergei was born, spent two months out of the year in either Moscow or St. Petersburg taking piano lessons. Sergei grew passionate by hearing her practice in the evenings, and composed a piece, the “Indian Gallop”, at the age of five. His mother encouraged him to apply for Saint Petersburg Conservatory and finished his degree in 1914. When the first World War began after his father passed, he went back to the Conservatory to practice organ to avoid being

After a series of wars spread throughout Europe in the early 19th century, many countries found themselves developing a national identity through their music. This move toward what became known as Nationalism opened new doors for composers, but it also created tension among those who had different ideas about creating that national sound. In Russia, a group of five composers, later known as The Mighty Handful, gathered together to firmly establish music that would instantly be recognized as Russian. One composer, Modest Mussorgsky, though largely self-taught, composed pieces with a distinct sound. Unfortunately, he battled with alcoholism. This battle led to Mussorgsky leaving works unfinished, or leaning on the reliance of another member of

The general plan of Tchaikovsky’s symphonies includes a very 'pessimistic' first movement, a sad, peaceful second movement, an allegro movement (often in dance form) and a fourth movement full of vigor.  His 6th symphony, the Pathetique, is an exception.  The themes are broad, decorative, and striking. The orchestration is rich - but without any attempt at spectacular effects.  The last movement is slow and mournful, and recent research reveals the reason.  The Pathetique was only partly finished when news spread of a homosexual 'encounter' Tchaikovsky had with a fellow student. Some believe that the composer finished the symphony as a farewell to life. The scoring is for the standard symphonic orchestra with winds, brass, strings, timpani, and other percussion instruments. It was premiered in St. Petersburg with Tchaikovsky himself leading the orchestra.

“Truly there would be reason to go mad were it not for music.” (― Pyotr Ilyich Tchaikovsky) Pyotr Ilyich Tchaikovsky used music as an escape, crafting wondrous melodies to entice the heart and mind out of its worldly miseries and into the land where musical delight reigned supreme. His life lay troubled, and music became his refuge. As a result, he spent copious time dedicated to developing his musical talent and composed the worlds of fantastic delights in which, as he states, he truly lived. His wildly prolific music graced the ears and eyes of many, drawn into his finely-crafted masterpieces of Russia lore. To further understand Tchaikovsky’s influence, we will examine his personal life, his career, and his family life.

Jean Sibelius is often recognised as one of Finland’s greatest composers, who helped to develop a national identity for Finland during the late 19th century in its struggle for independence from Russia. There are many aspects of Sibelius’ biography and works that can aid in the justification of the label ‘nationalist’ and demonstrate how this identification shaped the reception of his career. Many aspects of his biography such as his early education, his musical education in Vienna and Berlin and his engagement and marriage to Aino Jarnefelt, whose family were Finnish patriots, helped Sibelius to find his own nationalist temperament and can be thought to justify the label ‘nationalist.’ Finding inspiration from the Finnish national epic, the