Download PDF Musorgsky, by Richard Taruskin
The e-books Musorgsky, By Richard Taruskin, from basic to complex one will certainly be a very beneficial works that you could require to alter your life. It will not give you unfavorable declaration unless you don't obtain the significance. This is definitely to do in reading an e-book to conquer the significance. Typically, this publication qualified Musorgsky, By Richard Taruskin is read because you actually similar to this sort of book. So, you can get much easier to recognize the perception as well as meaning. Again to always bear in mind is by reading this book Musorgsky, By Richard Taruskin, you can fulfil hat your interest begin by completing this reading e-book.
Musorgsky, by Richard Taruskin
Download PDF Musorgsky, by Richard Taruskin
This is it the book Musorgsky, By Richard Taruskin to be best seller lately. We offer you the best deal by getting the spectacular book Musorgsky, By Richard Taruskin in this internet site. This Musorgsky, By Richard Taruskin will certainly not only be the sort of book that is difficult to discover. In this internet site, all kinds of publications are provided. You could look title by title, author by writer, and publisher by publisher to discover the best book Musorgsky, By Richard Taruskin that you can review currently.
As recognized, book Musorgsky, By Richard Taruskin is popular as the window to open the world, the life, and also brand-new point. This is what individuals currently need a lot. Even there are lots of people who do not such as reading; it can be an option as reference. When you really need the methods to create the next inspirations, book Musorgsky, By Richard Taruskin will really guide you to the means. In addition this Musorgsky, By Richard Taruskin, you will certainly have no regret to obtain it.
To get this book Musorgsky, By Richard Taruskin, you may not be so baffled. This is on the internet book Musorgsky, By Richard Taruskin that can be taken its soft file. It is different with the on-line book Musorgsky, By Richard Taruskin where you can get a book and after that the vendor will certainly send the printed book for you. This is the area where you can get this Musorgsky, By Richard Taruskin by online and after having handle purchasing, you could download Musorgsky, By Richard Taruskin alone.
So, when you require quickly that book Musorgsky, By Richard Taruskin, it does not have to get ready for some days to get guide Musorgsky, By Richard Taruskin You could straight obtain guide to conserve in your device. Also you enjoy reading this Musorgsky, By Richard Taruskin all over you have time, you can appreciate it to review Musorgsky, By Richard Taruskin It is undoubtedly practical for you who want to get the much more precious time for reading. Why do not you invest 5 mins and also invest little cash to get the book Musorgsky, By Richard Taruskin here? Never allow the extra point quits you.
"It is [a] fully illuminated story that Richard Taruskin, in the path-breaking essays collected here, unfolds around Modest Musorgsky, Russia's greatest national composer.... [Taruskin's] tour de force comes with a frontal attack on all the Soviet-bred truisms that for a century have refashioned Musorgsky from what the evidence suggests he was--an aristocrat with an early clinical interest in true-to-life musical portraiture and a later penchant for drinking partners who were both folklore buffs and political reactionaries democrat."--From the foreword
Incorporating both new and now-classic essays, this book for the first time sets the vocal works of Modest Musorgsky in a fully detailed cultural, political, and historical context. From this perspective Richard Taruskin revises fundamentally the composer's historical and artistic image, in particular debunking the century-old dogmas of Vladimir Stasov, Musorgsky's first biographer. Here the author offers the most complete explanation of the revision of the opera Boris Godunov, compares it to contemporaneous operas by Chaikovsky and Rimsky-Korsakov, advances a revisionary characterization of Khovanshchina as an aristocratic tragedy informed by a pessimistic view of history, discusses Musorgsky's use of folklore, and, focusing on Sorochintsi Fair, brings to a climax his refutation of Musorgsky as a protorevolutionary populist. The epilogue is a survey of revisionary productions of Musorgsky's works at home during the Gorbachev era.
- Sales Rank: #2905958 in Books
- Brand: Brand: Princeton University Press
- Published on: 1997-07-07
- Released on: 1997-07-27
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.14" w x 6.00" l, 1.40 pounds
- Binding: Paperback
- 449 pages
- Used Book in Good Condition
From Library Journal
As one of the outstanding musical scholars of his generation, Taruskin is notable for his regular contributions to the Sunday New York Times as well as to many periodicals, includng the New Republic. His appeal outside the academy is easy to explain: Aside from the sheer brilliance and originality of many of his insights, his lucid and witty prose is a pleaure to read. Here, Taruskin turns his attention to the 19th-century Russian nationalist composer Modest Musorgsky, with particuar emphasis on his vocal music, and the result is a compelling revisionist view. In particular, the received notion of Musorgsky as a rebellious, antiestablishment figure (traceable to his first biographer and highly congenial to Soviet ideology) is shown to be false. Recommended for large music collections.
- E. Gaub, Villa Maria Coll., Buffalo, N.Y.
Copyright 1993 Reed Business Information, Inc.
From Scientific American
The merit of Taruskin's essays lies in his clear, highly readable style, which constantly keeps the reader's interest.... A major achievement.
From The New Yorker
Richard Taruskin's ... book reaffirms his position as the preeminent American historian of Russian music. He is the scholar who pursues the `real Musorgsky' with beguiling zest, deep erudition, abiding philology, and thoroughly appropriate irreverence.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Interesting essays about Modest Musorgsky
By jt52
America’s leading historian of Russian music, Richard Taruskin, collected ten essays about 19th-century composer Modest Musorgsky (1839-1881) in this 1993 publication. This volume will be of interest to specialist readers, not general ones. Points of interest are:
1) Taruskin extensively discusses and documents Musorgsky’s radical period in the 1860s, marked by populism, an attempt to integrate theater and popular speech rhythms in musical drama through the unfinished opera “The Marriage” and the long 15-minute song “The Puppet Show.”
2) How Musorgsky developed and moved away from the anti-melodic dramatics of this early period when he was a member of the “kuchka”, the “mighty handful”. Taruskin shows the growing melodic interest of the vocal writing in the composer’s major achievement, “Boris Godunov” and the almost-as-good “Khovanschina.” This is explored in a number of ways, including debunking the traditional musicological view of how the initial rejection of “Boris Gudonov” by the Imperial Theater in St. Petersburg forced Musorgsky into revising the opera. Taruskin instead shows the revision of “Boris” was in progress before the rejection, impelled by the composer’s changing dramatic and musical views rather than imposed by the Imperial Theater.
3) Ploughing through years of accumulated leftist and Soviet claims as to Musorgsky’s putative leftist populism, Taruskin goes straight to source documents to show that Musorgsky, born of an aristocratic family which lost its wealth in the emancipation of the serfs in 1861, was in fact a conservative supporter of the Tsar & the aristocracy, was quite anti-semitic even by the standards of his time, and in fact, though a drunk, exhibited the bred behavior of the aristocracy throughout his life.
Beyond these major themes, Taruskin explores the revisions in an early song (“Little Star”), the interest in historiography and the epoch of Ivan the Terrible among Russian writers and musicians in the middle of the 19th century, and the effect of Glasnost on views of Musorgsky within Russia. Taruskin’s scholarship is impressive and expert, with valuable research into primary sources.
I am rating the volume 4 stars instead of 5 because Taruskin does not deal in more than a cursory way with three important aspects of the Musorgsky legacy: the editorial changes to the operas made by Nikolai Rimsky-Korsakov (which Taruskin dispenses with by saying the subject has been covered elsewhere), the composer’s likely closeted homosexuality (discussed in a footnote) and last but not least the composer’s alcoholism, which led to the unproductivity of his later years and most likely his death. These all would be of vital interest to a general reader but the scholarly audience targeted by Taruskin presumably knows where to find out more about those topics. There is also an excessive intellectualization, so characteristic of academic writing, which concentrates on debates among the intelligentsia and aesthetic disputes about musico-dramatic principles instead of the main drivers of Musorgsky’s art and life: drink, shame, a fall from wealth and status to impoverished artistic obscurity, fears of compositional incompetence. While Taruskin is a sometimes witty writer, some of the text is plodding while also being unclear in the particulars and unclear on larger points: for example, Taruskin’s interpretation of politics in the revision of Boris is confusing and in my humble view overinterpreted. General readers are more likely to profit from David Brown’s “Musorgsky” (in the Oxford Master Musicians series), but more specialized readers who are exploring Russian music in depth will learn much from Taruskin’s fine effort.
6 of 6 people found the following review helpful.
Mighty Musorgsky
By MG
Before I'll make some critical notions on this book I have to confess how much I enjoyed reading this book. This book, like the other books by Taruskin is academic literature at its best. Not only profound, detailled and knowledgable but also driven by curiosity and passionate interest in his subject. And I wouldn't even consider my objections against many of his assumptions as something to be put against this book. I prefer being confronted with some controversial theories to boring middle of the road literature.
Already the title of the introduction "Who Speaks for Musorgsky?" made me a little resentful and is somehow symptomatic for the case Musorgsky. Why is it that everybody feels invited to either speak for him or school him like a dependent boy? Balakirev, Cui and Rimsky did, and even his friends and supporters Stasov and Kutuzov loved to do it. Taruskin decided that Kutuzov speaks more for Musorgsky than Stasov since this fits better to his revisionist thesis. The truth is that they all first speak for themselves. Stasov projects his revolutionary ideas on him like Kutuzov his reactionary aristocratic ideals. Cui wants to demonstrate his intellectual and Rinsky his technical superiority. And of course the soviet propaganda used him for their prposesas well. I would say that even the Musorgsky of the letters is not always speaking for Musorgsky since his hypersensitive and conflict avoiding character often made him write rather what his addresser wanted to hear than what he really thought. The only thing that speaks truthfully for Musorgsky is his music.
The underlying thesis of this book or at least some chapters (the book is a selection of essays written at different times and occasions) is, as already hinted in the introduction, that Musorgsky was only a revolutionary in the early years of the "Marriage" and the "Ur-Boris" but became more and more conventional not to say reactionary already with the revision of Boris. I completely agree with the observation that there is this change from a more recitative dialogue style to more coherent musical entities. But to say one thing is the right way the other the false (compromising) way is a little bit too simple for my taste.
Not only that other composers made this experience as well that the recitative style has its limiations. Wagner turned back after the "Rheingold" which represents his theory of Leitmotivtechnik in the purest form. Debussy wanted to overcome his loose Pelleas style in his planned (but unfortunately never realized) later opera projects. And also Ravels two small operas reflect this experience.
The Ur-Boris definitely has its merits and is by no means defective. However, the additions of the revision process, mainly the "Polish act" and the "Kromy scene", may not be necessary for the plot, but are much more than just giving in to opera conventions. They add new dimensions to the epic feel of the opera. Besides that I would not want to miss the fountain scene, with its burst of emotions one of the magic moments of all opera history.
Especially when it comes to Khovanshchina Taruskin's thesis becomes awkward. There might be more pieces in this opera that look like an aria or a conventional choir scene than in Boris, but if you don't look at this opera with the eyes of a musicologist but experience it as a musical drama you must realize that it is much more radical and experimental (and therefore also much less popular) than Boris Godunov. Its atmosphere is completely different. Boris has this young hero and the element of upheaval and despite some pessimistic undertones it shows (especially in the second act) a relatively intact world while Khovanshchina lacks all idealistic appeal. It is a dark, rotten, pessimistic world close to Shakespeare's late plays (I always felt a strong connection especially to Macbeth). It speaks for Musorgsky's instinkt that he couldn't just continue composing in the good old Boris style. To consider this opera as a work of a reactionary only because there are princes as main characters is not convincing at all, as if the personnel would say anything about quality.
Taruskin sees a conflict in Musorgsky's personality between the progressive "democratic" side influenced by Stasov and the reactionist aristocratic side claimed by Kutusov. I don't really believe that this played a big role since Musorgsky didn't think in this kind of political categories. There are some interesting biographical similarities to Lev Tolstoi which might help understand some aspects of Musorgskys character. Like Tolstoi he was of aristocratic origins and had a happy previleged childhood. Like Tolsoi in his early novels also Musorgsky remembers this time with nostalgic fondness, namely in the song cycle "Nursery" and the second Boris act. Both welcomed the end of serfdom in Russia and went through a phase of idealizing the simple folks but then lost pretty much all illusions. Apart from that they were rather antipodes. Tolstoi was driven by a idealistic spirit and all of his works have some kind of message (although I think that the messages are rather a byproduct and not what makes his novels so great). Musorgsky was a sensualist and explorer of truth. He looks at the bottom of people's souls and created figures with complex characters. He was interested in people no matter of which rank and origin. The song cycle "Without sun" for example, deeply admired by Debussy, which Taruskin considers as self centered aristocratic whiny stuff, are psychograms of depression and decline (here another interesting link to some of Shakespeare's sonnets) and as such first of all human. There is a deep compassion for everybody, not only for the guilt marked Boris but also for the holy fool and even for characters like Andrej and Ivan Chovansky.
With such gifts Musorgsky was a born music dramatist and as a music dramatist he is a genius of the hightest rank. None of the operas by Rimsky and Tchaikovsky can compare with the dramatic power of Musorgsky. I would even go so far to estimate him as a dramatist (not as a composer) higher than Wagner. And even work like "Pictures of an exhibition" I would consider in nuce as a music dramatic work. I don't share the popular belief that if Musorgsky would have achieved more technical skills he would have been a even more important artist. People who think like that don't understand the dynamics of creativity. It might sound strange but Musorgsky's neglect of technical aspects and his tremendous expressive power are undividable.
2 of 3 people found the following review helpful.
Musorgsky Done Right
By William L. Harwood
Musorgsky has been the subject of a variety of interpretations for so long through many cultural regimes. Taruskin sets the record straight. The essays are all excellent in spite of the technical analysis at times, which is not a hindrance to the lay person. Most enjoyable is his essay on the origin and spelling of Musorgsky's name, another cultural puzzle solved. Now, how about a comprehensive overview of Russian musical history?
Musorgsky, by Richard Taruskin PDF
Musorgsky, by Richard Taruskin EPub
Musorgsky, by Richard Taruskin Doc
Musorgsky, by Richard Taruskin iBooks
Musorgsky, by Richard Taruskin rtf
Musorgsky, by Richard Taruskin Mobipocket
Musorgsky, by Richard Taruskin Kindle
Tidak ada komentar:
Posting Komentar