Book Section
Philip Ross Bullock

The Transnational Lyric Community of Soviet Unofficial Music under Late Socialism

Despite the seeming liberalism of Khrushchev’s ‘Thaw’, limitations were still placed on the Soviet arts, and the era witnessed the emergence of a parallel form of underground or unofficial culture. This essay considers a number of vocal works by composers, including Gubaidulina and Schnittke, who experimented with a cosmopolitan range of literary texts, as well as with a more radical musical language. In doing so, these composers not only established a lyric community at home but also engaged with their counterparts in avant-garde circles in Western Europe.
Keywords: song; Soviet Union; underground; Gubaidulina; Schnittke; avant-garde; cosmopolitanism
Title
The Transnational Lyric Community of Soviet Unofficial Music under Late Socialism
Author(s)
Philip Ross Bullock
Identifier
Description
Despite the seeming liberalism of Khrushchev’s ‘Thaw’, limitations were still placed on the Soviet arts, and the era witnessed the emergence of a parallel form of underground or unofficial culture. This essay considers a number of vocal works by composers, including Gubaidulina and Schnittke, who experimented with a cosmopolitan range of literary texts, as well as with a more radical musical language. In doing so, these composers not only established a lyric community at home but also engaged with their counterparts in avant-garde circles in Western Europe.
Is Part Of
Place
Berlin
Publisher
ICI Berlin Press
Date
28 October 2024
Subject
song
Soviet Union
underground
Gubaidulina
Schnittke
avant-garde
cosmopolitanism
Rights
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Language
en-GB
page start
113
page end
133
Source
Rethinking Lyric Communities, ed. by Irene Fantappiè, Francesco Giusti, and Laura Scuriatti, Cultural Inquiry, 30 (Berlin: ICI Berlin Press, 2024), pp. 113–33

Publication scheduled for 28 October 2024

References

  • Alpatova, I., L. Talochkin, and N. Tamruchi, eds, ‘Drugoe iskusstvo’: Moskva 1956–1988 (Moscow: Galart; Gosudarstvennyi tsentr sovremennogo iskusstva, 2005)
  • Aronson, M., and S. Reiser, Literaturnye kruzhki i salony (Leningrad: Priboi, 1929)
  • Azarova, Natal’ya, ‘Mnogoyazichie Aigi i yazyki-posredniki’, Russian Literature, 79–80 (2016), pp. 29–40
  • Bel’chikov, N., Dostoevskii v protsesse Petrashevtsev (Moscow: Nauka, 1971)
  • Borovskii, V., ‘Otkroite vse okna!’, Sovetskaya muzyka, 2 (1962), pp. 23–28
  • Brodsky, N. L., ed., Literaturnye salony i kruzhki: Pervaya polovina XIX veka (Moscow: Academia, 1930)
  • Brown, Edward J., Stankevich and his Moscow Circle, 1830–1840 (Stanford, CA: Stanford University Press, 1966)
  • Bullock, Philip Ross, ‘The Pushkin Anniversary of 1937 and Russian Art Song in the Soviet Union’, Slavonica, 13.1 (2007), pp. 39–56
  • Bullock, Philip Ross, ‘Intimacy and Distance: Valentin Sil’vestrov’s Tikhie pesni’, Slavonic and East European Review, 92.3 (2014), pp. 401–29
  • Bullock, Philip Ross, ‘The Birth of the Soviet Romance from the Spirit of Russian Modernism’, Slavonic and East European Review, 97.1 (2019), pp. 110–35
  • Bullock, Philip Ross, ‘Song in a Strange Land: The Russian Musical Lyric beyond the Nation’, in Global Russian Cultures, ed. by Kevin M. F. Platt (Madison: University of Wisconsin Press, 2019), pp. 290–311 <https://doi.org/10.2307/j.ctvfjcxzz.19>
  • Bullock, Philip Ross, and Laura Tunbridge, eds, Song beyond the Nation: Translation, Transnationalism, Performance (Oxford: Oxford University Press, 2021) <https://doi.org/10.5871/bacad/9780197267196.001.0001>
  • Denisov, Edison, ‘Le tecniche nuove non sono una moda’, Il contemporaneo/Rinascita, August 1966, p. 12
  • Denisov, Edison, ‘Novaya tekhnika — eto ne moda’, in ‘Drugoe iskusstvo’: Moskva 1956–1976, ed. by I. Alpatova and L. Talochkin, 2 vols (Moscow: Khudozhestvennaya galeriya ‘Moskovskaya kollektsiya’, 1991), I, pp. 313–15 (repr. in ‘Drugoe iskusstvo’: Moskva 1956–1988, ed. by I. Alpatova, L. Talochkin, and N. Tamruchi (Moscow: Galart; Gosudarstvennyi tsentr sovremennogo iskusstva, 2005), pp. 68–70)
  • Denisov, Edison, ‘Novaya tekhnika — eto ne moda’, in Svet — dobro — vechnost’: Pamyati Edisona Denisova, stat’i, vospominaniya, materialy, ed. by Valeriya Tsenova (Moscow: Moskovskaya gosudarstvennaya konservatoriya im. P. I. Chaikovskogo, 1999), pp. 33–38
  • Dixon, Gavin, The Routledge Handbook to the Music of Alfred Schnittke (Abingdon: Routledge, 2022) <https://doi.org/10.4324/9780429274046>
  • Evans, John L., The Petraševskij Circle, 1845–1849 (The Hague: Mouton, 1974) <https://doi.org/10.1515/9783111398440>
  • Fel’dman, D. M., Salon-predpriyatie: Pisatel’skoe ob”edinenie i kooperativnoe izdatel’stvo ‘Nikinskie subbotniki’ v kontekste literaturnogo protsessa 1920–1930-x godov (Moscow: Rossiiskii gosudarstvennyi gumanitarnyi universitet, 2018)
  • France, Peter, ‘Introduction’, in Gennady Aygi, Selected Poems, 1954–94, ed. and trans. by Peter France (London: Angel Books, 1997), pp. 17–27
  • Frolova-Walker, Marina, Stalin’s Music Prize: Soviet Culture and Politics (London: Yale University Press, 2016) <https://doi.org/10.12987/yale/9780300208849.001.0001>
  • Gilburd, Eleonory, To See Paris and Die: The Soviet Lives of Western Culture (Cambridge, MA: Belknap Press of Harvard University Press, 2018) <https://doi.org/10.4159/9780674989771>
  • Goldman, Leah, ‘Art of Intransigence: Soviet Composers and Art Music Censorship’ (unpublished doctoral thesis, University of Chicago, 2015)
  • Habermas, Jürgen, The Structural Transformation of the Public Sphere, trans. by Thomas Burger and Frederick Lawrence (Cambridge, MA: MIT Press, 1989)
  • Itenberg, B. S., Dvizhenie revolyutsionnogo narodnichestva: Narodnicheskie kruzhki i ‘khozhdenie v narod’ v 70-kh godakh XIX v. (Moscow: Nauka, 1965)
  • Jakelski, Lisa, Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956–1968 (Berkeley: University of California Press, 2017) <https://doi.org/10.1525/california/9780520292543.001.0001>
  • Karnes, Kevin C., Sounds Beyond: Arvo Pärt and the 1970s Soviet Underground (Chicago: University of Chicago Press, 2021) <https://doi.org/10.7208/chicago/9780226815404.001.0001>
  • Katonov, S., ‘Dva tsikla — dva resheniya’, Sovetskaya muzyka, 2 (1965), pp. 10–13
  • Khitrova, Daria, Lyric Complicity: Poetry and Readers in the Golden Age of Russian Literature (Madison: University of Wisconsin Press, 2019) <https://doi.org/10.2307/j.ctvjghx7r>
  • Kopytova, Galina, ‘Shostakovich’s Music for Salute, Spain! Discoveries and Perspectives’, Journal of War & Culture Studies, 14.4 (2021), pp. 479–92
  • Kurtz, Michael, Sofia Gubaidulina: A Biography, trans. by Christoph K. Lohmann, ed. by Malcolm Hamrick Brown (Bloomington: Indiana University Press, 2007)
  • Lemelin, Christopher W., ‘To Name or Not to Name: The Question of Shostakovich’s Interpretation of Tsvetaeva’, Musical Quarterly, 93.2 (2010), pp. 234–36
  • Nelson, Amy, Music for the Revolution: Musicians and Power in Early Soviet Russia (University Park: Pennsylvania State University Press, 2004)
  • Prokopova, T. F., ed., Moskovskii Parnas: Kruzhki, salony, zhurfiksy Serebryanogo veka, 1890–1922 (Moscow: Interlak, 2006)
  • Restagno, Enzo, ‘Un’autobiografia dell’autore raccontata da Enzo Restagno’, in Gubajdulina, ed. by Enzo Restagno (Turin: EDT, 1991), pp. 3–91
  • Rilke, Rainer Maria, Marina Zwetajewa, and Boris Pasternak, Briefwechsel, ed. by Jewgenij Pasternak, Jelena Pasternak, and Konstantin M. Asadowskij (Frankfurt a.M.: Insel Verlag, 1983)
  • Rozenfel’d, Boris, ed., Anna Akhmatova, Marina Tsvetaeva, Osip Mandel’shtam i Boris Pasternak v muzyke: Notografiya (Stanford, CA: Department of Slavic Languages and Literatures, Stanford University, 2003)
  • Rubinstein, Antoine, ‘Die Componisten Rußland’s’, Blätter für Musik, Theater und Kunst, 8 June 1855, pp. 145–46
  • Schmelz, Peter J., Such Freedom, If Only Musical: Unofficial Soviet Music during the Thaw (Oxford: Oxford University Press, 2009)
  • Schmelz, Peter J., ‘Selling Schnittke: Late Soviet Censorship and the Cold War Marketplace’, in The Oxford Handbook of Music Censorship, ed. by Patricia Hall (New York: Oxford University Press, 2015), pp. 413–52
  • Schmelz, Peter J., Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR (New York: Oxford University Press, 2021) <https://doi.org/10.1093/oso/9780197541258.001.0001>
  • Schnittke, Alfred, A Schnittke Reader, ed. by Alexander Ivashkin, trans. by John Goodliffe (Bloomington: Indiana University Press, 2002)
  • Shpiller, Natal’ya, ‘Vokal’nye vechera’, Sovetskaya muzyka, 6 (1965), pp. 95–96
  • Sukhov, A. D., Literaturno-filosofskie kruzhki v istorii russkoi filosofii (20–50e gody XIX veka) (Moscow: IF RAN, 2009)
  • Tomoff, Kiril, Creative Union: The Professional Organization of Soviet Composers, 1939–1953 (Ithaca, NY: Cornell University Press, 2006) <https://doi.org/10.7591/cornell/9780801444111.001.0001>
  • Tsvetaeva, Marina, ‘Poema kontsa’, in Sobranie sochinenii, 7 vols (Moscow: Ellis Lak, 1994–95), III (1994), pp. 31–50
  • Vaisbord, M., ‘Garsia Lorka — muzykant’, Sovetskaya muzyka, 9 (1961), pp. 128–30
  • Valentine, Sarah, Witness and Transformation: The Poetics of Gennady Aygi (Brighton, MA: Academic Studies Press, 2015)
  • Vasina-Grossman, Vera, Russkii klassicheskii romans XIX veka (Moscow: Izdatel’stvo Akademii nauk SSSR, 1956)
  • Vasina-Grossman, Vera, Mastera sovetskogo romansa, 2nd edn (Moscow: Muzyka, 1980)
  • Walker, Barbara, Maximilian Voloshin and the Russian Literary Circle: Culture and Survival in Revolutionary Times (Bloomington: Indiana University Press, 2005)
  • Willimott, Andy, Living the Revolution: Urban Communes & Soviet Socialism, 1917–1932 (Oxford: Oxford University Press, 2017) <https://doi.org/10.1093/acprof:oso/9780198725824.001.0001>
  • Yurchak, Alexei, Everything Was Forever, Until It Was No More: The Last Soviet Generation (Princeton, NJ: Princeton University Press, 2006)
  • Zitzewitz, Josephine von, Poetry and the Leningrad Religious-Philosophical Seminar 1974–1980: Music for a Deaf Age (Cambridge: Legenda, 2016)

Cite as: Philip Ross Bullock, ‘The Transnational Lyric Community of Soviet Unofficial Music under Late Socialism’, in Rethinking Lyric Communities, ed. by Irene Fantappiè, Francesco Giusti, and Laura Scuriatti, Cultural Inquiry, 30 (Berlin: ICI Berlin Press, 2024), pp. 113-33 <https://doi.org/10.37050/ci-30_05>