| Contents |
Some thoughts on the history and historiography of Russian music -- For Ukraine, he's a native son, regardless -- "Classicism" à la russe -- A wonderful beginning -- Dargomïzhsky and his Stone guest -- Pathetic symphonist: Chaikovsky [Tchaikovsky], Russia, sexuality and the study of music -- Chaikovsky and the literary folk: a study in misplaced derision -- The great symbolist opera -- Chaikovsky as symphonist -- Russian originals, de- and re-edited -- A new, new Boris? -- Christian themes in Russian opera: a millennial essay -- The case for Rimsky-Korsakov -- Kitezh: religious art of an atheist -- Sex and race, Russian style -- Yevreyi and Zhidy: a memoir, a survey, and a plea -- The antiliterary man: Diaghilev and music -- From fairy tale to opera in four moves -- To cross that sacred edge: notes on a fiery angel -- Prokofieff's [Prokofiev] return -- Tone, style, and form in Prokofieff's Soviet operas -- Great artists serving Stalin like a dog -- Stalin lives on in the concert hall, but why? -- The last symphony? -- For Russian music mavens, a fabled beast is bagged -- Restoring comrade Roslavets -- When serious music mattered -- Casting a great composer as a fictional hero -- Shostakovich's Bach: a pill to purge Stalinism -- Five operas and a symphony -- Hearing cycles -- Of mice and Mendelssohn -- Current chronicle: Molchanov's The Dawns Are Quiet Here -- The rising Soviet mists yield up another voice -- Where is Russia's new music? Iowa, that's where -- North (Europe) by northwest (America). |
