As part of my Russian music study, I am all but required to familiarize myself with the complex world of Soviet music, and the many figures that decorate this prolonged, and difficult time. To aid in this task, I am reading Levon Hakobian's detailed monograph on Soviet music entitled "Music of the Soviet Era: 1917-1991" (2017). In this book, he paints a very comprehensive picture of how classical music developed from its Futurist and Symbolist days, to outright Socialist Realist and pseudo-Socialist, all the way to late Soviet and the birth of the Russian "Avant Garde". However, it became useful to pair listening study with conventional reading in order to add a further dimension to my study. Therefore, in this post (and others coming forward), I will listen to five pieces by five composers (generally), and briefly talk about them, their seminality, and the pieces that were listened to. It is my hope that through such an assignment, I will significantly deepen my understanding of Soviet music, the numerous veins that filled the historical scene, and the names that have been forgotten but whose contributions were vital for Soviet music culture's development.
Alexei Zhivotov (1904-19644): Sketches for Nonet [1929]
Born in Tartarstan, he was a Soviet-era composer, conductor, and became a Honored Artist in 1957. However, outside of basic information, his attendance at the Leningrad University under Chernov and Shcherbachov, his teaching duties, and administrative responsibilities, little is known about him [3]. It's said he was fond of vocal cycles [1], and it's recorded that he did have a cinematic career, much like Shostakovich and Prokofiev [2]. He's best known for the symphonic suite known as "Sketches for Nonet", although a full recording is absent.
2. Alexander Davidenko (1899-1934): ‘On the Tenth Mile’ ‘Street is Worried’ [1927]
Perhaps one of the prime models of the "Soviet" composer, here was a composer who totally embodied Socialist Realism before it became a thing. Falling into music as a young kid, he quickly developed his aptitude and became lauded for his works in Soviet "mass singing", and his involvement with Prokoll helped further his talents [1]. His entire oeuvre of work is essentially "Soviet" in ideological pointedness, and these two choral pieces (from the collective oratorio entitled "The Path of October") clearly exhibit Davidenko's chosen style.
3. Anatoly Aleksandrov (1888-1982): Songs of Alexandria [1915-1929]
Coming from a musical family, he quickly developed his musical aptitude under the direction of Klindworth and Tchaikovsky, being awarded gold at the Moscow Conservatory in piano and composition. Despite little recognition of his name today, during his time he was fully involved in an ecosystem of highly-skilled composers like Shostakovich, Shaporin, and Knipper, and dedicated time to the raising of children's literature. He flourished in vocal and chamber works, as well as in his pedagogical and critical writings on composers like Scriabin, Taneyev, and Myakovsky. This song cycle is one of his best-known vocal works.
4. Sergei Balasanian: “Variations Shakuntala” and Dance of the Jester [?]
Born in the Transcaspian Oblast, he is best known for being the composer of the first Tajik opera, "Vose Uprising", although any recording is not available. Having studied at the Moscow Conservatory, his entire life would be colored by internationalism and genuine multi-cultural influences, traveling to places like India and Africa, and drawing upon Tajik, Armenian, and other ethnic cultures for musical inspiration [1]. In the mid 50s, he became interested in Afghani musical traditions, and was a significant contributor to Armenian music. These two orchestral suites are from his ballet "Shakuntala", although ostensibly lost.
5. Valery Zhelobinsky (1913- 1946): Children's Scenes for Piano [1939]
Born in Tambov, he is an example of the forgotten names of Soviet music's past. Having had a stellar education at Leningrad Conservatory, he'd go onto excel as a pianist before moving into composition. His early opera were performed at quite reputable opera houses, and he'd participate in film scores as well [1]. In the early 1940s, he was subject to criticism alongside Shostakovich, Popov, and Litinsky, although in 1942 he'd return to Tambov to teach. He was outwardly praised by Shostakovich, who showed remorse at the composer's young death. This set of vignettes is quaint and charming, great training piece for students.
I hope you enjoyed this post and learned something new, there's so much for to explore.
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