By Larry Sitsky
В книге австралийского композитора и музыковеда Ларри Ситски рассказывается о ключевых фигурах русского музыкального авангарда 1900-1920 годов.
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Extra resources for Music of the repressed Russian avant-garde, 1900-1929
Unfortunately, the composer allowed this movement to become too long and too repetitive: his idea of form here is far too reliant on repetition. The modulations are fairly ordinary and obvious, sometimes saved by Stanchinskiy's use of scales with flattened supertonics, giving the cadential gestures some piquancy. Writing of the sonatas, it may be appropriate here to briefly mention the early, posthumously published Sonata in Eb Minor, written in 1905. Although clearly in some debt to Scriabin (the famous Dfl Minor Etude from Op.
For example, in the Prelude and Fugue of 1909, the Prelude is already a double canon; the G Major tonal affirmations are strong, but the chorda! 6). 7a abandoned the diatonic scale and writes tonally within a more chromatic framework. I he key signatures remain, but the composer is moving well away from their functional image. T h e piano begins to be treated as an abstraction here and there, with the counterpoint becoming more important than mere pianistic considerations. Good specimens of this a t t i t u d e may be found in the "Preludes in the Form of Canons" of 1913.
MT, 58 (Aug. 1017):356-57. " Khudoshcstvemuiya (Aim', 2 (1922). : Modern Russian Composers New York, 1027. , a n d G . A b r a h a m : Masters of Russian Music. New York, 1936. : Handbook of Soviet Musicians. London, 1943. Rowley, Alec: "Rebikov," MR, 4 (1943):112. Asafiev, В. : Russian Music from the Beginning of the Nineteenth Century (written in 1928, published in 1939, English translation by Alfred J . Swan, 1953, Ann A r b o r , Michigan). Dale, W . : A study of the Music-Psychological Dramas of V.