Stravinsky and His World
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Universal, El (Mexico City), “Igor Stravinsky, The Eminent Composer and Conductor,” 200–201
Urueta, Chano, 144, 145, 161
Uruguay, 154, 220n91
Ustvolskaya, Galina, 298
Ustilug (Ukraine), 8
Valéry, Paul, 202, 204, 213, 333; “Poésie et pensée abstraite,” 220n102; “Première leçon du cours de poétique,” 220n100
Vallribera, Pere, 217n62
Vanity Fair, 22, 24, 39–41, 54n23, 58n72
Varunts, Viktor, 65, 68, 74n8, n19, n26, 226, 310n36
Vela, Arqueles, 220n97, 221n103, n105; “An Hour with Stravinsky,” 201–3,
Velázquez, Diego, 183, 215n20
Venice, 326
Verdi, Giuseppe, 34, 198; Rigoletto, 187, 240
Vershinina, Irina, 63, 68, 75n41; Ranniye baletï Stravinskogo, 72
Verstovsky, Aleksey, 29, 56n41
Veu de Catalunya, 191–95, 218n67
Victory, P., “A Conversation with Stravinsky,” 183–85
Villa-Lobos, Heitor, 149
Villar, Rogelio, 173n28
Vincent, John, 281
Viñes, Ricardo, 129, 148
Virgil, Eclogues, 9
Vitrac, Roger, 55n27
Vivaldi, Antonio, 180; The Four Seasons, 260
Volkonsky, Andrey, 278, 304; Musica Stricta, 312n63
Voz, La (Madrid), 183–85
Vrubel, Mikhail, 131
Vuillermoz, Emile, 22, 28, 33, 53n7, 55n36, n39, 56n49; “Mavra,” 28
Vustin, Alexander, The Word, 260
Vyorstï (Paris), 44–52, 127
Wagner, Richard, 3, 29, 38, 45, 48, 57n53, 66, 131, 138, 184, 187, 216n45, 231, 239, 240, 244, 266, 321, 328, 334, 341, 343
Wallace, Beryl, 222n133
Walsh, Stephen, 19n24, 104n7, 107, 309n33, 319
Washington Post (& Times Herald), 3, 280
Waxman, Franz, 311n57
Weber, Carl Maria von, 43, 240
Webern, Anton, 7, 66, 277, 278, 285, 310n35, 333, 342
Weill, Kurt, 54n26, 308n7
Weiss, Louise, 170
Westdeutscher Rundfunk (Radio Cologne), 291, 292
White, Eric Walter, 14–15, 67
Wiéner, Jean, 22, 53n10
Wilde, Oscar, 131, 289
Wilder, Billy, 223n135
Wilson, Edmund, 325
Wolf, Hugo, 8, 216n45
World Council of Churches, 76n51
World of Art (Mir iskusstva) movement, 266, 327, 328, 330, 338
World War I, 4, 11, 13, 35, 63, 111, 146, 149, 154, 206, 219n79, 339
World War II, 4, 8, 11, 19n23, n24, 63, 158, 161, 200, 203, 275, 324
Yarustovsky, Boris, 72, 284, 312–13n78
Yastrebtsev, Vasily, 282, 312n65
Yefremov, Pyotr, 67
Yelachich cousins, 19n24
Yershov, Ivan, 257
Yesenin, Sergey, 188
Yevraziya, 127–29, 138n1, n2
Yudina, Maria, 77n69, 259, 280, 282, 285, 291, 293, 305, 311n14, 312n63, 313n80, n81, n93, 315n117, n128, n130, 316n147, n166, 317n173; books and scores sent to Stravinsky by, 69, 71, 76n60, 317n168; performances and recordings of, 258, 313n82, n84, n94, 314n98, n99, n104, n105; Stravinsky’s correspondence with, 69, 71, 76n58, n60, 278, 279, 284, 290, 311n50, n51, 314n114, 315n135, 317n175; Suvchinsky’s correspondence with, 66, 71, 76n58, 278, 279, 281, 283, 287, 288, 292, 294–97, 300–307, 310n36, n39, 311n47, n48, 315n117, 317n175
Zamora, Niceto Alcalá, 219n90
Zemlinsky, Alexander, 324–25
Zhdanov, Andrey, 259
Zhivotov, Aleksey, Fragments for Nonet, 258
Znamenny chant, 270n33
Notes on Contributors
Tatiana Baranova Monighetti graduated from the Moscow Conservatory. Later, while working in the conservatory’s music theory department, she organized the first international conference held in Russia on music of the pre-Classical period. She has lectured extensively in Europe and the United States, and published over fifty articles in scholarly journals. After leaving Russia Dr. Baranova Monighetti worked at the Escuela Superior de Musica Reina Sofia in Madrid, and in recent years has conducted research at the Paul Sacher Stiftung in Basel.
Bridget Behrmann (translator) graduated from Bard College and is completing a PhD in French and Italian at Princeton University. Her dissertation focuses on the poetic movement le Parnasse and relationships between poetry and science. Currently she is working on a translation of selections from Sully Prudhomme’s poetry.
Leon Botstein is president and Leon Levy Professor in the Arts of Bard College, author of several books and editor of The Compleat Brahms (1999) and The Musical Quarterly. The music director of the American Symphony Orchestra and conductor laureate of the Jerusalem Symphony Orchestra, he has recorded works by, among others, Szymanowski, Hartmann, Bruch, Dukas, Foulds, Toch, Dohnányi, Bruckner, Chausson, Richard Strauss, Mendelssohn, Popov, Shostakovich, and Liszt.
Jonathan Cross is professor of musicology at the University of Oxford, and Student in Music (fellow) at Christ Church, Oxford. He has written extensively on Stravinsky, including the acclaimed monograph The Stravinsky Legacy (1998), and as editor of The Cambridge Companion to Stravinsky (2003). He is currently completing a “critical life” of the composer for Reaktion Press. He has worked widely on issues in modernism and contemporary music and is an associate editor of Grove Music Online.
Valérie Dufour is an advanced research scholar at the Belgian Fonds National de la Recherche Scientifique and teaches musicology at the Univeristé libre de Bruxelles. She has written and edited several articles and books on Igor Stravinsky—most recently Confidences sur la musique: Ecrits et entretiens d’Igor Stravinsky (2013)—and on the history of intellectual discourse around music in the nineteenth and twentieth centuries. With Michel Duchesneau and Marie-Hélène Benoit-Otis she edited the collection Ecrits de compositeurs: Une autorité en questions (2013). Dufour is currently interested in questions of urban geography and the role of metropolitanization in the development of musical life.
Katya Ermolaev (translator) is a PhD candidate in musicology at Princeton University where she is writing her dissertation on Sergey Prokofiev’s film score Ivan the Terrible (directed by Sergei Eisenstein). For a concurrent second PhD from the Royal Conservatoire of Scotland, she is co-editing the critical edition of Prokofiev’s opera War and Peace.
Laurel E. Fay (translator) is an independent scholar and author of Shostakovich: A Life (2000), which won the Otto Kinkeldey Award of the American Musicological Society. She also edited Shostakovich and His World (Bard Music Festival/Princeton University Press, 2004).
Mariel Fiori (translator) is a journalist, co-founder and managing editor of the Bard-sponsored Spanish-language magazine La Voz. She holds an MBA from New York University and a BA from Bard College. Fiori has received the Dutchess County Executive Arts Award and is a board member of Somos la Llave del Futuro, SLF, Inc., a non-profit organization that seeks to build leadership in immigrant communities.
Alexandra Grabarchuk (translator) is a PhD student in the Department of Musicology at the University of California Los Angeles. She is currently writing a dissertation on popular music aesthetics and cultural production in the Brezhnev-era Soviet Union. In addition to studying Soviet estrada, she is an avid performer of early repertoire both as singer and instrumentalist.
Gretchen Horlacher is professor of music at the Jacobs School of Music at Indiana University. She holds a BA from Cornell and a PhD from Yale University, and as a pianist received the Prix d’excellence from the Ecole américaine de musique in Fontainebleau, France. She is the author of Building Blocks: Repetition and Continuity in the Music of Stravinsky (2011), and has published widely also about Steve Reich, theories of rhythm and meter, and sketch studies.
Yasha Klots (translator) holds a PhD from Yale University. He has worked on émigré literature, bilingualism and literary translation, Gulag narratives, and the mythology of St. Petersburg. He is the
author of Joseph Brodsky in Lithuania (2010; in Russian), co-translator of two recent nonfiction books, and is currently working on an anthology of Russian poetry about New York City.
Tamara Levitz is professor of musicology at the University of California Los Angeles. She has lectured and published widely on musical modernism and her work has appeared in numerous venues. Combining extensive archival research with critical interpretation, Dr. Levitz explores the intentions, motivations, sexual and gender identifications, and intricate social relations of musicians, composers, critics, ethnographers, performers, and audiences. Much of her work has focused on Ferruccio Busoni, Igor Stravinsky, and André Gide, and she recently completed the monograph Modernist Mysteries: Perséphone (2012), a microhistorical analysis of the 1934 premiere of André Gide’s and Igor Stravinsky’s melodrama.
Klára Móricz is Joseph E. and Grace W. Valentine Professor of Music at Amherst College. With Christopher Hailey she is editor of Journal of Musicology. Her articles have appeared in JAMS, twentieth-century music, Notes, Cambridge Opera Journal, Pushkin Review, and American Music. Her book Jewish Identities: Nationalism, Racism and Utopianism in Twentieth-Century Art Music was published in 2008. With Simon Morrison she is presently editing a volume of essays entitled Funeral Games in Honor of Arthur Lourié.
Philipp Penka (translator, Bard ‘08) is a PhD candidate in the Department of Slavic Languages and Literatures at Harvard University. He is currently working on a dissertation about Russian modernism in the context of sound recording and transmission. He lives in Berlin and Cambridge.
Leonora Saavedra studied performance and musicology in Mexico, France, Germany and the USA and is currently associate professor at the University of California Riverside. She has served as the director of the National Center for Music Research (CENIDIM) in Mexico City and her research interests include the music of Manuel M. Ponce, Carlos Chávez, Silvestre Revueltas, Ernesto Elorduy, Aaron Copland, and the musical relations between Mexico and the United States. She was one of the founders of the Mexican music journal Pauta and her work has appeared widely in other periodicals and publications. As an active performer of new music from 1980 to 1985 she gave the first performances of numerous works by Mexican composers.
Svetlana Savenko graduated from the Moscow Conservatory where she is currently professor of Russian music. She is the author of more than 100 publications in Russian, English, and German including the monograph Mir Stravinskogo (Stravinsky’s world; 2001), a biography of Stravinsky (2004), and the annotated Russian-language editions of Stravinsky’s Chroniques de ma vie (2004) and Poétique musicale (2nd edition 2012).
Boris Wolfson teaches Russian culture at Amherst College. He has published on nineteenth- and twentieth-century Russian cultural history and is completing a study of theater, performance, and modes of self-understanding in the Soviet 1930s.
OTHER PRINCETON UNIVERSITY PRESS VOLUMES PUBLISHED IN CONJUNCTION WITH THE BARD MUSIC FESTIVAL
Brahms and His World
edited by Walter Frisch (1990)
Mendelssohn and His World
edited by R. Larry Todd (1991)
Richard Strauss and His World
edited by Bryan Gilliam (1992)
Dvořák and His World
edited by Michael Beckerman (1993)
Schumann and His World
edited by R. Larry Todd (1994)
Bartók and His World
edited by Peter Laki (1995)
Charles Ives and His World
edited by J. Peter Burkholder (1996)
Haydn and His World
edited by Elaine R. Sisman (1997)
Tchaikovsky and His World
edited by Leslie Kearney (1998)
Schoenberg and His World
edited by Walter Frisch (1999)
Beethoven and His World
edited by Scott Burnham and Michael P. Steinberg (2000)
Debussy and His World
edited by Jane F. Fulcher (2001)
Mahler and His World
edited by Karen Painter (2002)
Janáček and His World
edited by Michael Beckerman (2003)
Shostakovich and His World
edited by Laurel E. Fay (2004)
Aaron Copland and His World
edited by Carol J. Oja and Judith Tick (2005)
Franz Liszt and His World
edited by Christopher H. Gibbs and Dana Gooley (2006)
Edward Elgar and His World
edited by Byron Adams (2008)
Prokofiev and His World
edited by Simon Morrison (2008)
Brahms and His World (revised edition)
edited by Walter Frisch and Kevin C. Karnes (2009)
Richard Wagner and His World
edited by Thomas S. Grey (2009)
Alban Berg and His World
edited by Christopher Hailey (2010)
Jean Sibelius and His World
edited by Daniel M. Grimley (2011)
Camille Saint-Saëns and His World
edited by Jann Pasler (2012)