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Glière e Vasil’enko, in “Slavia”,
I, 1998, pp.178-205.
Reingol’d
Morizevic Glière (1875-1956) and Sergej Nikiforovic Vasil’enko (1872-1956)
belong to the generation of Russian composers including Skrjabin, born in 1872,
and Rachmaninov, born in 1873. Anyway, if the latter composers’ work has been
welcomed by the Western concert repertoires, Glière’s and Vasil’enko’s
productions, though very popular in Russia, was not as successful with the
Western audiences (probably with the exception of Glière’s ballet “The Red
Poppy”).
It is first of all necessary to point out that Glière and Vasil’enko lived
all over their long lives (they both died in 1956) almost exclusively in the
Soviet Union, soon collaborating with the new régime, after the Revolution in
1917: this unconditional acceptance of the new Soviet political reality was on
the whole negative for their role
of artists, by actually forcing them within inappropriate schemes. Infact, it is
worthwhile remembering that at the time of the Russian Revolution, Glière and
Vasil’enko had already written a considerable amount of musical works, some of
which valuable indeed; besides, their active role in the new Soviet cultural
politics, also confirmed by an uninterrupted staying in the Soviet Union until
their deaths, far from limiting their activity, determined its development
towards a direction which particularly suited them: the research on popular
chant.
A turning point in this sense took place, as everybody knows, in 1932, when the
Soviet central committee intervened with a resolution which was giving artists a policy according to which
art could not limit itself to reflecting life, but would also have to be
approachable to masses and should not have a pessimistic character. Glière
himself wrote in the “Musical Almanac” as follows:
“Thanks to its clarity and precision, the central committee’s resolution,
does not only sound as an organizational foundation, but also as a creative
principle, as it provides all
Soviet artists with the courage to go on and, as far as possible, realize the
plans which the Soviet art requires”.
Vasil’enko expressed himself nearly in the same way: according to him,
1932’s resolution even marked the beginning of a new era.
As opposed to revolutionary proclaimings, the musical language which the régime
appreciated was rather conservative and permeated by a sometimes deteriorating
Romanticism; this did not prevent considerably interesting works from being
created, especially if inspired by the study and the knowledge of the musical
heritage of the Asian republics, a knowledge which was spreading according to a
plan of cultural revaluation of the areas of the Union which were not central.
Click
here to request the complete
text (Italian version only)
For
Glière’s and Vasil’enko’s works, see also the Archives
of Slavia Festival
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