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Week 3 katcahchurian and kabel 2014
1. Week
3
Khachaturian
and
Kabalevsky
• The
insider
and
outsiders.
• The
events
a8er
the
war
in
Soviet
Music
–
Zhadanovshchina.
• Profiles
of
the
Music
of
Khachaturian
as
an
Armenian
composer.
• Kabalevsky
–
children’s
music
–
and
his
meanness
in
the
events
of
1946-‐9.
3. Essay
Ntles
• Contrast
the
music
styles
and
personaliNes
of
Profokiev
and
Khachaturian.
How
did
their
experiences
of
living
in
the
Soviet
Union
affect
their
musical
development?
Use
a
range
of
musical
examples.
• What
was
‘socialist
realism’
and
how
did
it
translate
in
terms
of
musical
styles.
Take
works
by
at
least
two
composers
of
the
Soviet
era
and
show
how
socialist
realism
informed
these
works.
5. Insiders
and
outsiders
• Aram
Khachaturian
was
a
leading
composer
of
the
generaNon
born
into
the
Soviet
system.
• Rose
to
be
chairman
of
the
organising
commiYee
(Orgkomitet)
of
the
Composers
Union
–
dismissed
in
the
the
purge
of
1948
–
listed
as
anN-‐people
composer.
Replaced
by
34
year-‐old
Tikhon
Krennikov.
• Kabalevsky
preserved
his
insider
status
through
his
party
contacts
–
Popov
the
fall-‐guy
6. Aram
Khachaturian
(1903-‐78)
• One
of
the
three
Ntans
of
Soviet
Music
(with
Shostakovich
and
Prokofiev).
• CombinaNon
of
Armenian
folk
music
within
a
language
of
European
classical
music
–
but
constrained
by
working
within
the
soviet
system.
• A
true
believe
in
the
Socialist
project
–
a
naNonalist
composer
but
his
naNonalism
was
in
the
form
approved
of
by
the
soviet
system.
7. Background
• First
19
years
in
Armenia
–
did
not
have
a
musical
educaNon
and
taught
himself
to
read
music
and
play
piano
–
however
deeply
interested
in
the
folk
music
he
heard
around
him.
• Armenian
family
–
born
in
Tiflis
(capital
of
Georgia)
–
not
in
Armenia.
Youngest
of
5
of
a
bookbinder-‐shop
owner.
• 1920
Armenia
declared
a
Soviet
republic
–
Aram
joined
a
propaganda
troupe
touring
Georgian-‐
Armenia.
A
commiYed
Soviet
idealist.
• From
1922
Gnessin
academy.
9. Move
to
Moscow
from
1921
• ConservaNore
in
1929
–
started
study
of
music
from
near
scratch
–
with
Myakovsky
for
orchestraNon.
Also
studied
cello.
Brother
a
well-‐
established
in
Moscow
as
theatre
director.
Rose
fast
as
he
had
superb
proletarian
profile.
• Joined
the
Composer’s
Union
–
deputy
chairman
Moscow
branch
1937-‐
Chairman
of
Organising
commiYee
1939.
• Joined
Communist
Party
in
1939.
10. An
Armenian
Composer
• All
his
works
have
a
clear
strain
of
Armenian
idenNty
in
them
–
although
he
led
the
life
of
a
cosmopolitan
Russian.
• Melodies
and
rhythms
especially.
• However
the
orchestraNon
is
rich
and
western
.
• First
Symphony
(wrote
3
–
the
third
a
Symphony-‐Poem)
brings
these
elements
together.
12. Ballets
• Perhaps
best
know
for
his
Ballet
Scores
• Gayane
(1939-‐41)
–
famous
Sabre
Dance.
• Spartacus
(1950-‐54)
• Both
have
orchestral
suites
drawn
from
them
which
are
widely
played.
• Large
amount
of
incidental
music
(for
plays
and
producNons)
and
film
scores.
• Also
chamber
music,
songs
and
piano
music.
14.
Piano
Concerto
• TradiNonal
form
–
like
late
romanNc
concerto.
Heroic
opening
themes
followed
by
lyrical
secondary
themes.
• Slow
myt
–
variaNons
on
folk-‐
song
from
Tiblisi
–
featuring
the
Flexatone.
• Finale
–
lively
dance
–
big
cadenza
for
soloist.
• Violin
Concerto
17. Gayane
• 4
act
ballet,
first
staged
1942.
• Original
version
(later
wholly
revised)
about
a
young
Armenian
woman
whose
patrioNsm
conflicts
with
love
of
treasonable
husband.
Love
betrayal
and
friendship
in
Armenian
sejng.
Kolkhoz
collecNve
farm
in
mountains
–
Giko
(Gayane’s
husband
is
a
lazy
drunkard).
Kazakov
(Soviet
commander
arrives)
–
husband
jealous.
Giko
works
with
smugglers
–
Giko
is
caught
but
Gayane
is
stabbed
by
him.
Gayane
recovers
and
marries
Kazakov
(loyal
officer)
–
lots
of
folk
dancing
–
costume
and
display
of
orientalism.
18. Story
and
Music
• Simple
story
–
to
allow
for
lots
of
colourful
dancing.
• Performed
for
Stalin
–
and
a
modest
success.
• Excerpts
sNll
danced
today
–
ethnic
diversity
of
collecNve
farm
is
celebrated
in
score.
• Three
orchestral
suites
from
score
are
frequently
played.
• Helped
the
survival
of
character
dancing
within
classical
Ballet
tradiNon.
20. War
–
Masquerade
• Russia
entered
war
in
1942
and
his
hopeless
unNl
Stalingrad
and
the
siege
of
Leningrad.
The
Nde
is
turned
by
1943
and
the
long
road
to
Berlin
starts
as
Russia
takes
back
Eastern
Europe.
• A
great
Nme
for
the
arts
in
Russia
–
people
could
speak
freely
and
Russians
relearnt
patrioNsm.
The
Great
Patriot
War.
22. Disaster
of
Zhadanov
Decrees
of
1948
• Zhadanov
encouraged
younger
generaNon
to
damthe
established
leaders
work
as
‘formalisNc
distorNons
and
anN-‐democraNc
tendencies
which
are
alien
to
the
Soviet
people
and
its
arNsNc
taste’
.
• Composers
acknowledged
their
guilt
and
went
to
compose
simplisNc
accessible
works
–
Shostakovich
(The
Song
of
Forests),
Prokofiev
(On
Guard
for
Peace),
Myakovsky
(27th
Symphony.
• Soviet
Music
is
forging
ahead
–
set
of
essays
to
show
how
the
decree
had
helped
Soviet
Music.
• Spartacus
got
caught
up
in
the
poliNcs
–
the
subject
should
have
been
acceptable
but
suddenly
was
not.
• Quickly
rehabilitated
such
that
Khachaturian
got
the
Stalin
Prize
in
1950.
• Khachaturian
aYacked.
Odd
as
Khatchaturian
was
never
a
modernist.
23. RehabilitaNon
• Made
Professor
at
Gnessin
State
Musical
InsNtute
and
Moscow
Conservatoire
1951.
• Scandal
and
rehabilitaNon
of
Spartacus.
1954.
25. Later
Years
• Few
big
pieces
a8er
1960
–
lots
of
conducNng
and
teaching.
• Four
Stalin
prizes,
Lenin
Prize,
Hero
of
Socialist
Labor.
Deputy
in
the
Fi8h
Supreme
Soviet
of
the
Soviet
Union
(1952-‐62).
• A
true
believer
in
the
Soviet
experiment.
• Crushed
by
the
accusaNon
of
being
an
anN-‐
people
composer.
• He
aimed
always
to
be
approachable
and
appealing
in
his
blend
of
socialist
realism
and
Armenian
Folk.
26. Dmitry
Kabalevsky
(1904-‐1987)
• Pianist
and
much
of
his
music
is
for
piano.
• Like
Shostakovich
an
accomplished
silent
cinema
pianist.
• 1925
to
Moscow
Conservatory.
• Joined
party
in
1940
and
editor
of
music
magazine.
• Name
removed
from
list
of
accused
by
Zhadanov
of
formalism.
• Embraced
socialist
realism
in
all
his
music.
27. PoliNcs
• joined
PROKULL
(ProducNon
CollecNve
of
Student
Composers)
• AcNve
in
student
group
affiliated
with
Moscow
Conservatory
aimed
at
bridging
the
gap
between
the
modernism
of
the
ACM
and
the
uNlitarian
music
of
the
RAPM
• PoliNcally
acNve
as
a
musician
and
composer
28. Children’s
Music
• Wrote
a
large
amount
of
it.
• Set
up
programme
of
music
educaNon
in
soviet
schools.
• Always
involved
in
state
music
educaNon
in
Soviet
Union.
• Also
wrote
songs,
chamber
music
and
some
opera.
But
a
large
amount
of
piano
music.
• Always
an
insider.
30. Bibliography
• Khachaturian
Documentary
DVD.
In
library.
• Hans
Gunther,
ed.
The
Culture
of
the
Stalin
Period,
122-‐48
‘The
Birth
of
Socialist
Realism
from
the
Spirit
of
the
Russian
Avant-‐Garde’.
• Nicolas
Slominsky:
WriNngs
on
Music:
Russian
and
Soviet
Music
and
Composers
(2004).
• G.
Khubov:
Aram
Khachaturian
(Moscow,
1962)
