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19. Isadora Had a Taste for “Russian Love” 19. 伊莎多拉爱上了“俄罗斯之爱”
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-020
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引用次数: 0
17. Pasternak, Pushkin, and the Ocean in Marina Tsvetaeva’s From the Sea 17. 帕斯捷尔纳克、普希金和海洋,出自玛丽娜·茨维塔耶娃的《来自海洋》
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-018
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引用次数: 0
21. Evtushenko and the Underground Poets 21. 叶夫图申科和地下诗人
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-022
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引用次数: 0
29. Man or Myth? The Retrieval of the True Chaikovsky 29. 人还是神话?找回真实的柴可夫斯基
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-030
A look at any CD catalogue or at the yearly plan of any symphony orchestra around the world will confirm the secure place of Chaikovsky’s music in the repertoire. Conductors, instrumentalists, and singers, from his day to ours, have loved to perform his music. But the enthusiasm of the public and the performers has not yet been matched by a corresponding appreciation or even acceptance by his biographers, music critics, and other commentators. In what used to be the Soviet Union, compulsory nationalistic idolatry of Chaikovsky went hand in hand with a ban on all information about his personal life or his conservative political views. In the West, interest and enthusiasm have always been accompanied by critical incomprehension and hostility. A comment by the venerable Eduard Hanslick at the time of the 1881 Vienna world premiere of Chaikovsky’s Violin Concerto to the effect that this was music one “could hear emit a stench” is attributable to Western prejudice against Eastern Europe; people then could not quite believe that a Russian could produce a world-class masterpiece. But the contemptuous dismissal of Chaikovsky’s music by such heavyweights of twentiethcentury musicology and criticism as Donald Francis Tovey, Paul Henry Lang and Edward Lockspeiser was due, as Richard Taruskin pointed out in a recent article, not to the quality of the music itself but to the critics’ perception of the composer and his character.2
只要看看世界上任何一个交响乐团的CD目录或年度计划,就会确认柴可夫斯基的音乐在保留曲目中的稳固地位。从他的时代到我们的时代,指挥家、乐器演奏家和歌手都喜欢演奏他的音乐。但是,公众和表演者的热情还没有得到他的传记作者、音乐评论家和其他评论家相应的欣赏甚至接受。在曾经的苏联,对柴可夫斯基的强制性民族主义偶像崇拜与禁止任何有关他个人生活或保守政治观点的信息密切相关。在西方,兴趣和热情总是伴随着严重的不理解和敌意。1881年柴可夫斯基的《小提琴协奏曲》在维也纳举行世界首演时,德高望重的爱德华·汉斯利克(edward Hanslick)评论说,这是一种“可以听到散发恶臭”的音乐,这可归因于西方对东欧的偏见;当时的人们不太相信俄罗斯人能创作出世界级的杰作但是,正如理查德·塔鲁斯金在最近的一篇文章中指出的那样,柴可夫斯基的音乐之所以被诸如唐纳德·弗朗西斯·托维、保罗·亨利·朗和爱德华·洛克斯佩塞等20世纪音乐学和评论界的重量级人物轻蔑地抛弃,不是因为音乐本身的质量,而是因为评论家对作曲家和他的性格的看法
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引用次数: 0
1. Two Pushkin Studies 1. 两个普希金研究
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-002
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引用次数: 0
2. Fortunes of an Infanticide 2. 杀婴者的命运
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-003
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引用次数: 0
34. “Our Destinies Are Bad” 34. “我们的命运很糟糕”
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-035
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引用次数: 0
22. In Search of Poplavsky: A Collage 22. 《寻找波普拉夫斯基:拼贴画
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-023
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引用次数: 0
39. A Cultural Educator of Genius 39. 天才的文化教育家
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-040
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引用次数: 0
38. Contralto: Rossini, Gautier and Gumilyov
Pub Date : 2019-12-31 DOI: 10.1515/9781618116765-039
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引用次数: 0
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Freedom From Violence and Lies
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