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This compelling collection explores Russian music through the lens of the Greek triad – “the Good, the True, and the Beautiful.” It delves deep into how the concept of ‘nation’ weaves itself into public conversations about music and other arts, producing effects that are both invigorating and corrupting. In our fragmented world, post-Cold War and post-9/11, Russian music, previously a subdued niche in musicology, has evolved into a fiercely contested battlefield.
Richard Taruskin scrutinizes the political and cultural implications attached to it in the era of Pussy Riot and heightened international frictions. He then directs his attention to specific instances from the nineteenth century to the present day. A large portion of this volume is dedicated to the unapologetically cosmopolitan yet quintessentially Russian Igor Stravinsky, a dominant force in twentieth-century music and a figure that continues to intrigue composers and music theorists globally. Taruskin revisits Stravinsky for the first time since the 1990s, a transformative period for Russia and its cultural output.
Further essays focus on the cultural and social policies of the Soviet Union and the influence they had on the music created there as policies oscillated between Communist internationalism and traditional Russian nationalism. They also examine the musicians of the Russian post-revolutionary diaspora, and the tension between the captivating artistic quality of works such as Stravinsky’s Sacre du Printemps or Prokofieff’s Zdravitsa, and the antihumanistic or totalitarian messages they transmit.
“Russian Music at Home and Abroad” addresses these matters in a personal and critical manner, showcasing Taruskin’s authority and knack for illuminating history from the shadows. This collection is more than just a study; it’s a journey through the intricate web of Russian music, its history, and its impact.