The Recycling of Igor Stravinsky in the Journal “Sovetskaya Muzyka” During the Period of 1933–1966

Abstract

Stravinsky’s reputation in the Stalin era was tenuous, but in the early 1960s there
was a strong surge of interest connected with his visit to Moscow. This metamorphosis of opinions
was prepared and formed, among other things, through the press, in particular – in the chief Soviet
music journal “Sovetskaya muzyka” (“Muzykal'naya Akademiya” since 1992). This research work
is based on receptive methodology; the content analysis of materials during the period of 1933-
1966 demonstrates how in the conditions of almost complete failure to examine his music the critics
created the reputation for him of a “formalist” and a “traitor,” and also demonstrated the attempt to
“Sovietize” his emergence during the “Khrushchev thaw”. During the Stalin period, Stravinsky’s
name appears in the journal only episodically, when he is arguably viewed as a representative of
“bourgeois art.” In the early 1960s he was again labelled a Russian composer, and the attempt is
even made of appraisal of his music, which is so remote from the Soviet musical style. Although it
was not possible to “Sovietize” Stravinsky, such extreme changes of the Soviet authorities’ attitude
of him emphasize the uniqueness of his artistic personality.

Keywords: Igor Stravinsky, journal “Sovetskaya muzyka,” socialist realism in music, receptive
research, content analysis