The Battle of Stalingrad in Russian and Foreign Music
Abstract
While analyzing the artistic elaboration on the part of composers of the Stalingrad battle as a momentous episode of history, in this section the authors of the article turn to music outside of Russia. Special attention is paid by researchers to compositions which have not received scholarly comprehension in musicology. Little known biographical facts, information pertaining to the history of the creation and performance of musical compositions, as well as the aspects of their conception-related solutions and their features of style and genre are touched upon. Characterization is given to the orchestral works by representatives of the musical culture of the USA (Roy Harris, George Antheil), the United Kingdom (Christian Darnton), France (Aubert Lemeland), Israel (Marc Lavry), Bulgaria (Alexander Yossifov) and Czechia (Jaroslav Doubrava). Artistic evaluation is given to the works written in the genres of cantata, oratorio, and musical theater by the composers of Germany (Helmut Ritter), USA (Elias Tanenbaum), the United Kingdom (Elisabeth Maconchy), Brazil (Cláudio Santoro), Denmark (Kim Helweg) and Czechia (Václav Dobiáš). It is noted that composers from other countries distanced from the place of the conduct of hostilities territorially and chronologically are endowed with a certain amount of poster qualities in the musical Rossica. They operate with the musically manifested categories of Evil vs. Good and to a great degree have a tendency towards expressionist figurative accents. At the same time, the reflection of the subject matter of the Stalingrad battle is stipulated by a need for a publicistically sharp indication of the values and the perception of the tangency of personal fate with history.
Keywords: Western European composers about the Battle of Stalingrad, World War II in music, Russian theme, musical RossicaFull Text:
PDF (Russian)References
Kazantseva L. P. “Musical Rossica” as a Musicological Term. Problemy muzykal'noi nauki / Music Scholarship. 2022. No. 1, pp. 22–34. (In Russ.) DOI: 10.33779/2782-3598.2022.1.022-034
Kazantseva L. P., Lukonina O. I. The Battle of Stalingrad in Russian and Foreign Music. Problemy muzykal'noi nauki / Music Scholarship. 2023. No. 1, pp. 88–105. (In Russ.) DOI: 10.56620/2782-3598.2023.1.088-105
Artamonova E. A. From Russia to the UK and Back Across the English Channel: Musical Discoveries from WWII and the Thaw (Recent Archival Findings and Publications). Journal for Art, Education and Science. 2020. No. 1 (22), pp. 78–85. (In Russ.) DOI: 10.34684/hon.202001010
Manaev A. Yu. “We Will Revive You, Beloved Stalingrad!”: Forming the Image of Stalingrad Battle in Historical Memory (1940s – 1950s). Nauka. Obshchestvo. Oborona = Science. Society. Defense. 2020. Vol. 8, No. 1, pp. 8–8. (In Russ.) DOI: 10.24411/2311-1763-2020-10230
Ogarkov A. A., Ogarkova E. V., Tyumentsev I. O. “Folk History” of the Battle of Stalingrad (Based on the Materials of the Research Project “Stalingraders in the Battle of Stalingrad”). Science Journal of Volgograd State University. Series 4. History. Area Studies. International Relations. 2018. Vol. 23, No. 1, pp. 156–166. (In Russ.). DOI: 10.15688/jvolsu4.2018.1.15
Schwarcz I. The Battle of Stalingrad in the Historical Memory of the Austrians. West — East. 2020. No. 13, pp. 11–25. (In Russ.) DOI: 10.30914/2227-6874-2020-13-11-25
Höhn E., Mešková L. The Memory of the World War II in the Contemporary Art of Austria: The Political Voice of Art. Actual Problems of Theory and History of Art. 2020. No. 10, pp. 618–623. DOI: 10.18688/aa200-4-56
DOI: http://dx.doi.org/10.56620/2782-3598.2023.2.035-052
Refbacks
- There are currently no refbacks.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.