Gretchaninoff's “Heterodox” Compositions

Yasser, Joseph

doi:10.1093/mq/xxviii.3.309

Cited by 2 publications

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“…In pre-revolutionary Russia, he had written works for use during the liturgy of the Orthodox Church. In emigration, however, he turned his attention to the Catholic rite, producing his Missa Oecumenica in 1935 and Missa Festiva in 1936 (Yasser, 1942). As Grechaninov was writing the Sonetti Romani , he was also composing his mass for women’s or children’s voices and organ, and he enclosed a copy of this work with the score of the sonnets that he sent to Ivanov in March 1939 (Grechaninov, 2017: II, 205).…”

Section: Grechaninov and The Sonetti Romanimentioning

confidence: 99%

By the waters of the Tiber: Viacheslav Ivanov, Aleksandr Grechaninov and Russian culture in interwar Europe

Bullock

2021

Journal of European Studies

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In Russia, the impact of the end of World War I was subsumed under the far greater impact of the October Revolution, which led to a bifurcation of Russian culture into Soviet and émigré branches. This article examines a hybrid literary and musical work from the interwar period: Viacheslav Ivanov’s nine Roman Sonnets ( Rimskie sonety, 1924) and the musical settings that the composer Aleksandr Grechaninov made of five of these as his Sonetti Romani in 1939. Here, both poet and composer seek to convey the experience of finding oneself in one of Europe’s most evocative historical and cultural locations. At the same time, their evocation of Rome forges a powerful historical narrative of the city’s prior inhabitants. Accordingly, Rome emerges as an intertextual palimpsest of literary and artistic references, which together create a powerful sense of cultural continuity to offset the loss of the artist’s original homeland.

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Section: Grechaninov and The Sonetti Romanimentioning

confidence: 99%

By the waters of the Tiber: Viacheslav Ivanov, Aleksandr Grechaninov and Russian culture in interwar Europe

Bullock

2021

Journal of European Studies

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Grechaninov's Sister Beatrice and the Consecration of the Stage in Orthodox Russia

Salkowski¹

2023

OPR

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When Alexander Grechaninov's opera Sister Beatrice on a text by Maurice Maeterlinck premiered in Moscow in 1912, it promised to bring together two conceptual worlds, those of symbolist aesthetics and the Russian Orthodox liturgy. Critics who hoped that Grechaninov's experience as a composer of sacred music would help bring alive the ‘unheard music’ of Maeterlinck's symbolist ‘Miracle Play’, however, were sorely disappointed. The opera drew scorn from critics for its overly concrete musical rhetoric, while conservative commentators levelled claims of blasphemy. In this article, I consider the two scenes depicting miracles in Sister Beatrice to demonstrate how it negotiated these competing perspectives, employing insights from religious philosophy as well as symbolist aesthetics. Drawing on new archival evidence, I also demonstrate how church and state censors co-participated with composers and critics debating whether and how the sacred might be displayed on stage and in sound.

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Gretchaninoff's “Heterodox” Compositions

Cited by 2 publications

References 0 publications

By the waters of the Tiber: Viacheslav Ivanov, Aleksandr Grechaninov and Russian culture in interwar Europe

By the waters of the Tiber: Viacheslav Ivanov, Aleksandr Grechaninov and Russian culture in interwar Europe

Grechaninov's Sister Beatrice and the Consecration of the Stage in Orthodox Russia

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