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First Phase of Modernism in Russia

  • Writer: The sound of Experiment
    The sound of Experiment
  • Oct 21, 2024
  • 12 min read

Updated: Oct 24, 2024

Introduction

The nineteenth century was the century in which emotion and imagination prevailed. It encompassed concepts such as individuality and freedom. New musical forms were introduced and older ones evolved. The composers focused on timbre and tried to convey musically a mood and exhausted all the sound possibilities that could be produced. In Russian music, two conflicting tendencies appeared, conservative and progressive. The first showed a shift towards Naturalism and Realism using national elements outside Western standards, while the latter presented national elements through the prism of the romantic ideal. To the first trend, belongs the Group of Five, while in the second Rubinstein (1887-1982) and Tchaikovsky (1840-1893) (Kyriosoglou and Talakoudi).

 

From 1890 to 1917, Russian art entered a period of turmoil and creativity. During the 1890s, many changes in the Russian attitude to art took place, which strengthened the possibilities of successfully starting a movement with such ideas. The changes on which these people built his movement Art World (World of Art) took place in Moscow (Grover).


Russian realism (1845-1905)

The seeds for the development of Ru-Russian realism were planted in the 1840s, following social and political discontent with the reign of Nicholas I (“Nineteenth Century Russian Realism”; Lesson 10). The Russian realist period lasted roughly from 1845 to 1905 and was a decade of transition from the romantic period to the modern one. The four great realists were Dostoevsky, Tolstoy, Turkeniev and Chekhov (Lesson 10 10). The general features of Russian realism included the impulse to investigate the human condition in a spirit of serious inquiry, without, however, excluding humor and satire, the tendency to place works of fiction in Russia of the author's time, the cultivation of a simple style, but which also includes real details, the emphasis on character and atmosphere, rather than plot and action, and the underlying tolerance of human weakness and malice.  The central problem around which the thinking of Russian society revolved at the time of their activities was the question of the abolition of serfdom (Freeborn 1855–80). In 1859 the Russian Music Society, initiated by pianist and composer Rubinstein. His goal was to make "good music accessible to large masses of the public." Members of the movement supported ethnicity and realism in music.


Peredvizhniki (1863)

The Peredvizhniki, often called the Wandering or Itinerant was a team Russian realists Artists. It was formed in 1863, when a group of fourteen students decided to leave the Imperial Academy of Arts in St. Petersburg as they felt that the rules of the Academy were restrictive. The Itinerant They saw art in the same way as the French Enlighteners.  They had rejected art in favor of art. They considered art to be a powerful force in educating the masses, and, like Diderot, referred mainly to functional, utilitarian terms. They considered that the artist was obliged to produce moral or social uplifting works, to work in a style easily perceived by the common man, and to create within the framework of the nation (Grover).

 

The Five (1860)

The Five, also known as the Strong handful, the Five Strong and New Russian School, were five prominent nineteenth-century Russian composers who collaborated to create a distinctive national style of classical music.  All members of the group were self-taught and amateurs. In contrast to the elite regime and court connections of conservatory composers such as Tchaikovsky, the members of the Five They came from the countryside. The group was motivated by Russian nationalist ideas, and its members sought to capture elements of rural Russian life, build national pride, and prevent Western ideals from infiltrating their culture (“The Five (Composers)”).

 

Narodnik (1860)

The spiritual upsurge that followed Nicholas I's death was accompanied by an unprecedented freedom of expression. All spiritual leaders took a keen interest in the problems posed by industry. In general, the Russian reaction to what was learned about the new capitalism was one of fear, horror or contempt. Sympathy for the proletariat, as in the 1840s, was accompanied by the strongest antipathy towards the bourgeoisie  (Barghoorn).

 

These led to the formation of the group Narodnik, which was a politically conscious movement of the Russian intelligentsia that operated in the 1860s and 1870s. Some of the group's members were involved in revolutionary agitation against tsarism. Their ideology, known as Naronticism, was a form of agrarian socialism, although it is often misunderstood as populism. The Narodnik they were in many respects spiritual and political ancestors and, many of them, direct participants in the Russian Revolution ("Narodniks").


Tchaikovsky's cycle (1869)

The Tchaikovsky's circle, also known as the Great Propaganda Company was a Russian literary society for self-study and a revolutionary Narodnik organization in the early 1870s. It is named after Tchaikovsky, one of its prominent members (“Circle of Tchaikovsky”). It was formed in 1860 as a reaction to the violence of Nechaev's organization and lasted until the mid-1870s. It brought together a diverse group of radical students linked together by the belief that some form of socialist revolution was needed to overthrow the tsarist system and reform Russia. Indeed, their first illegal activities consisted of the illegal printing and smuggling of Russian books that had not been approved by the censor. They propagandized among workers and peasants, training them in study circles to develop their social consciousness and recruit them into the struggle against the state (E. M. Johnson).


Russian revolutionaries (1870)

The Russian revolutionaries It consisted mainly of members from the Tchaikovsky circle. It was formed in the early 1870s in an attempt to apply their socialist ideals to their daily lives. This included romantic relationships. Romanticism was widely considered incompatible with true devotion to the revolutionary cause by its own radicals Tchaikovsky's cycle, as well as some later socialists (E. M. Johnson). The Russian revolutionaries They tried to overthrow the tsarist state and replace it with a political and economic system rooted in socialist ideals. But while waiting for this massive transformation of society, these men and women believed they could make a more immediate change in their daily lives. One of the most fundamental changes these revolutionaries tried to implement was the equalization of gender relations. They considered that the patriarchal laws and traditions of Russia should be abandoned in favor of equality between men and women. For this reason, they abandoned the tradition of patriarchal gender relations to enter a community in which the dominant model of gender relations was asexual companionship (H. M. Johnson).

 

Mamontov Circle (1880)

The team Mamontov cycle It was a group of young artists that became known in the mid-1880s. Mamontov had hired them to paint decorations for his private opera house and commissioned them to compose works of art in various media. It also subsidized their trips abroad to familiarize them with Western European artworks, especially Renaissance art. Thus, the artists of the group managed to study under the supervision of the best Russian artists, who had contacts with Mamontov. Thus, they gained enough experience and became familiar with most schools of world art (Grover).


Belyayev circle (1885-1908)

Another particular musical movement was the Belyayev cycle. It was a society of Russian musicians who met in St. Petersburg, Russia between 1885 and 1908. The group is named after Mitrokhan Belyayev, who was a timber merchant, amateur musician, philanthropist, and later music publisher. The group supported the national style of classical music, which was based on the achievements of the group of Five which preceded it. An important difference between the composers of the Melyayev cycle and the composers of the group of Five It was the acceptance of the necessity of Western-style academic training. Nevertheless, the composers of the cycle closely followed many of the compositional practices of the group of Five to the point of mannerism, especially in the depiction of folklore themes ("Belyayev Circle").


Russian symbolism

Russian symbolism was an intellectual and artistic movement that dominated from the late nineteenth century to the early twentieth century. It emerged separately from European symbolism and emphasized mysticism and defamation (Wikipedia contributors) (Wikipedia contributors).


The World of Art (1898)

The movement o World of Art was a movement that began in the early 1890s in St. Petersburg. It came from informal student meetings, in which students gathered to discuss art and especially the philosophy of art. The aesthetic theory they formulated contrasted with the art that was then accepted in Russia, but was familiar to Western European artists (Grover). This movement rejected academicism in all its manifestations. Thanks to his organizational talent and ability to penetrate the essence of the creative process, Diaghilev was able to organize various exhibitions of works by the group (The Russian eras of Diaghilev: history, interesting facts, videos, films. Postage stamps of Russia).




Compositions

Sonata for Cello and Piano in G minor, op. 19 - Rachmaninoff (1901)

The first work we will hear on today's show is Sonata for cello and piano in G minor number 19 by Sergei Vasilyevich Rachmaninoff (Kyriosoglou and Talakoudi). It was written in 1901.

 

 

The Sergey Rachmaninov (1873-1943) was a pianist, conductor and composer. He was one of the most prominent and interesting personalities in the world of art/literary music. The work we are hearing consists of four parts. Its parts evolve as follows: fast, fast scherzo, slow, fast (Kyriosoglou and Talakoudi).


 

Russian Easter Festival Overture – Ρίμσκι-Κόρσακοφ

We will continue the show musically with the project Russian Easter Festival: Introduction to Liturgical Topics Also known as the Great Russian Easter Introduction. Written between 1887 and 1888 (“Russian Easter Festival Overture”).

 

 

Nikolai Rimsky-Korsakov (1844–1908) was a Russian composer and member of the group of composers known as The Five ("Nikolai Rimsky-Korsakov"). The composer dedicated the work to the memory of Mussorgsky and Borodin, two of its members Group of Five. It is the last of what many call his three extraordinarily brilliant orchestral works, starting with Spanish Caprice and Scheherazade (“Russian Easter Festival Overture”). 


In the Steppes of Central Asia – Borodin (1880)

We continue with the project In the Central Asian Steppes of Borodin. Written in 1880 (“In the Steppes of Central Asia”).

 

 

Aleksandr Borodin (1833–1887) was a romantic composer and chemist of Georgian-Russian origin. He was one of the prominent composers of the nineteenth century and a member of the Group of Five  (“Alexander Borodin”). The project In the steppes of Central Asia is a symphonic poem which the composer dedicated to Franz Liszt. The work depicts an interaction between Russians and Asians in the steppes of Central Asia (“In the Steppes of Central Asia”).


St. John's Eve on Bald Mountain - Μουσόργκσκι (1867)

We continue with the project Stay of Agios Ioannis in Falakro Mountain of Mussorgsky.  Written in 1867 (“Night on Bald Mountain”).

 

 

Mussorgsky (1839–1881) was a Russian composer and member of the Group of Five. He was an innovator of Russian music during the romantic period (“Modest Mussorgsky”). The project Stay of Agios Ioannis in Falakro Mountain is part of the composer's series entitled Night on Falakro Mountain (“Night on Bald Mountain”).


Scheherazade-Korsakov

We continue with Korsakov's Scheherazade. Written 1888 (Scheherazade (Rimsky-Korsakov) - Wikipedia, the free encyclopedia).

 

 

The project Scheherazade, is a symphonic suite based on the collection of folk tales One Thousand and One Nights, also known as Arabian Nights (“One Thousand and One Nights”). This orchestral work combines two hallmarks of Russian music in general and of Rimsky-Korsakov in particular: dazzling, colorful orchestration and an interest in East, which played a large role in the history of imperial Russia, as well as in orientalism in general. The name "Scheherazade" refers to the main character of One Thousand and One Nights. It is one of the most popular works of Rimsky-Korsakov. It consists of four movements (Scheherazade (Rimsky-Korsakov) - Wikipedia, the free encyclopedia).


Symphony No. 5 (Shostakovich)

We will continue musically with  Shostakovich's Symphony number five in D minor.  It was written between April and July 1937.

 

 

Dmitry Shostakovich (1906–1975) was a Russian composer and pianist who became internationally known after the premiere of his First Symphony in 1926 and throughout his life as an important composer ("Dmitri Shostakovich"). The project Symphony number five in D minor It's orchestral. His first performance was on November 21, 1937 in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a "triumphant success"[1] that attracted both audiences and official critics, receiving applause lasting over half an hour (“Symphony No. 5 (Shostakovich)” 5).


Humoresque - Pyotr Ilyich Tchaikovsky

The work we will hear is called Humorous by Tchaikovsky from the collection of works entitled 18 pieces (18 Morceaux). Written between 1871-1872 (Humoresque - Tchaikovsky Research).

 

 

Pyotr Tchaikovsky (1840–1893) was a Russian composer of the Romantic period ("Pyotr Ilyich Tchaikovsky"). The project Humorous It consists of a movement that takes about three minutes (Humoresque - Tchaikovsky Research).

 

Fantasy Pieces - Sergey Rachmaninov

We continue with the second part of the series of works entitled Fantasy Pieces (Morceaux de fantaisie) by Rachmaninov entitled Prelude in C pound minor. Its production was completed in 1892 (“Fancy Pieces”).

 

 

The work consists of five solo piano pieces. The title reflects the images of the tracks and not their musical form, as neither is a real fantasy. The set was dedicated to Anton Arensky, the composer's harmony teacher (“Fancy Pieces”).

 

The Snow's Daughter: A Spring Fairy Tale - Korsakov

We continue with The Daughter of the Snow: A Spring Tale by Korsakov. It was written between 1880 and 1881.

 

 

It is an opera in four acts. The libretto was based on the work of the same name by Alexander Ostrovsky. The story deals with the opposition of the eternal forces of nature and includes the interactions of mythological characters, real people, and intermediates, i.e. half mythical, half real. The composer tried to distinguish musically each group of characters, and several individual characters have their own connected lightmotifs. In addition to these distinctions, Rimsky-Korsakov characterized the inhabitants of the city especially with folk melodies (“The Snow Maiden”).

Canon 3 - Nikolay Sokolov (1899)

We continue with the Canon 3 project by Nikolai Sokolov. Written 1899

 

 

Nikolai Sokolov (1859–1922) was a Russian composer of classical music (Nikolay Sokolov (Συνθέτης)).

 

Symphony No. 1 - Aleksandr Scriabin (1899-1900)

The work we hear about is the Deal number 1 of the composer Aleksandr Scriabin. Written between 1899 and 1900 (“Symphony No. 1 (Scriabin)” 1). Scriabin (1872-1915) was one of the most innovative and controversial early modern composers. Leo Tolstoy described Scriabin's music as a genuine and sincere expression of genius (Aleksandr Scriabin - Wikipedia, the free encyclopedia).

 

 

The work consists of six movements. It is one of the first works in which Scriabin's idea of art that morally shapes a person is clearly expressed. The symphony consists of mezzo-soprano, tenor, mixed choir and orchestra consisting of 3 flutes (also 3rd piccolo), 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, drums, bells, harp and strings (“Symphony No. 1 (Scriabin)” 1).

 

The Firebird - Stravinsky (1910)

We will close today's show with the project Firebird by composer Igor Stravinsky. Written in 1910 (“The Firebird”).

 

 

Igor Stravinsky (1882–1971) was a Russian composer, pianist and conductor. Later, he took French (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a key figure in modernist music ("Igor Stravinsky"). The firebird  It is a work of ballet and orchestral concert. Although conceived as a work for the stage, with specific passages accompanying characters and action, the music achieved equal, if not greater recognition as a concert piece. The ballet focuses on the journey of its hero, Prince Ivan (“The Firebird”).


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