Just out in Italy: Luca Ciammarughi’s history of the complex Soviet relationships with leading pianists, from Horowitz to Richter, Magaloff to Gavrilov.
The subject sounds fascinating.
The cover is irresistible.
Find it here.
Eyebrows rose in April last year when the…
More news from the valleys: The Royal Welsh…
The Orchestre National de France has named its…
The German gadfly Axel Brüggemann has spoken to…
Session expired
Please log in again. The login page will open in a new tab. After logging in you can close it and return to this page.
Please, correct the link: it is http://www.zecchini.com/soviet-piano-i-pianisti-dalla-rivoluzione-dottobre-alla-guerra-fredda
Thanks from Zecchini Editore
“La pagina richiesta non può essere trovata!”
Any other link?
The right link:
http://www.zecchini.com/
It would be interested to read the chapter on Gilels.
Interesting. Sorry for the typo.
A thought experiment, a book on National Socialism and it’s relation with artist. A book cover with a Swastika instead of CCCP.
A reminder, ole Unca’ Joe managed to exceed in killing of the number of people he didn’t like than the ever efficient Nazis did.
@Billg: This might be up your ally, though it concentrates on painting and sculpture rather than music.
https://www.amazon.com/Totalitarian-Soviet-Fascist-Peoples-Republic/dp/0064332667/ref=sr_1_15?s=books&ie=UTF8&qid=1523634992&sr=1-15&keywords=fascist+art
Hitler/Stalin is at the heart of it. Used copies at less that $8
The Sov’s did a better job at turning out stuff that has staying power than the Nazis. Still raises the question why is one symbol despised while the other more or less accepted. Could it be that ole Unca Joe was less discriminating in who he killed?
The book is in fact largely a survey of the crimes and pressures that communism did on pianists.
This book might be very interesting but it’s impossible to tell from the blurb whether the author’s come up with anything new or merely summarized the known record. The outline covers a lot of ground and comes with the usual lofty sentiments about art and individualism.
The pianists treated are hundreds, and many in Italy are not even known. I did not rely only on the pre-existing material, but I also did interviews with russian pianists who lived communism. In any case, I think there was a lack of a view on the relationship between Soviet politics and pianists, while for composers such as Shostakovich or Prokofiev the bibliography is already quite rich.