Natasha's Dance (169 page)
seeing it instead as an epic portrait of the Russian character. What Repin meant, howeve
seeing it instead as an epic portrait of the Russian character. What Repin meant, howeve
Repin was a ‘man of the sixties’-a decade of rebellious questioning in the arts as well a
Repin was a ‘man of the sixties’-a decade of rebellious questioning in the arts as well a
Repin was a ‘man of the sixties’-a decade of rebellious questioning in the arts as well a
13. Ilia Repin: sketches for The Volga Barge Haulers, 1870
13. Ilia Repin: sketches for The Volga Barge Haulers, 1870
13. Ilia Repin: sketches for The Volga Barge Haulers, 1870
Ilia Repin: sketches for
the attention of society on the need for social justice by showing how the common peop
the attention of society on the need for social justice by showing how the common peop
the attention of society on the need for social justice by showing how the common peop
Russian painters, he maintained, should give up imitating European art and look to thei
Russian painters, he maintained, should give up imitating European art and look to thei
Russian painters, he maintained, should give up imitating European art and look to thei
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kuchkists
troika
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Mark Antokolsky was a poor Jewish boy from Vilna who had entered the Academy at the same ti
Mark Antokolsky was a poor Jewish boy from Vilna who had entered the Academy at the same ti
Mark Antokolsky was a poor Jewish boy from Vilna who had entered the Academy at the same ti
artel,
The Persecution of the Jews in the Spanish Inquisition
31
Repin identified with Antokolsky. He, too, had come from a poor provincial family - the s
Repin identified with Antokolsky. He, too, had come from a poor provincial family - the s
Repin identified with Antokolsky. He, too, had come from a poor provincial family - the s
but he also painted unknown peasants. Earlier painters such as Venetsi-anov had portray
but he also painted unknown peasants. Earlier painters such as Venetsi-anov had portray
but he also painted unknown peasants. Earlier painters such as Venetsi-anov had portray
It was through Kramskoi and Antokolsky that Repin came into the circle of Stasov in 1869, a
It was through Kramskoi and Antokolsky that Repin came into the circle of Stasov in 1869, a
It was through Kramskoi and Antokolsky that Repin came into the circle of Stasov in 1869, a
The Volga Barge Haulers.
Barge Haulers
Barge Haulers
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Musorgsky was roughly the same age as Repin and Antokolsky but he had joined Stasov’s stable
Musorgsky was roughly the same age as Repin and Antokolsky but he had joined Stasov’s stable
Musorgsky was roughly the same age as Repin and Antokolsky but he had joined Stasov’s stable
in loco parentis,
Korsakov (then twenty-seven) in St Petersburg. Stasov would arrive early in the morning, hel
Korsakov (then twenty-seven) in St Petersburg. Stasov would arrive early in the morning, hel
Korsakov (then twenty-seven) in St Petersburg. Stasov would arrive early in the morning, hel
‘we
our
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Boris Godunov
Kbovanshchina
34
(‘narodnaya muzikal’naya drama’).
Barge Haulers:
It is the people I want to depict: when I sleep I see them, when I eat I think of them, when I d
It is the people I want to depict: when I sleep I see them, when I eat I think of them, when I d
It is the people I want to depict: when I sleep I see them, when I eat I think of them, when I d
the people
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And yet there were tensions between Musorgsky and the Populist agenda set out for him by S
And yet there were tensions between Musorgsky and the Populist agenda set out for him by S
And yet there were tensions between Musorgsky and the Populist agenda set out for him by S
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covered him; he gave him the material for much of his greatest work; and he championed his mu
covered him; he gave him the material for much of his greatest work; and he championed his mu
covered him; he gave him the material for much of his greatest work; and he championed his mu
it not been for Stasov. But the critic’s politics were not entirely shared by the compose
it not been for Stasov. But the critic’s politics were not entirely shared by the compose
it not been for Stasov. But the critic’s politics were not entirely shared by the compose
was not political or philosophical - it was artistic. He loved folk songs
was not political or philosophical - it was artistic. He loved folk songs
was not political or philosophical - it was artistic. He loved folk songs
and incorporated many of them in his works. The distinctive aspects
and incorporated many of them in his works. The distinctive aspects
and incorporated many of them in his works. The distinctive aspects
of the Russian peasant song - its choral heterophony, its tonal shifts,
of the Russian peasant song - its choral heterophony, its tonal shifts,
of the Russian peasant song - its choral heterophony, its tonal shifts,
drawn out melismatic passages which make it sound like a chant
drawn out melismatic passages which make it sound like a chant
drawn out melismatic passages which make it sound like a chant
or a lament - became part of his own musical language. Above all, the
or a lament - became part of his own musical language. Above all, the
or a lament - became part of his own musical language. Above all, the
folk song was the model for a new technique of choral writing which Musorgsky first develop
folk song was the model for a new technique of choral writing which Musorgsky first develop
folk song was the model for a new technique of choral writing which Musorgsky first develop
Boris Godunov.
Musorgsky was obsessed with the craft of rendering human speech in musical sound. That is w
Musorgsky was obsessed with the craft of rendering human speech in musical sound. That is w
Musorgsky was obsessed with the craft of rendering human speech in musical sound. That is w
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Savishna
I expect you will have heard at some time the noise of a distant waterfall, when the agita
I expect you will have heard at some time the noise of a distant waterfall, when the agita
I expect you will have heard at some time the noise of a distant waterfall, when the agita
* It is telling, in this context, that the word he used for ‘people’ was ‘liudi’ - a word which
* It is telling, in this context, that the word he used for ‘people’ was ‘liudi’ - a word which
* It is telling, in this context, that the word he used for ‘people’ was ‘liudi’ - a word which
‘liudi’
‘narod’).
The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in Letters and Documents
assailed on every side by the loud hand-clapping of traders all over the market-place. A cart
assailed on every side by the loud hand-clapping of traders all over the market-place. A cart
assailed on every side by the loud hand-clapping of traders all over the market-place. A cart
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In Musorgsky’s final years tensions with his mentor became more acute. He withdrew from S
In Musorgsky’s final years tensions with his mentor became more acute. He withdrew from S
In Musorgsky’s final years tensions with his mentor became more acute. He withdrew from S
So, that’s it, glorious lead horse! The troika, if in disarray, bears what it has to bear.
So, that’s it, glorious lead horse! The troika, if in disarray, bears what it has to bear.
So, that’s it, glorious lead horse! The troika, if in disarray, bears what it has to bear.
troika,
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Antokolsky felt the same artistic impulse pulling him away from Stasov’s direction. He ga
Antokolsky felt the same artistic impulse pulling him away from Stasov’s direction. He ga
Antokolsky felt the same artistic impulse pulling him away from Stasov’s direction. He ga
Inquisition,
The Death of Socrates
Jesus Christ
40
Even Repin, the ‘lead horse’, began to pull away from Stasov’s harnesses: he would no longe
Even Repin, the ‘lead horse’, began to pull away from Stasov’s harnesses: he would no longe
Even Repin, the ‘lead horse’, began to pull away from Stasov’s harnesses: he would no longe
portraits and pretty cafe scenes which could not have been farther from the Russian nation
portraits and pretty cafe scenes which could not have been farther from the Russian nation
portraits and pretty cafe scenes which could not have been farther from the Russian nation
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3
3
3
3
3
In 1855 Tolstoy lost his favourite house in a game of cards. For two days and nights he playe
In 1855 Tolstoy lost his favourite house in a game of cards. For two days and nights he playe
In 1855 Tolstoy lost his favourite house in a game of cards. For two days and nights he playe
shtoss
43
the paths were full of weeds and the English garden had long gone to seed. But all the same i
the paths were full of weeds and the English garden had long gone to seed. But all the same i
the paths were full of weeds and the English garden had long gone to seed. But all the same i
44
Tolstoy moved into a smaller house, an annexe of the old Volkonsky manor, and, as if to ato
Tolstoy moved into a smaller house, an annexe of the old Volkonsky manor, and, as if to ato
Tolstoy moved into a smaller house, an annexe of the old Volkonsky manor, and, as if to ato
A
Landowner’s Morning
In 1859 Tolstoy set up his first school for the village children in Yasnaya Polyana; by 186
In 1859 Tolstoy set up his first school for the village children in Yasnaya Polyana; by 186
In 1859 Tolstoy set up his first school for the village children in Yasnaya Polyana; by 186
14. Tolstoy’s estate at Yasnaya Polyana, late nineteenth century. The huts and fields
14. Tolstoy’s estate at Yasnaya Polyana, late nineteenth century. The huts and fields
14. Tolstoy’s estate at Yasnaya Polyana, late nineteenth century. The huts and fields
Tolstoy’s estate at Yasnaya Polyana, late nineteenth century. The huts and fields in t
the teachers being drawn in the main from those students who had been expelled from their
the teachers being drawn in the main from those students who had been expelled from their
the teachers being drawn in the main from those students who had been expelled from their
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46
The fantasy, however, would not go away. ‘Now let me tell you
The fantasy, however, would not go away. ‘Now let me tell you
The fantasy, however, would not go away. ‘Now let me tell you
what I’ve just decided,’ he would tell the village children at his school. ‘I am going to gi
what I’ve just decided,’ he would tell the village children at his school. ‘I am going to gi
what I’ve just decided,’ he would tell the village children at his school. ‘I am going to gi
my
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War and Peace
War and Peace
48
Anna Karenina
that blissful moment when Levin joins the peasant mowers in the field and loses himself in
that blissful moment when Levin joins the peasant mowers in the field and loses himself in
that blissful moment when Levin joins the peasant mowers in the field and loses himself in
After breakfast Levin was not in the same place in the string of mowers as before, but foun
After breakfast Levin was not in the same place in the string of mowers as before, but foun
After breakfast Levin was not in the same place in the string of mowers as before, but foun
The old man, holding himself erect, went in front, moving with long, regular strides, his fee
The old man, holding himself erect, went in front, moving with long, regular strides, his fee
The old man, holding himself erect, went in front, moving with long, regular strides, his fee
Behind Levin came the lad Mishka. His pleasant boyish face, with a twist of fresh grass bound
Behind Levin came the lad Mishka. His pleasant boyish face, with a twist of fresh grass bound
Behind Levin came the lad Mishka. His pleasant boyish face, with a twist of fresh grass bound
Levin kept between them. In the very heat of the day the mowing did not seem such hard work. Th
Levin kept between them. In the very heat of the day the mowing did not seem such hard work. Th
Levin kept between them. In the very heat of the day the mowing did not seem such hard work. Th
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Tolstoy loved to be among the peasants. He derived intense pleasure - emotional, erotic -
Tolstoy loved to be among the peasants. He derived intense pleasure - emotional, erotic -
Tolstoy loved to be among the peasants. He derived intense pleasure - emotional, erotic -
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