Funeral games in honor of Arthur Vincent Lourié

321 Pages·2014·6.838 MB·English

by  Koussevitzky, Serge, Lourié, Arthur, Morrison, Simon Alexander, Koussevitzky, Serge, Móricz, Klára, Lourié, Arthur

Funeral Games in Honor of Arthur Vincent Lourié

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Funeral Games in Honor of Arthur
Vincent Lourié
Edited by Klára Móricz and
Simon Morrison
i
1
1
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Library of Congress Cataloging-in-Publication Data
Funeral games in honor of Arthur Vincent Lourié / edited by Klára Móricz and Simon Morrison.
pages cm
Includes bibliographical references and index.
ISBN 978–0–19–982944–6 (hardback) — ISBN 978–0–19–937724–4 (online file) —
ISBN 978–0–19–982945–3 (electronic text) 1. Lourié, Arthur, 1892–1966. 2. Composers—Soviet
Union—Biography. 3. Koussevitzky, Serge, 1874–1951. I. Móricz, Klára, 1962– II. Morrison, Simon
Alexander, 1964–
ML410.L89188F86 2014
780.92—dc23
[B]
2013040022
9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
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Contents
Acknowledgments vii
A Note on Transliteration ix
Introduction: Endgames and Funeral Games 1
Klára Móricz
1. Arthur Lourié: A Biographical Sketch 28
Olesya Bobrik, Translated by Klára Móricz
and Simon Morrison
2. Turania Revisited, with Lourié My Guide 63
Richard Taruskin
3. Koussevitzky’s Ghostwriter 121
Simon Morrison
4. Retrieving What Time Destroys: The Palimpsest of Lourié’s The Blackamoor of Peter
the Great 150
Klára Móricz
5. Jacques Maritain and the Catholic Muse in Lourié’s Post-Petersburg Worlds 196
Caryl Emerson
Epilogue: The Silver Age and Tinseltown 269
Simon Morrison
Index 289

Acknowledgments
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THIS VOLUME IS the result of many years of fascination with the composer Arthur
Lourié. Most of the articles published here originated at a symposium, “Arthur Lourié
and the Voice of Silver Age Russia,” held at the Amherst Center for Russian Culture
on October 31, 2009. The editors would like to thank Stanley J. Rabinowitz, director of
the Amherst Center for Russian Culture, for urging study of the documents pertaining
to Lourié in the Center’s Irina Graham Collection and for sponsoring the symposium.
Stefan Hulliger, founder of the Lourié Gesellschaft in Basel, Switzerland, inspired our
work through his mesmerizing performance of Lourié’s Concerto da Camera at Amherst
College while also sharing numerous scores and documents with us, including the cor-
respondence between Lourié and Jacques Maritain. Olesya Bobrik generously provided
materials from her forthcoming Russian-language volumes of Lourié’s collected writings.
Caryl Emerson and Richard Taruskin have been essential supports throughout the pro-
cess of editing the volume.
Among the many individuals to whom we owe thanks are: Nonna Barskova, Polina
Barskova, Elizabeth Bergman, Cathy Ciepiella, Marina Frolova-Walker, Sergey Glebov,
David E. Schneider, Natalya Strizhkova, Boris Wolfson, and Galina Zlobina. For finan-
cial assistance we thank Princeton University, the Guggenheim Foundation, and Gregory
Call, Dean of Faculty at Amherst College. Lastly we would like to express our most sin-
cere appreciation to Paul De Angelis and Erin Clermont for their expert reading and sage
copyediting of the completed text, to Suzanne Ryan for commissioning the volume for
Oxford University Press, and to Jessen O’Brien for shepherding it to completion.
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A Note on Transliteration
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THE TRANSLITERATION SYSTEM used in this book is the system devised by Gerald
Abraham for the New Grove Dictionary of Music and Musicians (1980), with the mod-
ifications introduced by Richard Taruskin in Musorgsky: Eight Essays and an Epilogue
(1993). The principal exceptions to the system concern commonly accepted spellings of
names (Asafyev rather than Asaf'yev) and places and suffixes (-sky rather than -skiy).
In the bibliographic citations, however, the transliteration system is respected without
exception (Asaf'yev rather than Asafyev). Surname suffixes are presented intact, and hard
and soft signs preserved.
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