Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-14T22:29:21.519Z Has data issue: false hasContentIssue false
  • English
  • Français

Unfolding the Fan of Memory in Arthur Lourié’s Recollection of Petersburg

Published online by Cambridge University Press:  30 April 2019

DAVID SALKOWSKI
Get access Rights & Permissions [Opens in a new window]

Abstract

This article demonstrates how migration formed a process of memory construction in the work and thought of Russian émigré composer Arthur Lourié (1891–1966). It analyses Lourié’s song cycle Recollection of Petersburg, composed over two decades and across four countries, providing close readings of music and poetry and exploring the network of intertextual connections the cycle activates. Lourié has proven a difficult subject because of the diversity of aesthetic positions he took from decade to decade. Recollection allows us to trace a line of continuity as he passed through these incarnations, revealing an aesthetics of accumulation and arrangement with origins in Acmeist poetics. This aesthetics, in turn, served as a coping strategy for Lourié’s life in emigration, as he sought to order the voices of memory and escape the flow of time. Lourié’s case will contribute to our understanding of the profound impact of migration on music in the twentieth century.

Type
Articles
Information
Twentieth-Century Music , Volume 16 , Issue 2 , June 2019 , pp. 289 - 317
Copyright
Copyright © Cambridge University Press, 2019 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

I am grateful to Simon Morrison, Caryl Emerson, Olga Hasty, Malavika Rajeev, and the anonymous reviewers of this journal for providing invaluable feedback on various drafts of this article. I wish to thank Michael Wachtel for his help with translations and numerous poetic insights. Angela Ida De Benedictis and Evelyne Diendorf of the Paul Sacher Foundation and Bob Kosovsky of the New York Public Library provided generous help with archival materials, for which I am also grateful.

References

Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton: Princeton University Press, 1991.Google Scholar
Akhmatova, Anna Andreevna, Hemschemeyer, Judith, and Reeder, Roberta. The Complete Poems of Anna Akhmatova, vol. 1. Somerville, MA: Zephyr Press, 1990.Google Scholar
Albright, Daniel. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press, 2000.Google Scholar
Belyi, A[ndrei]. Peterburg. Stikhi, Moscow: ACT, 1998.Google Scholar
Benjamin, Walter. ‘The Return of the Flâneur’, in Selected Writings II 1927–1934, ed. Jennings, Michael W., Eiland, Howard, and Smith, Gary, trans. Rodney Livingston et al. Cambridge, MA: Harvard University Press, 1999. 263–4.Google Scholar
Blok, Aleksandr. Polnoe sobranie stikhotvorenii, ed. Orlov, V. I.. Moscow: Sovetskii pisatel’, 1946.Google Scholar
Blok, Aleksandr. Sobranie sochinenii v vos'mi tomakh, ed. Orlov, V. N., Surokov, A. A., and Chukovskii, K. I.. 8 vols. Moscow: Gosudarstvennoe izdatel'stvo khudozhestvennoi literatury, 1960–63.Google Scholar
Blok, Aleksandr. ‘Intellegentsiia i revoliutsia’, in Sobranie sochinenii v vos'mi tomakh, Vol. 6, Proza (1918–1921), ed. Orlov, V. N., Surokov, A. A., and Chukovskii, K. I.. Moscow: Gosudarstvennoe izdatel'stvo khudozhestvennoi literatury, 1962. 9–20.Google Scholar
Blok, Aleksandr. Polnoe sobranie stikhotvorenii v trekh tomakh. Vol. 3, 1909–1921. Moscow: Progress-Pleiada, 2011.Google Scholar
Bobrik, Olesya. ‘Khronika pamiati. Iz amerikanskikh dnevnikov Artura Lur'e’. Iskusstvo muzyki: teoriia i istoriia 5 (2012), 167–94.Google Scholar
Bobrik, Olesya. ‘Arthur Lourié: A Biographical Sketch’, in Funeral Games in Honor of Arthur Vincent Lourié, ed. Móricz, Klára and Morrison, Simon. Oxford: Oxford University Press, 2014. 28–62.Google Scholar
Cavanagh, Clare. Osip Mandelstam and the Modernist Creation of Tradition. Princeton: Princeton University Press, 1994.Google Scholar
Doherty, Justin. The Acmeist Movement in Russian Poetry: Culture and the Word. Oxford: Clarendon Press, 1995.Google Scholar
Fink, Hilary. Bergson and Russian Modernism, 1900–1930. Evanston, IL: Northwestern University Press, 1999.Google Scholar
Gippius, Z. N. Siniaia kniga: Peterburgskii dnevnik. 1914–1919. Belgrade: Radenkovich, 1929.Google Scholar
Gojowy, Detlef. Arthur Lourié Und Der Russische Futurismus. Laaber: Laaber-Verlag, 1993.Google Scholar
Graham, Irina. An Orphic Requiem (undated typescript). Lourié Collection, New York Public Library. JBP 92–61, no. 88, folder 8.Google Scholar
Graham, Irina. ‘Arthur Lourié: Biographical Notes’, trans. Andrea Graham. Lourié Collection, New York Public Library, JBP 92–61, no. 88, folder 5.Google Scholar
Graham, Irina. ‘Orficheskii rekviem’. Neva 3 (1996), 27–82.Google Scholar
Gumilev, Nikolai. ‘Nasledie simvolizma i akmeizma’, in Sochineniia v trekh tomakh. Vol. III: Pis'ma o russkoi poezii. Moscow: Khudozhestvennaia literatura, 1991. 16–20.Google Scholar
Kralin, Mikhail. Artur i Anna: Roman v pis'makh. Leningrad: Pankevich, 1990.Google Scholar
Lermontov, Mikhail Iur'evich. Polnoe sobranie stikhotvorenii v dvukh tomakh. Leningrad: Sovietskii. pisatel', Leningradskoe otdel'nie, 1989.Google Scholar
Lourié, Arthur. Undated notecards. Lourié Collection, New York Public Library, JBP 92–61, no. 88, folder 9.Google Scholar
Lermontov, Mikhail Iur'evich. Uzkaja lira. Autograph draft and sketches, 1921–1941. Lourié Collection, 34, VII, 13d, Paul Sacher Foundation.Google Scholar
Lermontov, Mikhail Iurʹevich. Vospominanie o Peterburge: cheyre romansa dlia golosa I roialia na slova Pushkina, Lermontova, i Bloka. Autograph, 1927. Lourié Collection, New York Public Library, JPB 92–61 no. 53.Google Scholar
Lermontov, Mikhail Iurʹevich. ‘Our March’, trans. Andrea Graham, typescript dated Princeton 1964. New York Public Library, Lourié Collection JBP 92–61, no. 88, folder 4.Google Scholar
Lermontov, Mikhail Iurʹevich. ‘The Dehumanization of Music’, Ramparts Magazine (January 1965), 39–41.Google Scholar
Lermontov, Mikhail Iurʹevich. Profanation et Sanctification du Temps: Journal Musical: Saint-Pétersbourg – Paris – New York: 1910–1960. Paris: Desclée de Brouwer, 1966.Google Scholar
Lur'ye, Artur. ‘Detskii rai’. Vozdushnye puti. Al'manakh 3 (1963), 161–72.Google Scholar
Mandelstam, Nadezhda. Hope Against Hope, trans. Hayward, Max. New York: Modern Library, 1999.Google Scholar
Mandelstam, Nadezhda. ‘Vospominaniia’, in Sobranie sochinenii v dvukh tomakh, vol. 1, ed. Vasilenko, S. V., Nerler, P. M., and Fleidin, Iu. L.. Yekaterinburg: Gonzo, 2014. 79–582.Google Scholar
Mandelshtam, Osip. Critical Prose and Letters, ed. Harris, Jane Gary, trans. Harris, Jane Gary and Link, Constance. Ann Arbor, MI: Ardis, 1979.Google Scholar
Mandelshtam, Osip. The Noise of Time: The Prose of Osip Mandelstam, trans. with critical essays by Brown, Clarence. San Francisco: North Point Press, 1986.Google Scholar
Mandelshtam, Osip. Stikhotvoreniia. Proza. Moscow: Izdatel'stvo folio, 2001.Google Scholar
Mitchell, Rebecca. Nietzsche's Orphans: Music, Metaphysics, and the Twilight of the Russian Empire. New Haven: Yale University Press, 2015.Google Scholar
Móricz, Klára. ‘Shadows of the Past: Akhmatova's Poem Without a Hero and Lourié’s Incantations’. Twentieth-Century Music 5/1 (2008), 79–108.Google Scholar
Móricz, Klára. ‘Symphonies and Funeral Games: Lourié’s Critique of Stravinsky's Neoclassicism’, in Stravinsky and His World, ed. Levitz, Tamara. Princeton: Princeton University Press, 2013. 138–63.Google Scholar
Móricz, Klára. ‘Don Giovanni's Eucharist and the Decadent Aesthetics of Arthur Lourié’. Wiener Slavistisches Jahrbuch Neue Folge 3 (2015), 197–228.Google Scholar
Móricz, Klára and Morrison, Simon, eds. Funeral Games in Honor of Arthur Vincent Lourié. Oxford: Oxford University Press, 2014.Google Scholar
Morrison, Simon. Russian Opera and the Symbolist Movement. Berkeley: University of California Press, 2002.Google Scholar
Morrison, Simon. ‘Epilogue: The Silver Age and Tinseltown’, in Funeral Games in Honor of Arthur Vincent Lourié, ed. Móricz, Klára and Morrison, Simon. Oxford: Oxford University Press, 2014. 269–288.Google Scholar
Nerval, Gérard de. The Chimeras, trans. Peter Jay with an essay by Richard Holmes. Redding Ridge, CT: Black Swan Books, 1984.Google Scholar
Pasternak, Yevgenii. Boris Pasternak: Materiali dlia biogrfii. Moscow: Sovetskii Pisatel’, 1989.Google Scholar
Pauls, John P. Pushkin's ‘Poltava’. New York: Shevchenko Scientific Society, 1962.Google Scholar
Popova, Nina Ivanovna, and Rubinchik, O. E.. Anna Akhmatova i Fontannyi Dom. Sankt-Peterburg: Nevskii dialekt, 2000.Google Scholar
Puri, Michael. Ravel the Decadent: Memory, Sublimation, and Desire. New York: Oxford University Press, 2011.Google Scholar
Pushkin, Aleksandr Sergeevich. Polnoe sobranie sochinenii. Moskva: Izdatelstvo akademii nauk SSSR, 1962.Google Scholar
Raeff, Marc. Russia Abroad: A Cultural History of the Russian Emigration, 1919–1939. New York: Oxford University Press, 1990.Google Scholar
Reeder, Roberta. Anna Akhmatova: Poet & Prophet. London: Allison & Busby, 1995.Google Scholar
Ronen, Omri. ‘Leksicheskii povtor, podtekst, i smysl’ v poetike Osipa Mandel'shtama’, in Poetika Osipa Mandel'shtama. St Petersburg: Giperion, 2002. 13–42.Google Scholar
Rubinchik, Ol'ga. ‘V poiskax poteriannogo Orfeia: kompozitor Artur Lur'e’, Zvezda 10 (1997), 198–207.Google Scholar
Taruskin, Richard. ‘Is there a “Russia Abroad” in Music?’, in Russian Music at Home and Abroad: New Essays. Berkeley, CA: University of California Press, 2016, 140–61.Google Scholar
Taylor, Benedict. The Melody of Time: Music and Temporality in the Romantic Era. New York: Oxford University Press, 2015.Google Scholar