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Salon
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Rachmaninoff's Complete Songs
Sergei Rachmaninoff—the last great Russian romantic and arguably the finest pianist of the late 19th and early 20th centuries—wrote 83 songs, which are performed and beloved throughout the world. Like German Lieder and French mélodies, the songs were composed for one singer, accompanied by a piano. In this complete collection, Richard D. Sylvester provides English translations of the songs, along with accurate transliterations of the original texts and detailed commentary. Since Rachmaninoff viewed these "romances" primarily as performances and painstakingly annotated the scores, this volume will be especially valuable for students, scholars, and practitioners of voice and piano.
Salon
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Madness and the Mad in Russian Culture
The problem of madness has preoccupied Russian thinkers since the beginning of Russia's troubled history and has been dealt with repeatedly in literature, art, film, and opera, as well as medical, political, and philosophical essays. Madness has been treated not only as a medical or psychological matter, but also as a metaphysical one, encompassing problems of suffering, imagination, history, sex, social and world order, evil, retribution, death, and the afterlife. Madness and the Mad in Russian Culture represents a joint effort by American, British, and Russian scholars - historians, literary scholars, sociologists, cultural theorists, and philosophers - to understand the rich history of madness in the political, literary, and cultural spheres of Russia. Editors Angela Brintlinger and Ilya Vinitsky have brought together essays that cover over 250 years and address a wide variety of ideas related to madness - from the involvement of state and social structures in questions of mental health, to the attitudes of major Russian authors and cultural figures towards insanity and how those attitudes both shape and are shaped by the history, culture, and politics of Russia.
Sonic Overload
Sonic Overload offers a new, music-centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. It traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet ideology with utopian impulses to encompass all musical styles, from "high" to "low". But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hie...
