https://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&feed=atom&action=historyBoris Asafyev - Revision history2024-03-28T20:34:14ZRevision history for this page on the wikiMediaWiki 1.38.2https://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=64717&oldid=prevBrett: Text replacement - "Riccardo Drigo" to "Riccardo Drigo"2024-01-01T21:29:35Z<p>Text replacement - "Riccardo Drigo" to "<a href="/pages/Riccardo_Drigo" title="Riccardo Drigo">Riccardo Drigo</a>"</p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Also in 1909, Nijinsky introduced Asafyev to Serge Diaghilev, who had come over to [[Saint Petersburg]] from [[Paris]] with the intention of copying the manuscript score of [[Musorgsky]]'s ''Khovanshchina'' (after the great success of ''Boris Godunov'' in [[Paris]] the previous year). He was also looking for a Russian fairy-tale ballet that would appeal to Parisian audiences and he asked Asafyev to recommend a young composer. Asafyev suggested Igor Stravinsky, and soon afterwards the latter was commissioned by Diaghilev to compose ''The Firebird''. Later that year, the balletmaster Nikolay Legat asked Asafyev to write a classical dance for Nijinsky and Anna Pavlova, and this short work, entitled ''Butterflies'', was performed as part of a divertissement at the Mariinsky Theatre in December 1909. It was his first composition to be played by an orchestra.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Also in 1909, Nijinsky introduced Asafyev to Serge Diaghilev, who had come over to [[Saint Petersburg]] from [[Paris]] with the intention of copying the manuscript score of [[Musorgsky]]'s ''Khovanshchina'' (after the great success of ''Boris Godunov'' in [[Paris]] the previous year). He was also looking for a Russian fairy-tale ballet that would appeal to Parisian audiences and he asked Asafyev to recommend a young composer. Asafyev suggested Igor Stravinsky, and soon afterwards the latter was commissioned by Diaghilev to compose ''The Firebird''. Later that year, the balletmaster Nikolay Legat asked Asafyev to write a classical dance for Nijinsky and Anna Pavlova, and this short work, entitled ''Butterflies'', was performed as part of a divertissement at the Mariinsky Theatre in December 1909. It was his first composition to be played by an orchestra.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Nijinsky and Legat were able to pull some strings on Asafyev's behalf, and in the autumn of 1910 he was appointed a répétiteur pianist with the Mariinsky Ballet. Asafyev worked under the Italian conductor Riccardo Drigo (1846–1930), who had conducted the premieres of '' [[The Sleeping Beauty]]'' and ''[[The Nutcracker]]'' twenty years earlier. Drigo generously helped Asafyev in his work by playing through with him four-handed arrangements of the difficult ballet scores of Tchaikovsky and [[Glazunov]]. Asafyev also had the opportunity to observe [[Eduard Nápravník]] on the conductor's rostrum during opera performances. The long summer breaks at the Mariinsky meant that from 1911 to 1916 Asafyev could travel to Germany, Italy, and France for a few months each year in order to visit museums, libraries, and art galleries. During a stay in [[Kiev]] and the area near [[Kamenka]] in the summer of 1916, Asafyev met another 'veteran' of Russian music, the critic [[Nikolay Kashkin]], whose character he greatly admired. [[Kashkin]] lived to see Asafyev's first publications on Tchaikovsky and approved of them.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Nijinsky and Legat were able to pull some strings on Asafyev's behalf, and in the autumn of 1910 he was appointed a répétiteur pianist with the Mariinsky Ballet. Asafyev worked under the Italian conductor <ins style="font-weight: bold; text-decoration: none;">[[</ins>Riccardo Drigo<ins style="font-weight: bold; text-decoration: none;">]] </ins>(1846–1930), who had conducted the premieres of '' [[The Sleeping Beauty]]'' and ''[[The Nutcracker]]'' twenty years earlier. Drigo generously helped Asafyev in his work by playing through with him four-handed arrangements of the difficult ballet scores of Tchaikovsky and [[Glazunov]]. Asafyev also had the opportunity to observe [[Eduard Nápravník]] on the conductor's rostrum during opera performances. The long summer breaks at the Mariinsky meant that from 1911 to 1916 Asafyev could travel to Germany, Italy, and France for a few months each year in order to visit museums, libraries, and art galleries. During a stay in [[Kiev]] and the area near [[Kamenka]] in the summer of 1916, Asafyev met another 'veteran' of Russian music, the critic [[Nikolay Kashkin]], whose character he greatly admired. [[Kashkin]] lived to see Asafyev's first publications on Tchaikovsky and approved of them.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Post-Revolution==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Post-Revolution==</div></td></tr>
</table>Bretthttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=62102&oldid=prevBrett at 08:52, 26 August 20232023-08-26T08:52:44Z<p></p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<del style="font-weight: bold; text-decoration: none;">Boris Asafyev </del>1928.jpg|caption='''Boris Asafyev''' (1884-1949) in 1928}}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<ins style="font-weight: bold; text-decoration: none;">Asafyev_Boris_(</ins>1928<ins style="font-weight: bold; text-decoration: none;">)</ins>.jpg|caption='''Boris Asafyev''' (1884-1949) in 1928}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Russian musicologist and composer (b. 17/29 July 1884 in [[Saint Petersburg]]; d. 27 January 1949 in [[Moscow]]), born ''''' Boris Vladimirovich Asafyev''''' (Борис Владимирович Асафьев), also known by his literary pseudonym '''''Igor Glebov''''' (Игорь Глебов).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Russian musicologist and composer (b. 17/29 July 1884 in [[Saint Petersburg]]; d. 27 January 1949 in [[Moscow]]), born ''''' Boris Vladimirovich Asafyev''''' (Борис Владимирович Асафьев), also known by his literary pseudonym '''''Igor Glebov''''' (Игорь Глебов).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although he remained on the staff of the State Academic Theatre for Opera and Ballet (Russian abbreviation: GATOB), as the Mariinsky was renamed in 1917, Asafyev did not do much composing or arranging for the ballet company during the 1920s. Scholarly and teaching work now took up most of his time. In 1925, he was appointed professor of music history at the [[Leningrad]] Conservatory, where he soon became one of the leading figures. He backed a number of reforms in the curriculum, including the introduction of a free composition class, and also helped to set up a musicology department, which he would head for several years. [[Glazunov]] and a few other professors, however, were opposed to his initiatives.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although he remained on the staff of the State Academic Theatre for Opera and Ballet (Russian abbreviation: GATOB), as the Mariinsky was renamed in 1917, Asafyev did not do much composing or arranging for the ballet company during the 1920s. Scholarly and teaching work now took up most of his time. In 1925, he was appointed professor of music history at the [[Leningrad]] Conservatory, where he soon became one of the leading figures. He backed a number of reforms in the curriculum, including the introduction of a free composition class, and also helped to set up a musicology department, which he would head for several years. [[Glazunov]] and a few other professors, however, were opposed to his initiatives.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<del style="font-weight: bold; text-decoration: none;">Dmitry Shostakovich 1933</del>.jpg|caption='''Dmitry Shostakovich''' (1906–1975) in 1933}}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<ins style="font-weight: bold; text-decoration: none;">Shostakovich_Dmitry</ins>.jpg|caption='''Dmitry Shostakovich''' (1906–1975) in 1933}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>From 1925, Asafyev was also on the board of directors of the [[Leningrad]] Association of Contemporary Music and lobbied for the programming of works by Berg, Hindemith, and Stravinsky at concerts in the city. Shostakovich, however, felt deeply offended when Asafyev failed to attend the premiere of his Symphony No. 1 the following year, and in a letter to a friend he insinuated that it was because Asafyev, whom he described as a "little intriguer", resented the fact that the symphony was due to be performed under the auspices of a rival organization <ref name="note9"/>. It should be stressed, though, that Shostakovich's sarcastic remarks about Asafyev in private letters and conversations down the years were not quite fair. Later in 1926, for example, Asafyev helped Shostakovich to obtain a teaching post, and in 1929 he would defend his opera ''The Nose ''when it came under attack from the Russian Association of Proletarian Musicians (RAPM) <ref name="note10"/>. More generally, unlike other lesser Soviet composers, Asafyev was not envious of the younger man's genius and growing world fame (after the First Symphony was performed in [[Berlin]] in 1927), and he never tried to put a spoke in his wheel <ref name="note11"/>.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>From 1925, Asafyev was also on the board of directors of the [[Leningrad]] Association of Contemporary Music and lobbied for the programming of works by Berg, Hindemith, and Stravinsky at concerts in the city. Shostakovich, however, felt deeply offended when Asafyev failed to attend the premiere of his Symphony No. 1 the following year, and in a letter to a friend he insinuated that it was because Asafyev, whom he described as a "little intriguer", resented the fact that the symphony was due to be performed under the auspices of a rival organization <ref name="note9"/>. It should be stressed, though, that Shostakovich's sarcastic remarks about Asafyev in private letters and conversations down the years were not quite fair. Later in 1926, for example, Asafyev helped Shostakovich to obtain a teaching post, and in 1929 he would defend his opera ''The Nose ''when it came under attack from the Russian Association of Proletarian Musicians (RAPM) <ref name="note10"/>. More generally, unlike other lesser Soviet composers, Asafyev was not envious of the younger man's genius and growing world fame (after the First Symphony was performed in [[Berlin]] in 1927), and he never tried to put a spoke in his wheel <ref name="note11"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Asafyev devoted his own creative efforts mainly to ballet, the musical genre in which he had the most experience, and his contribution to Soviet ballet between the 1920s and 40s was significant. For a start, in his capacity as musical consultant at GATOB (from 1935 the Kirov Theatre), he helped to preserve the legacy of Tchaikovsky's ballets, vetoing misguided attempts to improve [[Lev Ivanov]]'s choreography for the 'white acts' in '' [[Swan Lake]]''. He also persuaded the choreographer Vasily Vainonen to end his new production of '' [[The Nutcracker]]'' not with the fairy-tale apotheosis, but with the awakening of Masha (as Clara is called in Russian productions of the ballet) from her dream, thus emphasizing the theme of the continuity of life <ref name="note18"/>.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Asafyev devoted his own creative efforts mainly to ballet, the musical genre in which he had the most experience, and his contribution to Soviet ballet between the 1920s and 40s was significant. For a start, in his capacity as musical consultant at GATOB (from 1935 the Kirov Theatre), he helped to preserve the legacy of Tchaikovsky's ballets, vetoing misguided attempts to improve [[Lev Ivanov]]'s choreography for the 'white acts' in '' [[Swan Lake]]''. He also persuaded the choreographer Vasily Vainonen to end his new production of '' [[The Nutcracker]]'' not with the fairy-tale apotheosis, but with the awakening of Masha (as Clara is called in Russian productions of the ballet) from her dream, thus emphasizing the theme of the continuity of life <ref name="note18"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<del style="font-weight: bold; text-decoration: none;">Fountain 1947</del>.jpg|caption=Galina Ulanova (Maria) and Pyotr Gusev (Girei) in a 1947 production of Asafyev's ballet ''The Fountain of Bakhchisarai'' at the Kirov Theatre}}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<ins style="font-weight: bold; text-decoration: none;">Asafyev_Bakhchisarai_Fountain_1947</ins>.jpg|caption=Galina Ulanova (Maria) and Pyotr Gusev (Girei) in a 1947 production of Asafyev's ballet ''The Fountain of Bakhchisarai'' at the Kirov Theatre}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Working in the new style of "dramatic ballet" (''drambalet''), Asafyev wrote his two most famous ballets in quick succession: ''The Flames of Paris'' (1932) and ''The Fountain of Bakhchisarai'' (1934). For the first of these ballets, which deals with the storming of the Tuileries palace by the people of [[Paris]] in 1792, Asafyev drew on musical material from the works of Lully and Rameau, as well as on French revolutionary songs, including the ''Marseillaise'', and fused these into a rousing score. ''The Flames of Paris'' was produced at GATOB on 7 November 1932, with choreography by Vainonen, and was soon transferred to the country's principal stage, the Bolshoi Theatre in [[Moscow]]. To this day the Basque Dance in the final act, with its powerful rhythm, rarely fails to make an impression on audiences.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Working in the new style of "dramatic ballet" (''drambalet''), Asafyev wrote his two most famous ballets in quick succession: ''The Flames of Paris'' (1932) and ''The Fountain of Bakhchisarai'' (1934). For the first of these ballets, which deals with the storming of the Tuileries palace by the people of [[Paris]] in 1792, Asafyev drew on musical material from the works of Lully and Rameau, as well as on French revolutionary songs, including the ''Marseillaise'', and fused these into a rousing score. ''The Flames of Paris'' was produced at GATOB on 7 November 1932, with choreography by Vainonen, and was soon transferred to the country's principal stage, the Bolshoi Theatre in [[Moscow]]. To this day the Basque Dance in the final act, with its powerful rhythm, rarely fails to make an impression on audiences.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In January 1944, a musicology section was set up at the [[Moscow]] Conservatory on Asafyev's initiative, and his friend [[Vasily Yakovlev]] would subsequently work there. That year, Asafyev also helped to found the USSR Academy of Sciences' Institute for the History of the Arts. In the autumn of 1944, Margarita Rittikh again contacted Asafyev to ask him to reconstruct and complete two sketches for songs by Tchaikovsky which had been discovered by chance when the [[Klin]] museum's collections were evacuated to Votkinsk. Tchaikovsky had made these sketches (TH 225) in his copy of a book of poetry by the [[Grand Duke Konstantin Konstantinovich]]. Asafyev duly completed the [[Six Romances, Op. 63|two songs]] — the first of several instances in which he developed Tchaikovsky's sketches. Asafyev also oversaw the initial stages of preparation for the Academy of Sciences' editions of the 'complete' works of Tchaikovsky and [[Rimsky-Korsakov]].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In January 1944, a musicology section was set up at the [[Moscow]] Conservatory on Asafyev's initiative, and his friend [[Vasily Yakovlev]] would subsequently work there. That year, Asafyev also helped to found the USSR Academy of Sciences' Institute for the History of the Arts. In the autumn of 1944, Margarita Rittikh again contacted Asafyev to ask him to reconstruct and complete two sketches for songs by Tchaikovsky which had been discovered by chance when the [[Klin]] museum's collections were evacuated to Votkinsk. Tchaikovsky had made these sketches (TH 225) in his copy of a book of poetry by the [[Grand Duke Konstantin Konstantinovich]]. Asafyev duly completed the [[Six Romances, Op. 63|two songs]] — the first of several instances in which he developed Tchaikovsky's sketches. Asafyev also oversaw the initial stages of preparation for the Academy of Sciences' editions of the 'complete' works of Tchaikovsky and [[Rimsky-Korsakov]].</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<del style="font-weight: bold; text-decoration: none;">Boris Asafyev </del>1947.jpg|caption='''Boris Asafyev''' in 1947}}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=<ins style="font-weight: bold; text-decoration: none;">Asafyev_Boris_(</ins>1947<ins style="font-weight: bold; text-decoration: none;">)</ins>.jpg|caption='''Boris Asafyev''' in 1947}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It was in August 1945 that Asafyev visited [[Klin]] for the first time and had the opportunity to work on Tchaikovsky's archives. While studying the sketches for ''[[The Nutcracker]]'' he came across an ''English Dance'' which Tchaikovsky had decided not to use in the Act II divertissement. Asafyev's attention was soon riveted, however, by the sketches for the abortive [[Symphony in E-flat major]]. According to Yelena Orlova, Asafyev, after studying these sketches over several days, suggested that Tchaikovsky's decision to abandon this symphony with its "striving towards brightness" and to embark instead on the sombre [[Sixth Symphony]] was due to his visit to [[Montbéliard]] in January 1893 {{NS}} and his meeting with [[Fanny Dürbach]], which had caused him to relive all the years that had passed since his childhood <ref name="note27"/>. For a while Asafyev considered reconstructing the [[Symphony in E-flat major]] from the extant sketches, but in the end he abandoned this idea.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It was in August 1945 that Asafyev visited [[Klin]] for the first time and had the opportunity to work on Tchaikovsky's archives. While studying the sketches for ''[[The Nutcracker]]'' he came across an ''English Dance'' which Tchaikovsky had decided not to use in the Act II divertissement. Asafyev's attention was soon riveted, however, by the sketches for the abortive [[Symphony in E-flat major]]. According to Yelena Orlova, Asafyev, after studying these sketches over several days, suggested that Tchaikovsky's decision to abandon this symphony with its "striving towards brightness" and to embark instead on the sombre [[Sixth Symphony]] was due to his visit to [[Montbéliard]] in January 1893 {{NS}} and his meeting with [[Fanny Dürbach]], which had caused him to relive all the years that had passed since his childhood <ref name="note27"/>. For a while Asafyev considered reconstructing the [[Symphony in E-flat major]] from the extant sketches, but in the end he abandoned this idea.</div></td></tr>
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</table>Bretthttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=60807&oldid=prevBrett at 18:26, 7 August 20232023-08-07T18:26:56Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[wikipedia:Boris_Asafyev|Wikipedia]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[wikipedia:Boris_Asafyev|Wikipedia]]</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Notes and References==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Notes and References==</div></td></tr>
</table>Bretthttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=57476&oldid=prevTony at 10:57, 11 November 20222022-11-11T10:57:50Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Asafyev obtained top grades in his graduation exams at the History Faculty in the spring of 1908, but this success was clouded by the death of [[Rimsky-Korsakov]] in June. For, despite his disapproval of Asafyev's unauthorised composing, some months earlier he had hinted that he would soon allow him to join his free composition class. After [[Rimsky-Korsakov]]'s death, Asafyev decided to leave the Conservatory without completing his course, although [[Glazunov]] persuaded [[Lyadov]] to allow Asafyev to come to his house for private lessons. [[Glazunov]] also helped Asafyev to find occasional work as an accompanist at the Conservatory. It was just enough to live on, and in April 1909 he was able to marry Irina Stepanovna Khozyasheva (1885–1969), whom he had first met as a gymnasium student in Kronstadt.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Asafyev obtained top grades in his graduation exams at the History Faculty in the spring of 1908, but this success was clouded by the death of [[Rimsky-Korsakov]] in June. For, despite his disapproval of Asafyev's unauthorised composing, some months earlier he had hinted that he would soon allow him to join his free composition class. After [[Rimsky-Korsakov]]'s death, Asafyev decided to leave the Conservatory without completing his course, although [[Glazunov]] persuaded [[Lyadov]] to allow Asafyev to come to his house for private lessons. [[Glazunov]] also helped Asafyev to find occasional work as an accompanist at the Conservatory. It was just enough to live on, and in April 1909 he was able to marry Irina Stepanovna Khozyasheva (1885–1969), whom he had first met as a gymnasium student in Kronstadt.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Also in 1909, Nijinsky introduced Asafyev to Serge Diaghilev, who had come over to [[Saint Petersburg]] from [[Paris]] with the intention of copying the manuscript score of [[Musorgsky]]'s ''Khovanshchina'' (after the great success of ''Boris Godunov'' in [[Paris]] the previous year). He was also looking for a Russian fairy-tale ballet that would appeal to Parisian audiences and he asked Asafyev to recommend a young composer. Asafyev suggested Igor Stravinsky, and soon afterwards the latter was commissioned by Diaghilev to compose ''The Firebird''. Later that year, the <del style="font-weight: bold; text-decoration: none;">ballet-master </del>Nikolay Legat asked Asafyev to write a classical dance for Nijinsky and Anna Pavlova, and this short work, entitled ''Butterflies'', was performed as part of a divertissement at the Mariinsky Theatre in December 1909. It was his first composition to be played by an orchestra.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Also in 1909, Nijinsky introduced Asafyev to Serge Diaghilev, who had come over to [[Saint Petersburg]] from [[Paris]] with the intention of copying the manuscript score of [[Musorgsky]]'s ''Khovanshchina'' (after the great success of ''Boris Godunov'' in [[Paris]] the previous year). He was also looking for a Russian fairy-tale ballet that would appeal to Parisian audiences and he asked Asafyev to recommend a young composer. Asafyev suggested Igor Stravinsky, and soon afterwards the latter was commissioned by Diaghilev to compose ''The Firebird''. Later that year, the <ins style="font-weight: bold; text-decoration: none;">balletmaster </ins>Nikolay Legat asked Asafyev to write a classical dance for Nijinsky and Anna Pavlova, and this short work, entitled ''Butterflies'', was performed as part of a divertissement at the Mariinsky Theatre in December 1909. It was his first composition to be played by an orchestra.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Nijinsky and Legat were able to pull some strings on Asafyev's behalf, and in the autumn of 1910 he was appointed a répétiteur pianist with the Mariinsky Ballet. Asafyev worked under the Italian conductor Riccardo Drigo (1846–1930), who had conducted the premieres of '' [[The Sleeping Beauty]]'' and ''[[The Nutcracker]]'' twenty years earlier. Drigo generously helped Asafyev in his work by playing through with him four-handed arrangements of the difficult ballet scores of Tchaikovsky and [[Glazunov]]. Asafyev also had the opportunity to observe [[Eduard Nápravník]] on the conductor's rostrum during opera performances. The long summer breaks at the Mariinsky meant that from 1911 to 1916 Asafyev could travel to Germany, Italy, and France for a few months each year in order to visit museums, libraries, and art galleries. During a stay in [[Kiev]] and the area near [[Kamenka]] in the summer of 1916, Asafyev met another 'veteran' of Russian music, the critic [[Nikolay Kashkin]], whose character he greatly admired. [[Kashkin]] lived to see Asafyev's first publications on Tchaikovsky and approved of them.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Nijinsky and Legat were able to pull some strings on Asafyev's behalf, and in the autumn of 1910 he was appointed a répétiteur pianist with the Mariinsky Ballet. Asafyev worked under the Italian conductor Riccardo Drigo (1846–1930), who had conducted the premieres of '' [[The Sleeping Beauty]]'' and ''[[The Nutcracker]]'' twenty years earlier. Drigo generously helped Asafyev in his work by playing through with him four-handed arrangements of the difficult ballet scores of Tchaikovsky and [[Glazunov]]. Asafyev also had the opportunity to observe [[Eduard Nápravník]] on the conductor's rostrum during opera performances. The long summer breaks at the Mariinsky meant that from 1911 to 1916 Asafyev could travel to Germany, Italy, and France for a few months each year in order to visit museums, libraries, and art galleries. During a stay in [[Kiev]] and the area near [[Kamenka]] in the summer of 1916, Asafyev met another 'veteran' of Russian music, the critic [[Nikolay Kashkin]], whose character he greatly admired. [[Kashkin]] lived to see Asafyev's first publications on Tchaikovsky and approved of them.</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=57432&oldid=prevTony: /* Notes and References */2022-11-07T11:36:49Z<p><span dir="auto"><span class="autocomment">Notes and References</span></span></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note5">See David Haas's introduction in {{bib|2008/1|Symphonic Etudes. Portraits of Russian Operas and Ballets}} (2008), xv.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note5">See David Haas's introduction in {{bib|2008/1|Symphonic Etudes. Portraits of Russian Operas and Ballets}} (2008), xv.</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note6">Letter from Dmitry Shostakovich to Boleslav Yavorsky, 16 December 1925. See Irina Bobykina (ed.), {{und|Дмитрий Шостакович в письмах и документах}} (2000), p. 49.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note6">Letter from Dmitry Shostakovich to Boleslav Yavorsky, 16 December 1925. See Irina Bobykina (ed.), {{und|Дмитрий Шостакович в письмах и документах}} (2000), p. 49.</ref></div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><ref name="note7">Quoted from Boris <del style="font-weight: bold; text-decoration: none;">Asafiev</del>, translated by David Haas in {{bib|2008/1|Symphonic Etudes. Portraits of Russian Operas and Ballets}} (2008), p. 224–225.</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ref name="note7">Quoted from Boris <ins style="font-weight: bold; text-decoration: none;">Asafyev</ins>, translated by David Haas in {{bib|2008/1|Symphonic Etudes. Portraits of Russian Operas and Ballets}} (2008), p. 224–225.</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note8">A second edition of the book did not appear until almost fifty years later: {{und|Симфонические этюды}} (1970). In the five-volume edition of Asafyev's ''Selected Works'' published by the Academy of Sciences a few years after his death: ''Избранные труды'' (1952–57), only an abridged version of the study on 'The Operas of Tchaikovsky' was included. Moreover, the prefaces to these five volumes stressed Asafyev's "ideological errors" in the 1920s.</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note8">A second edition of the book did not appear until almost fifty years later: {{und|Симфонические этюды}} (1970). In the five-volume edition of Asafyev's ''Selected Works'' published by the Academy of Sciences a few years after his death: ''Избранные труды'' (1952–57), only an abridged version of the study on 'The Operas of Tchaikovsky' was included. Moreover, the prefaces to these five volumes stressed Asafyev's "ideological errors" in the 1920s.</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note9">Letter from Dmitry Shostakovich to Sergey Protopopov, 13 May 1926. See Irina Bobykina (ed.), {{und|Дмитрий Шостакович в письмах и документах}} (2000), p. 135.</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note9">Letter from Dmitry Shostakovich to Sergey Protopopov, 13 May 1926. See Irina Bobykina (ed.), {{und|Дмитрий Шостакович в письмах и документах}} (2000), p. 135.</ref> </div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=57431&oldid=prevTony: /* The Tchaikovsky Archive */2022-11-06T20:16:07Z<p><span dir="auto"><span class="autocomment">The Tchaikovsky Archive</span></span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 21:16, 6 November 2022</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It was in August 1945 that Asafyev visited [[Klin]] for the first time and had the opportunity to work on Tchaikovsky's archives. While studying the sketches for ''[[The Nutcracker]]'' he came across an ''English Dance'' which Tchaikovsky had decided not to use in the Act II divertissement. Asafyev's attention was soon riveted, however, by the sketches for the abortive [[Symphony in E-flat major]]. According to Yelena Orlova, Asafyev, after studying these sketches over several days, suggested that Tchaikovsky's decision to abandon this symphony with its "striving towards brightness" and to embark instead on the sombre [[Sixth Symphony]] was due to his visit to [[Montbéliard]] in January 1893 {{NS}} and his meeting with [[Fanny Dürbach]], which had caused him to relive all the years that had passed since his childhood <ref name="note27"/>. For a while Asafyev considered reconstructing the [[Symphony in E-flat major]] from the extant sketches, but in the end he abandoned this idea.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It was in August 1945 that Asafyev visited [[Klin]] for the first time and had the opportunity to work on Tchaikovsky's archives. While studying the sketches for ''[[The Nutcracker]]'' he came across an ''English Dance'' which Tchaikovsky had decided not to use in the Act II divertissement. Asafyev's attention was soon riveted, however, by the sketches for the abortive [[Symphony in E-flat major]]. According to Yelena Orlova, Asafyev, after studying these sketches over several days, suggested that Tchaikovsky's decision to abandon this symphony with its "striving towards brightness" and to embark instead on the sombre [[Sixth Symphony]] was due to his visit to [[Montbéliard]] in January 1893 {{NS}} and his meeting with [[Fanny Dürbach]], which had caused him to relive all the years that had passed since his childhood <ref name="note27"/>. For a while Asafyev considered reconstructing the [[Symphony in E-flat major]] from the extant sketches, but in the end he abandoned this idea.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Inspired by his stay in [[Klin]] in the autumn of 1945, and by the surrounding landscape which he had liked very much, Asafyev spent the following year composing a ballet on themes by Tchaikovsky, entitled ''Spring Fairy Tale'' (Весенняя сказка). For this ballet he made use of the sketch "At sea" from the abandoned [[Symphony in E-flat major]]; a sketch entitled "O, how life is short (and how much suffering it contains!)" and the published songs ''Lullaby in a Storm'' (No. 10 of the '' [[Sixteen Songs for Children]]'', Op. 54) and ''Does the Day Reign?'' (No. 6 of the [[Seven Romances, Op. 47). ''Spring Fairy<del style="font-weight: bold; text-decoration: none;">-</del>Tale'', with choreography by Fyodor Lopukhov, was premiered at the Kirov Theatre on 8 January 1947.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Inspired by his stay in [[Klin]] in the autumn of 1945, and by the surrounding landscape which he had liked very much, Asafyev spent the following year composing a ballet on themes by Tchaikovsky, entitled ''Spring Fairy Tale'' (Весенняя сказка). For this ballet he made use of the sketch "At sea" from the abandoned [[Symphony in E-flat major]]; a sketch entitled "O, how life is short (and how much suffering it contains!)" and the published songs ''Lullaby in a Storm'' (No. 10 of the '' [[Sixteen Songs for Children]]'', Op. 54) and ''Does the Day Reign?'' (No. 6 of the [[Seven Romances, Op. 47). ''Spring Fairy Tale'', with choreography by Fyodor Lopukhov, was premiered at the Kirov Theatre on 8 January 1947.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Throughout these last years of his life, despite increasing ill-health, Asafyev actively supported the work of the Tchaikovsky House-Museum at [[Klin]] in the formal capacity of scientific consultant. He helped to organize conferences there and also initiated work on a Tchaikovsky encyclopaedia which was to take up two volumes: the first was to cover the composer's musical and literary legacy; the second was to deal with Tchaikovsky's ties to various institutions, organizations, and individuals, as well as providing information on Tchaikovsky's autographs, a bibliography, and a chronicle of when and where his main works had been performed <ref name="note28"/>. Although a draft version of the encyclopaedia was ready by 1949, Asafyev's death meant that this ambitious plan had to be shelved. However, the material collected on the history of Tchaikovsky's works was eventually used in the important reference-book ''Tchaikovsky's Musical Legacy'' (Музыкальное наследие Чайковского), published in 1958. Another of Asafyev's unrealised plans was to bring out a new edition of [[Modest Tchaikovsky]]'s ''Life'' of the composer, adding a fourth volume with details on the performance of his works after his death, as well as some new facts about Tchaikovsky's life based on letters which had come to light after [[Modest]]'s death.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Throughout these last years of his life, despite increasing ill-health, Asafyev actively supported the work of the Tchaikovsky House-Museum at [[Klin]] in the formal capacity of scientific consultant. He helped to organize conferences there and also initiated work on a Tchaikovsky encyclopaedia which was to take up two volumes: the first was to cover the composer's musical and literary legacy; the second was to deal with Tchaikovsky's ties to various institutions, organizations, and individuals, as well as providing information on Tchaikovsky's autographs, a bibliography, and a chronicle of when and where his main works had been performed <ref name="note28"/>. Although a draft version of the encyclopaedia was ready by 1949, Asafyev's death meant that this ambitious plan had to be shelved. However, the material collected on the history of Tchaikovsky's works was eventually used in the important reference-book ''Tchaikovsky's Musical Legacy'' (Музыкальное наследие Чайковского), published in 1958. Another of Asafyev's unrealised plans was to bring out a new edition of [[Modest Tchaikovsky]]'s ''Life'' of the composer, adding a fourth volume with details on the performance of his works after his death, as well as some new facts about Tchaikovsky's life based on letters which had come to light after [[Modest]]'s death.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1947, Asafyev was awarded a Stalin Prize for his recently published book on [[Glinka]]. The following year again saw him in a controversial role vis-à-vis Shostakovich when the Central Committee issued its notorious decree of 10 February 1948 regarding "formalism" and "decadent western influences" in music. This was the start of a virulent campaign against Shostakovich, Prokofiev, Khachaturian, and Shebalin, which culminated in the first congress of the Composers' Union in [[Moscow]] in April 1948. Asafyev, pleading illness, did not attend the congress, but since he had recently been elected president of the Composers' Union, a speech was read out in his name (though he had not actually written it himself) which re-iterated the official condemnation of those composers <ref name="note29"/>.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1947, Asafyev was awarded a Stalin Prize for his recently published book on [[Glinka]]. The following year again saw him in a controversial role vis-à-vis Shostakovich when the Central Committee issued its notorious decree of 10 February 1948 regarding "formalism" and "decadent western influences" in music. This was the start of a virulent campaign against Shostakovich, Prokofiev, Khachaturian, and Shebalin, which culminated in the first congress of the Composers' Union in [[Moscow]] in April 1948. Asafyev, pleading illness, did not attend the congress, but since he had recently been elected president of the Composers' Union, a speech was read out in his name (though he had not actually written it himself) which re-iterated the official condemnation of those composers <ref name="note29"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>For a conference due to be held at the [[Klin]] Museum later in April to commemorate the 125th anniversary of [[Aleksandr Ostrovsky]]'s birth Asafyev had agreed to give a lecture on Tchaikovsky's early years and the composition of ''[[The Snow Maiden]]''. His poor health, however, prevented him from travelling to [[Klin]], and the lecture was delivered on his behalf by Yelena Orlova <ref name="note30"/>. After Asafyev's death she would also play a major role in rehabilitating his critical legacy, since for a long time much of what he had written during the 1920s was treated as ideologically suspect by the Soviet authorities.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>For a conference due to be held at the [[Klin]] Museum later in April to commemorate the 125th anniversary of [[Aleksandr Ostrovsky]]'s birth<ins style="font-weight: bold; text-decoration: none;">, </ins>Asafyev had agreed to give a lecture on Tchaikovsky's early years and the composition of ''[[The Snow Maiden]]''. His poor health, however, prevented him from travelling to [[Klin]], and the lecture was delivered on his behalf by Yelena Orlova <ref name="note30"/>. After Asafyev's death she would also play a major role in rehabilitating his critical legacy, since for a long time much of what he had written during the 1920s was treated as ideologically suspect by the Soviet authorities.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Bibliography==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Bibliography==</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=57430&oldid=prevTony: /* The Tchaikovsky Archive */2022-11-06T20:05:18Z<p><span dir="auto"><span class="autocomment">The Tchaikovsky Archive</span></span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 21:05, 6 November 2022</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1940, Margarita Rittikh, head of the manuscript section at the Tchaikovsky House-Museum in [[Klin]], enlisted Asafyev's collaboration for various projects linked to the 100th anniversary of the composer's birth. Asafyev replied that he was too busy that year because he was in fact already working on a new study on Tchaikovsky's music. However, he accepted Rittikh's invitation to come to [[Klin]] in July 1941, adding that he had "long since dreamed of breathing the air of Tchaikovsky's house" and that he wanted to do some work on the autograph of '' [[The Nutcracker]]'' <ref name="note22"/>. Nothing came of these plans, however, because of the German invasion on 22 June 1941.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1940, Margarita Rittikh, head of the manuscript section at the Tchaikovsky House-Museum in [[Klin]], enlisted Asafyev's collaboration for various projects linked to the 100th anniversary of the composer's birth. Asafyev replied that he was too busy that year because he was in fact already working on a new study on Tchaikovsky's music. However, he accepted Rittikh's invitation to come to [[Klin]] in July 1941, adding that he had "long since dreamed of breathing the air of Tchaikovsky's house" and that he wanted to do some work on the autograph of '' [[The Nutcracker]]'' <ref name="note22"/>. Nothing came of these plans, however, because of the German invasion on 22 June 1941.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Significantly, during World War II publishing strictures lessened in the Soviet Union, and one consequence of this was that Asafyev embarked on a series of major studies, all issued under his pseudonym Igor Glebov, in which he regained much of the élan of his publications of the 1920s. Asafyev remained in [[Leningrad]] during the siege of the city by the German forces. The first winter of 1941/42 was particularly harsh, and Asafyev had to burn part of his archive to keep himself and his family warm (he and Irina had no children, but Irina's sister was living with them). Still, he managed to work on his monograph ''[[Yevgeny Onegin]]: Lyrical Scenes by P. I. Tchaikovsky: An Attempt at Intonational Analysis of the Style and Musical Dramaturgy'' («Евгений Онегин» лирические сцены П. И. Чайковского. Опыт интонационного анализа стиля и музыкальной драматургии), completing it in March 1942. This study would soon become a classic after it was published in 1944. Asafyev also began writing some interesting memoirs, in which he described his encounters with [[Stasov]], [[Rimsky-Korsakov]], [[Kashkin]], [[Lyadov]], and other notable figures in the world of Russian music <ref name="note23"/>. In the summer of 1942 he was offered the chance to be evacuated from [[Leningrad]] with his family, but he refused. That summer he also completed his monograph on [[Edvard Grieg]], which he had undertaken partly as a gesture of solidarity with German-occupied Norway, and which was published in 1948. It was also in the winter of 1941/42 that he commenced his famous tripartite study of [[Glinka]] and his times.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Significantly, during World War II<ins style="font-weight: bold; text-decoration: none;">, </ins>publishing strictures lessened in the Soviet Union, and one consequence of this was that Asafyev embarked on a series of major studies, all issued under his pseudonym Igor Glebov, in which he regained much of the élan of his publications of the 1920s. Asafyev remained in [[Leningrad]] during the siege of the city by the German forces. The first winter of 1941/42 was particularly harsh, and Asafyev had to burn part of his archive to keep himself and his family warm (he and Irina had no children, but Irina's sister was living with them). Still, he managed to work on his monograph ''[[Yevgeny Onegin]]: Lyrical Scenes by P. I. Tchaikovsky: An Attempt at Intonational Analysis of the Style and Musical Dramaturgy'' («Евгений Онегин» лирические сцены П. И. Чайковского. Опыт интонационного анализа стиля и музыкальной драматургии), completing it in March 1942. This study would soon become a classic after it was published in 1944. Asafyev also began writing some interesting memoirs, in which he described his encounters with [[Stasov]], [[Rimsky-Korsakov]], [[Kashkin]], [[Lyadov]], and other notable figures in the world of Russian music <ref name="note23"/>. In the summer of 1942<ins style="font-weight: bold; text-decoration: none;">, </ins>he was offered the chance to be evacuated from [[Leningrad]] with his family, but he refused. That summer he also completed his monograph on [[Edvard Grieg]], which he had undertaken partly as a gesture of solidarity with German-occupied Norway, and which was published in 1948. It was also in the winter of 1941/42 that he commenced his famous tripartite study of [[Glinka]] and his times.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In February 1943, Asafyev, on whose weak health the hardships of life in besieged [[Leningrad]] had taken their toll, was evacuated with his family across the frozen Ladoga Lake and taken to [[Moscow]]. Before leaving [[Leningrad]] he had to burn much of what remained of his archive (books, scores, letters) because they could only take the most essential things with them. Shortly after his arrival in [[Moscow]], Asafyev was elected a member of the USSR Academy of Sciences — the first time that this honour was awarded to a musician. In April 1943, Margarita Rittikh came to [[Moscow]] to see Asafyev and to offer him the post of director of the Tchaikovsky House-Museum (which had recently been moved back to [[Klin]] after the evacuation of its collections to [[Votkinsk]]), but he declined on the grounds that the administrative duties of this role would not leave him enough time for other work, in particular the various articles and studies on Tchaikovsky that he planned to write that year, the 50th anniversary of the composer's death. Of the ten or so publications related to Tchaikovsky that Asafyev completed in 1943, the most important was the monograph ''[[The Enchantress]], opera by P. I. Tchaikovsky. An Attempt to Uncover its Intonational Content'' [«Чародейка», опера П. И. Чайковского. Опыт раскрытия интонационного содержания), which was published in 1947. Asafyev's original intention of writing intonational analyses of ''[[Iolanta]]'' and ''[[The Nutcracker]]'' as well was not realised, but his thoughts on these two works fed into a cycle of essays which he wrote during 1943–44: ''The Music of My Motherland'' (Музыка моей родины) <ref name="note24"/>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In February 1943, Asafyev, on whose weak health the hardships of life in besieged [[Leningrad]] had taken their toll, was evacuated with his family across the frozen Ladoga Lake and taken to [[Moscow]]. Before leaving [[Leningrad]]<ins style="font-weight: bold; text-decoration: none;">, </ins>he had to burn much of what remained of his archive (books, scores, letters) because they could only take the most essential things with them. Shortly after his arrival in [[Moscow]], Asafyev was elected a member of the USSR Academy of Sciences — the first time that this honour was awarded to a musician. In April 1943, Margarita Rittikh came to [[Moscow]] to see Asafyev and to offer him the post of director of the Tchaikovsky House-Museum (which had recently been moved back to [[Klin]] after the evacuation of its collections to [[Votkinsk]]), but he declined on the grounds that the administrative duties of this role would not leave him enough time for other work, in particular the various articles and studies on Tchaikovsky that he planned to write that year, the 50th anniversary of the composer's death. Of the ten or so publications related to Tchaikovsky that Asafyev completed in 1943, the most important was the monograph ''[[The Enchantress]], opera by P. I. Tchaikovsky. An Attempt to Uncover its Intonational Content'' [«Чародейка», опера П. И. Чайковского. Опыт раскрытия интонационного содержания), which was published in 1947. Asafyev's original intention of writing intonational analyses of ''[[Iolanta]]'' and ''[[The Nutcracker]]'' as well was not realised, but his thoughts on these two works fed into a cycle of essays which he wrote during 1943–44: ''The Music of My Motherland'' (Музыка моей родины) <ref name="note24"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The musicologist Yelena Orlova later recalled how after a conference in [[Moscow]] in November 1943 on Tchaikovsky's music for the stage Asafyev had spoken to her about his plans connected with Tchaikovsky: "He dreamed of writing a study on the composer's life. He said that he was in possession of some interesting new facts, that he had all kinds of conjectures which had been almost fully confirmed. There were new documents. Letters. In particular, he had found out from [[Kashkin]] that Tchaikovsky was acquainted with [[Antonina Tchaikovskaya|Antonina Ivanovna]] while he was still at the School of Jurisprudence, that she was the sweetheart of his youth, that they knew each other well, and that the version [of their marriage] now circulating had been invented by [[Nikolay Rubinstein|N. G. Rubinstein]]" <ref name="note25"/>. Clearly, Asafyev did not (and could not) have a complete picture of Tchaikovsky's life, but Valery Sokolov, in his 1994 biography of [[Antonina Tchaikovskaya]], established that Tchaikovsky had indeed briefly met his future wife some years before their ill-fated marriage — in May 1872 at the house of [[Anna Khvostova]]'s sister <ref name="note26"/>. For some reason Asafyev did not realise his intention of writing a new book on Tchaikovsky's life or revising his 1922 book.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The musicologist Yelena Orlova later recalled how<ins style="font-weight: bold; text-decoration: none;">, </ins>after a conference in [[Moscow]] in November 1943 on Tchaikovsky's music for the stage<ins style="font-weight: bold; text-decoration: none;">, </ins>Asafyev had spoken to her about his plans connected with Tchaikovsky: "He dreamed of writing a study on the composer's life. He said that he was in possession of some interesting new facts, that he had all kinds of conjectures which had been almost fully confirmed. There were new documents. Letters. In particular, he had found out from [[Kashkin]] that Tchaikovsky was acquainted with [[Antonina Tchaikovskaya|Antonina Ivanovna]] while he was still at the School of Jurisprudence, that she was the sweetheart of his youth, that they knew each other well, and that the version [of their marriage] now circulating had been invented by [[Nikolay Rubinstein|N. G. Rubinstein]]" <ref name="note25"/>. Clearly, Asafyev did not (and could not) have a complete picture of Tchaikovsky's life, but Valery Sokolov, in his 1994 biography of [[Antonina Tchaikovskaya]], established that Tchaikovsky had indeed briefly met his future wife some years before their ill-fated marriage — in May 1872 at the house of [[Anna Khvostova]]'s sister <ref name="note26"/>. For some reason Asafyev did not realise his intention of writing a new book on Tchaikovsky's life or revising his 1922 book.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In January 1944, a musicology section was set up at the [[Moscow]] Conservatory on Asafyev's initiative, and his friend [[Vasily Yakovlev]] would subsequently work there. That year, Asafyev also helped to found the USSR Academy of Sciences' Institute for the History of the Arts. In the autumn of 1944, Margarita Rittikh again contacted Asafyev to ask him to reconstruct and complete two sketches for songs by Tchaikovsky which had been discovered by chance when the [[Klin]] museum's collections were evacuated to Votkinsk. Tchaikovsky had made these sketches (TH 225) in his copy of a book of poetry by the [[Grand Duke Konstantin Konstantinovich]]. Asafyev duly completed the [[Six Romances, Op. 63|two songs]] — the first of several instances in which he developed Tchaikovsky's sketches. Asafyev also oversaw the initial stages of preparation for the Academy of Sciences' editions of the 'complete' works of Tchaikovsky and [[Rimsky-Korsakov]].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In January 1944, a musicology section was set up at the [[Moscow]] Conservatory on Asafyev's initiative, and his friend [[Vasily Yakovlev]] would subsequently work there. That year, Asafyev also helped to found the USSR Academy of Sciences' Institute for the History of the Arts. In the autumn of 1944, Margarita Rittikh again contacted Asafyev to ask him to reconstruct and complete two sketches for songs by Tchaikovsky which had been discovered by chance when the [[Klin]] museum's collections were evacuated to Votkinsk. Tchaikovsky had made these sketches (TH 225) in his copy of a book of poetry by the [[Grand Duke Konstantin Konstantinovich]]. Asafyev duly completed the [[Six Romances, Op. 63|two songs]] — the first of several instances in which he developed Tchaikovsky's sketches. Asafyev also oversaw the initial stages of preparation for the Academy of Sciences' editions of the 'complete' works of Tchaikovsky and [[Rimsky-Korsakov]].</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=57429&oldid=prevTony: /* The "Reactionary" */2022-11-06T19:54:29Z<p><span dir="auto"><span class="autocomment">The "Reactionary"</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 20:54, 6 November 2022</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When the notorious ''Pravda'' editorial "Muddle Instead of Music" (often attributed to Stalin), attacking Shostakovich's ''Lady Macbeth'', appeared in January 1936, the [[Leningrad]] Composers' Union swiftly convoked meetings to discuss the issue. Asafyev's conduct at this point would cost him irrevocably the respect of Shostakovich, who crossed out his original dedication to Asafyev in ''Lady Macbeth''. However, if one looks at the article which Asafyev published in the journal ''Soviet Music'' in response to the ''Pravda'' editorial, it does seem that he was trying to find extenuating circumstances in Shostakovich's defence <ref name="note20"/>. He even repeated his earlier comparison between Shostakovich and [[Mozart]], arguing that the former showed an equally "naïve" approach to reality. Echoing the ''Pravda'' editorial, Asafyev did observe that Shostakovich's musical idiom contained vestiges of musical "modernism" and "decadence", but he stressed that this was a general problem faced by many other Soviet composers, too. Other sections of the article make for more painful reading, especially those in which Asafyev acknowledged that he had been "mistaken" in his earlier enthusiasm for "Western European bourgeois musical culture", and that Alban Berg's ''Woyzeck'' reflected the latter's crisis.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When the notorious ''Pravda'' editorial "Muddle Instead of Music" (often attributed to Stalin), attacking Shostakovich's ''Lady Macbeth'', appeared in January 1936, the [[Leningrad]] Composers' Union swiftly convoked meetings to discuss the issue. Asafyev's conduct at this point would cost him irrevocably the respect of Shostakovich, who crossed out his original dedication to Asafyev in ''Lady Macbeth''. However, if one looks at the article which Asafyev published in the journal ''Soviet Music'' in response to the ''Pravda'' editorial, it does seem that he was trying to find extenuating circumstances in Shostakovich's defence <ref name="note20"/>. He even repeated his earlier comparison between Shostakovich and [[Mozart]], arguing that the former showed an equally "naïve" approach to reality. Echoing the ''Pravda'' editorial, Asafyev did observe that Shostakovich's musical idiom contained vestiges of musical "modernism" and "decadence", but he stressed that this was a general problem faced by many other Soviet composers, too. Other sections of the article make for more painful reading, especially those in which Asafyev acknowledged that he had been "mistaken" in his earlier enthusiasm for "Western European bourgeois musical culture", and that Alban Berg's ''Woyzeck'' reflected the latter's crisis.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Shostakovich would never forgive what he perceived to be Asafyev's treachery, though it should be noted that even his close friend, the critic Ivan Sollertinsky, was forced to recognize that ''Lady Macbeth'' had some flaws <ref name="note21"/>. During the latter half of the 1930s the Stalinist purges reached their highest intensity, and many artists and intellectuals had reason to fear for themselves and their families. By agreeing with the official line on ''Lady Macbeth'' as a work redolent of "cynical sensuality", Asafyev was certainly not seeking to harm Shostakovich, but it is understandable why the latter was so alarmed and why he felt that Asafyev was currying favour with the Party's cultural ideologues. Still, Asafyev himself was also a target for attack in these years, and intrigues at the Kirov Theatre (as GABOT, the former Mariinsky, was renamed in 1935) led to his dismissal from the post of musical consultant in 1937.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Shostakovich would never forgive what he perceived to be Asafyev's treachery, though it should be noted that even his close friend, the critic Ivan Sollertinsky, was forced to recognize that ''Lady Macbeth'' had some flaws <ref name="note21"/>. During the latter half of the 1930s<ins style="font-weight: bold; text-decoration: none;">, </ins>the Stalinist purges reached their highest intensity, and many artists and intellectuals had reason to fear for themselves and their families. By agreeing with the official line on ''Lady Macbeth'' as a work redolent of "cynical sensuality", Asafyev was certainly not seeking to harm Shostakovich, but it is understandable why the latter was so alarmed and why he felt that Asafyev was currying favour with the Party's cultural ideologues. Still, Asafyev himself was also a target for attack in these years, and intrigues at the Kirov Theatre (as GABOT, the former Mariinsky, was renamed in 1935) led to his dismissal from the post of musical consultant in 1937.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The Tchaikovsky Archive==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The Tchaikovsky Archive==</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=57428&oldid=prevTony: /* The "Reactionary" */2022-11-06T12:44:45Z<p><span dir="auto"><span class="autocomment">The "Reactionary"</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:44, 6 November 2022</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The "Reactionary"==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The "Reactionary"==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Towards the end of the 1920s Asafyev came under attack from RAPM for the content and style of his books which were said to be pervaded by "counterrevolutionary, anti-Marxist idealism", "reactionary formalism" and "religious mysticism". (This was not surprising, since the RAPM ideologues had, for example, declared Tchaikovsky's music to be decadent and alien to the Soviet people <ref name="note14"/>. Asafyev's lectures at the Conservatory and elsewhere were disrupted by hecklers, and defamations of his work and character appeared in the press. He appealed to Anatoly Lunacharsky, the head of Narkomproz, for support, but by 1930, under relentless pressure from RAPM he had no choice but to resign from his teaching posts at the Conservatory and the History of Arts Institute <ref name="note15"/>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Towards the end of the 1920s<ins style="font-weight: bold; text-decoration: none;">, </ins>Asafyev came under attack from RAPM for the content and style of his books<ins style="font-weight: bold; text-decoration: none;">, </ins>which were said to be pervaded by "counterrevolutionary, anti-Marxist idealism", "reactionary formalism" and "religious mysticism". (This was not surprising, since the RAPM ideologues had, for example, declared Tchaikovsky's music to be decadent and alien to the Soviet people <ref name="note14"/>.<ins style="font-weight: bold; text-decoration: none;">) </ins>Asafyev's lectures at the Conservatory and elsewhere were disrupted by hecklers, and defamations of his work and character appeared in the press. He appealed to Anatoly Lunacharsky, the head of Narkomproz, for support, but by 1930, under relentless pressure from RAPM he had no choice but to resign from his teaching posts at the Conservatory and the History of Arts Institute <ref name="note15"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Asafyev decided to interrupt his musicological work for a while and began composing more intensely again. The situation improved in April 1932, when a Central Committee resolution disbanded RAPM and other Proletarian Associations in the arts, replacing them with unions of composers, writers, and artists. Asafyev successfully applied to be admitted into the [[Leningrad]] Composers' Union as a composer rather than as a musicologist (which was also permitted), but he was frowned upon by some of his fellow members, as he later recalled: "The composers declared that I should not be voting together with the composers, but with the musicologists. The latter for their part pointed out that I was not a scholar" <ref name="note16"/>. Indeed, in the 1930s music students who cited his books in exams would often have their marks lowered by their professors, who considered that Asafyev's writing lacked "discipline" and "methodology".</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Asafyev decided to interrupt his musicological work for a while and began composing more intensely again. The situation improved in April 1932, when a Central Committee resolution disbanded RAPM and other Proletarian Associations in the arts, replacing them with unions of composers, writers, and artists. Asafyev successfully applied to be admitted into the [[Leningrad]] Composers' Union as a composer rather than as a musicologist (which was also permitted), but he was frowned upon by some of his fellow members, as he later recalled: "The composers declared that I should not be voting together with the composers, but with the musicologists. The latter for their part pointed out that I was not a scholar" <ref name="note16"/>. Indeed, in the 1930s<ins style="font-weight: bold; text-decoration: none;">, </ins>music students who cited his books in exams would often have their marks lowered by their professors, who considered that Asafyev's writing lacked "discipline" and "methodology".</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The few articles that Asafyev published in this decade show that to some extent he did adopt the jargon of Marxist-Leninism, and, after 1934, of Socialist realism. For instance, he began to emphasize how Tchaikovsky's music was 'realistic' and 'popular' (''narodnyi''). As David Haas has observed: "The few occasional pieces on 19th-century Russian opera composers penned by Asafyev in the 1930s were devoid of scholarly depth or critical insight but rife with ideologically acceptable platitudes, each of them pointedly reversing a position from the ''Etudes''" <ref name="note17"/>. Nevertheless, if the 1930s marked a low point in Asafyev's work as a publicist, it was in these years that he had the greatest impact on the Soviet stage as a ballet composer.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The few articles that Asafyev published in this decade show that to some extent he did adopt the jargon of Marxist-Leninism, and, after 1934, of Socialist realism. For instance, he began to emphasize how Tchaikovsky's music was 'realistic' and 'popular' (''narodnyi''). As David Haas has observed: "The few occasional pieces on 19th-century Russian opera composers penned by Asafyev in the 1930s were devoid of scholarly depth or critical insight but rife with ideologically acceptable platitudes, each of them pointedly reversing a position from the ''Etudes''" <ref name="note17"/>. Nevertheless, if the 1930s marked a low point in Asafyev's work as a publicist, it was in these years that he had the greatest impact on the Soviet stage as a ballet composer.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Following on from his work on the original version of ''Boris Godunov'', Asafyev undertook the instrumentation of [[Musorgsky]]'s ''Khovanshchina'' in 1930–31. It was also around this time that, according to some accounts, he suggested Leskov's grim story ''Lady Macbeth of Mtsensk'' to Shostakovich as the subject for an opera. Shostakovich completed'' Lady Macbeth'' in December 1932, and the work was in fact originally dedicated to Asafyev. After its premiere in January 1934 Asafyev wrote two very positive articles on Shostakovich, in which he compared him to [[Mozart]] in terms of the richness of his talent.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Following on from his work on the original version of ''Boris Godunov'', Asafyev undertook the instrumentation of [[Musorgsky]]'s ''Khovanshchina'' in 1930–31. It was also around this time that, according to some accounts, he suggested Leskov's grim story ''Lady Macbeth of Mtsensk'' to Shostakovich as the subject for an opera. Shostakovich completed'' Lady Macbeth'' in December 1932, and the work was in fact originally dedicated to Asafyev. After its premiere in January 1934 Asafyev wrote two very positive articles on Shostakovich, in which he compared him to [[Mozart]] in terms of the richness of his talent.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Asafyev devoted his own creative efforts mainly to ballet, the musical genre in which he had the most experience, and his contribution to Soviet ballet between the 1920s and 40s was significant. For a start, in his capacity as musical consultant at GATOB (from 1935 the Kirov Theatre) he helped to preserve the legacy of Tchaikovsky's ballets, vetoing misguided attempts to improve [[Lev Ivanov]]'s choreography for the 'white acts' in '' [[Swan Lake]]''. He also persuaded the choreographer Vasily Vainonen to end his new production of '' [[The Nutcracker]]'' not with the fairy-tale apotheosis, but with the awakening of Masha (as Clara is called in Russian productions of the ballet) from her dream, thus emphasizing the theme of the continuity of life <ref name="note18"/>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Asafyev devoted his own creative efforts mainly to ballet, the musical genre in which he had the most experience, and his contribution to Soviet ballet between the 1920s and 40s was significant. For a start, in his capacity as musical consultant at GATOB (from 1935 the Kirov Theatre)<ins style="font-weight: bold; text-decoration: none;">, </ins>he helped to preserve the legacy of Tchaikovsky's ballets, vetoing misguided attempts to improve [[Lev Ivanov]]'s choreography for the 'white acts' in '' [[Swan Lake]]''. He also persuaded the choreographer Vasily Vainonen to end his new production of '' [[The Nutcracker]]'' not with the fairy-tale apotheosis, but with the awakening of Masha (as Clara is called in Russian productions of the ballet) from her dream, thus emphasizing the theme of the continuity of life <ref name="note18"/>.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=Fountain 1947.jpg|caption=Galina Ulanova (Maria) and Pyotr Gusev (Girei) in a 1947 production of Asafyev's ballet ''The Fountain of Bakhchisarai'' at the Kirov Theatre}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=Fountain 1947.jpg|caption=Galina Ulanova (Maria) and Pyotr Gusev (Girei) in a 1947 production of Asafyev's ballet ''The Fountain of Bakhchisarai'' at the Kirov Theatre}}</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Boris_Asafyev&diff=57427&oldid=prevTony at 12:34, 6 November 20222022-11-06T12:34:59Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=Dmitry Shostakovich 1933.jpg|caption='''Dmitry Shostakovich''' (1906–1975) in 1933}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{picture|file=Dmitry Shostakovich 1933.jpg|caption='''Dmitry Shostakovich''' (1906–1975) in 1933}}</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>From 1925 Asafyev was also on the board of directors of the [[Leningrad]] Association of Contemporary Music and lobbied for the programming of works by Berg, Hindemith, and Stravinsky at concerts in the city. Shostakovich, however, felt deeply offended when Asafyev failed to attend the premiere of his Symphony No. 1 the following year, and in a letter to a friend he insinuated that it was because Asafyev, whom he described as a "little intriguer", resented the fact that the symphony was due to be performed under the auspices of a rival organization <ref name="note9"/>. It should be stressed, though, that Shostakovich's sarcastic remarks about Asafyev in private letters and conversations down the years were not quite fair. Later in 1926, for example, Asafyev helped Shostakovich to obtain a teaching post, and in 1929 he would defend his opera ''The Nose ''when it came under attack from the Russian Association of Proletarian Musicians (RAPM) <ref name="note10"/>. More generally, unlike other lesser Soviet composers, Asafyev was not envious of the younger man's genius and growing world fame (after the First Symphony was performed in [[Berlin]] in 1927), and he never tried to put a spoke in his wheel <ref name="note11"/>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>From 1925<ins style="font-weight: bold; text-decoration: none;">, </ins>Asafyev was also on the board of directors of the [[Leningrad]] Association of Contemporary Music and lobbied for the programming of works by Berg, Hindemith, and Stravinsky at concerts in the city. Shostakovich, however, felt deeply offended when Asafyev failed to attend the premiere of his Symphony No. 1 the following year, and in a letter to a friend he insinuated that it was because Asafyev, whom he described as a "little intriguer", resented the fact that the symphony was due to be performed under the auspices of a rival organization <ref name="note9"/>. It should be stressed, though, that Shostakovich's sarcastic remarks about Asafyev in private letters and conversations down the years were not quite fair. Later in 1926, for example, Asafyev helped Shostakovich to obtain a teaching post, and in 1929 he would defend his opera ''The Nose ''when it came under attack from the Russian Association of Proletarian Musicians (RAPM) <ref name="note10"/>. More generally, unlike other lesser Soviet composers, Asafyev was not envious of the younger man's genius and growing world fame (after the First Symphony was performed in [[Berlin]] in 1927), and he never tried to put a spoke in his wheel <ref name="note11"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1927, Asafyev initiated a project for the staging and publication of ''Boris Godunov'' in [[Musorgsky]]'s original version of 1867. (The opera had so far been performed only in the composer's own revised version of 1872 and in [[Rimsky-Korsakov]]'s edited version). Despite protests from [[Glazunov]], who believed that [[Rimsky-Korsakov]]'s editing had improved the opera, Asafyev persevered in his cause <ref name="note12"/>. He was assisted by his friend, the musicologist Pavel Lamm, who had copied all the autographs of ''Boris'' and ''Khovanshchina''. The original version of ''Boris Godunov'' was published in 1928 by Muzsektor (a branch of the State Publishing House ''Gosizdat'') and by Oxford University Press, and its world premiere took place at GATOB, [[Leningrad]], on 16 February 1928.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1927, Asafyev initiated a project for the staging and publication of ''Boris Godunov'' in [[Musorgsky]]'s original version of 1867. (The opera had so far been performed only in the composer's own revised version of 1872 and in [[Rimsky-Korsakov]]'s edited version). Despite protests from [[Glazunov]], who believed that [[Rimsky-Korsakov]]'s editing had improved the opera, Asafyev persevered in his cause <ref name="note12"/>. He was assisted by his friend, the musicologist Pavel Lamm, who had copied all the autographs of ''Boris'' and ''Khovanshchina''. The original version of ''Boris Godunov'' was published in 1928 by Muzsektor (a branch of the State Publishing House ''Gosizdat'') and by Oxford University Press, and its world premiere took place at GATOB, [[Leningrad]], on 16 February 1928.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Another important production in which Asafyev was involved was that of Alban Berg's ''Woyzeck'' in [[Leningrad]] in June 1927, just eighteen months after its world premiere in [[Berlin]]. Berg himself came to [[Leningrad]] for this performance and thanked Asafyev warmly for his support, because the latter had defended ''Woyzeck'' against attacks by RAPM hack critics who argued that the opera was alien to the mentality of the proletariat! Asafyev understood that after the horrors of World War I it was no longer so easy to write melodious music, and in a letter to Berg in 1929 he said that he considered ''Woyzeck'' to be the most important contemporary opera by virtue of its protest against cruelty and violence <ref name="note13"/>. Asafyev was also responsible for inviting such distinguished foreign conductors as Otto Klemperer and Ernest Ansermet to the Soviet Union.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Another important production in which Asafyev was involved was that of Alban Berg's ''Woyzeck'' in [[Leningrad]] in June 1927, just eighteen months after its world premiere in [[Berlin]]. Berg himself came to [[Leningrad]] for this performance and thanked Asafyev warmly for his support, because the latter had defended ''Woyzeck'' against attacks by RAPM hack critics who argued that the opera was alien to the mentality of the proletariat! Asafyev understood that<ins style="font-weight: bold; text-decoration: none;">, </ins>after the horrors of World War I<ins style="font-weight: bold; text-decoration: none;">, </ins>it was no longer so easy to write melodious music, and in a letter to Berg in 1929 he said that he considered ''Woyzeck'' to be the most important contemporary opera by virtue of its protest against cruelty and violence <ref name="note13"/>. Asafyev was also responsible for inviting such distinguished foreign conductors as Otto Klemperer and Ernest Ansermet to the Soviet Union.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Asafyev himself was invited by the directors of the Salzburg Festival to organize and lead a visit by the [[Leningrad]] Conservatory's opera studio to Salzburg in the summer of 1928. This was the first visit abroad by a Soviet music theatre ensemble, and the Conservatory students gave performances of [[Mozart]]'s '' Bastien und Bastienne'', [[Dargomyzhsky]]'s ''Stone Guest'', and [[Rimsky-Korsakov]]'s ''Kashchei the Immortal''. The visit was a great success, even though some hostile critics spoke ironically of [[Musorgsky]], [[Dargomyzhsky]], [[Rimsky-Korsakov]], and Asafyev (whose books were becoming known abroad) as the "[[Leningrad]] Bolsheviks"! In Salzburg Asafyev briefly met the writer Stefan Zweig, and, moving on to [[Vienna]], he met the eminent Austrian musicologist Guido Adler. After that he travelled to [[Paris]] to visit Prokofiev and Chaliapin.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Asafyev himself was invited by the directors of the Salzburg Festival to organize and lead a visit by the [[Leningrad]] Conservatory's opera studio to Salzburg in the summer of 1928. This was the first visit abroad by a Soviet music theatre ensemble, and the Conservatory students gave performances of [[Mozart]]'s '' Bastien und Bastienne'', [[Dargomyzhsky]]'s ''Stone Guest'', and [[Rimsky-Korsakov]]'s ''Kashchei the Immortal''. The visit was a great success, even though some hostile critics spoke ironically of [[Musorgsky]], [[Dargomyzhsky]], [[Rimsky-Korsakov]], and Asafyev (whose books were becoming known abroad) as the "[[Leningrad]] Bolsheviks"! In Salzburg<ins style="font-weight: bold; text-decoration: none;">, </ins>Asafyev briefly met the writer Stefan Zweig, and, moving on to [[Vienna]], he met the eminent Austrian musicologist Guido Adler. After that he travelled to [[Paris]] to visit Prokofiev and Chaliapin.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The "Reactionary"==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The "Reactionary"==</div></td></tr>
</table>Tony