Nicolas Slonimsky: Writings on Music: Music of the Modern by Nicolas Slonimsky

By Nicolas Slonimsky

Nicolas Slonimsky (1894-1995) used to be an influential and celebrated author on tune. Born in St. Petersburg, Russia in 1894, in his a hundred and one years he taught and coached song; performed the premieres of a number of twentieth century masterpieces; composed works for piano and voice; and oversaw the 5th-8th variations of the vintage Baker's Biographical Dictionary of Musicians . starting in 1926, Slonimsky resided within the usa. From his arrival, he wrote provocative articles on modern tune and musicians, a lot of whom have been his own pals. operating as a contract writer, he outfitted a wide dossier of stories, articles, or even manuscripts for books that have been by no means released. this can be the 3rd quantity of a four quantity assortment at the better of this material.

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Extra resources for Nicolas Slonimsky: Writings on Music: Music of the Modern Era

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But his music showed his age. The little piece which he wrote for me as a souvenir of our meeting was decidedly dated. In my desire to get as much information as possible about Latin American composers, whether good or bad, considering only their professional status as musicians who set down notes on paper and have these notes played by local musical organizations, and who have further 32 Nicolas Slonimsky published their products, I have met with many violent objections on the part of my Latin American friends and enemies.

Appreciation (au moins çelle-là) admise par tout le monde. Aurait peut-être fait quelque chose s’il avait appris a lire et a écrire (la musique). VICENTE STEA: musicien italien, établi ici depuis très longtemps; j’ignore s’il est naturalisé. Connait son metier; on sent de suite qu’il a appris la musique. Gout douteux. RODOLFO HOLZMANN: musicien refugie. Excellent; moderne, cultivé. Quelqu’un avec qui on peut parler, le seul a mon égard. THEO BUCHWALD: A du être un bon éleve. Type dangereux; moralité douteuse.

Que no se trata de cantidades sino de valores. Es posible que, atacado por la plaga de los compositores con hambre de noteriedad, haya cedido, por cortesía, y lleve consigo una colección demasiado numerosa de obras musicales o que pretenden serlo. El peligro en Slonimsky es su trato amable. Su incapacidad de rechazar, de plano, al impostor que le lleva, sin pudor, obras para que las incluya en sus programas o en el libro que prepara. Pero, esperamos, sea un peligro transitorio. Cuando regrese a Boston, el clima ponderado, en lo cultural, de la docta ciudad norteña, le devolverá todas sus faculdades críticas.

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