Mikhail Gnessin - Knowledge

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teacher Mikhail Gnessin. Yelena Fabianovna Gnessina felt how differently her relations changed with the Committee of Arts. She discovered the intimidating reports and slanderous letters given against her and Mikhail Fabianovich. Sadly, there was no other course but to release her brother from his teaching duties so as to avoid a worse fate.

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Gnessin himself was a striking character. He dressed as an Orthodox Hebrew, but at the same time was identified with radically anti-sectarian political and social views. I once sent him a note, after we had dined together, saying that I was delighted by our "sympathetic understanding." He answered me

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Gnessin was forced to abandon both his "progressive tendencies" and his interest in music with "an overtly Jewish theme". His teaching career also suffered. While he would retain his position as titular head of the Gnessin Institute until his death, in the late 1940s, Gnessin's sister, Elena, was

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Actors in Dr Dapertutto's Studio in St Petersburg learned "musicality", and the voice and speech work was incorporated into a course called "The Musical Interpretation of Drama", taught by the composer Mikhail Gnessin. Gnessin included in his classes simple and complex forms of choral speech and

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Apart from the Conservatoire, other educational institutions incurred repressions; as a consequence of the anti-cosmopolitanism campaign, the Gnessin Music Institute received commands and notices from higher bodies to fire various members of staff, the most distinguished being the composer and

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After the Revolution, Gnessin and his music, initially, fared quite well. Traditional Jewish art, including music, flourished during this period, and a Jewish nationalist school of music was encouraged by the new Soviet government. Gnessin produced several works during this period, among them:

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were actively encouraging the establishment of such a school...both Tsarist and Soviet authorities were not too happy about this development, and gave grudging permission for the folk side of Jewish culture to be established, rather than an openly Jewish nationalist compositional movement.

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There is fire and madness in this music; the rhythms rush in every direction, like winds in a hurricane. But there is a shimmering background to all this chaos; a poignant voice in all this outburst. One hears in this music the strange pathos of the Hebrews. The same pathos with which

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His teaching career also flourished. From 1923 to 1935 Gnessin taught at the Gnessin Institute; he was simultaneously employed as Professor of Composition at the Moscow Conservatory from 1925 to 1936. In 1945 Gnessin became head of the Gnessin Institute.

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gives information on very small ethnic minorities, while the Jews, number around three million, are ignored. After the late 1930s, mention of Jewish music disappears from Soviet reference books altogether. It is significant that the 1932 edition of the

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The position of Jews in the Soviet Union has always been a difficult one in that, unlike other ethnic minorities, Jewish culture has never received official backing, except in the 1920s...For example, the five volume

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warned his beloved race of a pending and inevitable doom, the same pathos with which Israel thinks about its long exile in unfriendly countries – that same pathos is to be found in Gnessin's operas.

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in a surprised and slightly shocked tone saying that he was sorry but I had been mistaken; he had felt no such sympathy. That was typical of Gnessin and, I suppose, it explains why I remember him.

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in 1914, and again, in 1921. During the latter visit he "secluded himself for a few months in the wild mountain scenery of Bab al Wad," where he composed the first act of his opera

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devoted eight-two pages to Jews; the 1952 edition has one page (devoted to Jews)! In the bibliography to that meager article is a classic anti-Semitic text from Germany.

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Phillips, Anthony & Prokofiev, Sergey. (2006). "Sergey Prokofiev Diaries, 1907–1914: Prodigious Youth", p. 498 Ithaca: Cornell University Press.

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Op.13. Antigone ( Sophocles, trans. Merezhkovskiy). Incidental music for musical declamatory reading of the monologues and choruses (1912–1913)

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Just prior to the Revolution, Jewish music and musicians in Russia were experiencing a nationalist boom. Figures such as Rimsky-Korsakov and

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Gnessin's teaching career, and the discriminatory politics of his era, also meant that his compositions were less prolific after 1935.

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Op.19. Oedipus Rex (Sophocles, trans. Merezhkovskiy). Incidental music for musical declamation of the choruses (1915)

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Paradoxically, the number of Jewish performers within Russian culture was huge, and included many world-famous names.

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plenty of singing, and indeed he analysed speech as song, so that actors often sang longer speeches for an exercise.

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Later that year Gnessin returned to Rostov, where he continued to teach. He remained there until 1923.

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Gnessin, like many artists of Jewish descent, faced increasing discrimination in the 1930s.

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Evreiskiy orkestr na balu u Gorodnichevo for orchestra (some sources give Op.41) (1926)

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Op.17. The Phoenician Women (Euripides, trans. Annenskiy). Incidental music (1912–1916)

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Op.40. 1905–1917 (Esenin). Symphonic monument for voices, chorus, and orchestra (1925)

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Among Gnessin's other early works was a "symphonic fragment" (his Op. 4), based on

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Op. 64 Piano Quartet (Sonata-Fantasia) for piano, violin, viola, and cello (1947)

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Op.10. Dedications (Ivanov, Bal'mont and Sologub) for voice and piano (1912–1914)

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Op.18. From Shelley (Shelley, trans. Bal'mont) for musical declamation and piano

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Balagan (Blok) for voice and piano/orchestra (some sources give as Op.6 ( 1909)

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Op.44. The Story of Red-Headed Mottele (Utkin) for voice and piano (1926–1929)

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Op.28. Pesnya stranstvuyushchevo ritsarya for string quartet and harp (1917)

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Op.8. Vrubel' (Bryusov). Symphonic Dithyramb for orchestra and voice (1911)

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Op.48. Adygeya for violin, viola, cello, clarinet, horn, and piano (1933)

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Op.60. Three Little Pieces for clarinet, violin, cello, and piano (1942)

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Op.1. Quartre pieces (Bal'mont, Zhukovsky, Galinoy) pour chant et piano

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Pursuing his interest in traditional Jewish music, Gnessin traveled to

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Soviet Music and Society under Lenin and Stalin: The Baton and Sickle.

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Music in the Jewish Community of Palestine 1880–1948: A Social History

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Music in the Jewish Community of Palestine 1880–1948: A Social History

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Op.34. Pesnya stranstvuyeshchevo rytsarya for cello and piano (1921)

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Op.12. The Conqueror Worm, after Poe for voice and orchestra (1913)

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activities, teaching music to factory workers at workmen's clubs.

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Op.4. Prometheus Unbound. Symphonic Fragment after Shelley (1908)

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won the Glinka Prize. That same year he helped found, along with

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Hanoch Avenary. "The Musical Vocabulary of Ashkenazic Hazanim."

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Op.41. The Inspector-General (Gogol). Incidental music (1926)

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Op.24. Variations on a Hebrew Theme for string quartet (1917)

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Op.14. The Rose and the Cross (Blok). Incidental music (1914)

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Op.50. V Germanii (Svetlov) for chorus and orchestra (1937)

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Op.20. Songs of Adonis (after Shelley) for orchestra (1917)

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The YIVO encyclopedia of Jews in Eastern Europe: Volume 2,

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Op.39. Examples of Musical Reading (Declamation and piano)

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Op.30. Songs of the Old Country. Symphonic Fantasy (1919)

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Op.45. Azerbaidzhan Folk songs for string quartet (1930)

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Op.6. Ruth. Dramatic Song for voice and orchestra (1909)

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pp.217, 242–243 & 247 Westport, CT: Greenwood Press

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