By Donna Tussing Orwin

A century after Leo Tolstoy's demise, the writer of warfare and Peace is extensively trendy yet too usually considered basically almost about his realism and sense of right and wrong. the numerous aspects of Tolstoy printed in those new essays communicate to modern-day readers with staggering strength, relevance, and complexity. In a full of life, not easy variety, major students variety over his lengthy existence, from his first paintings adolescence to the works of his previous age like Hadji Murat, and the various genres during which he labored, from the most important novels to aphorisms and brief tales. The essays current new ways to his imperative topics: love, dying, non secular religion and doubt, violence, the animal state, and warfare. additionally they determine his reception either in his lifetime and consequently. atmosphere new agendas for the learn of this vintage writer, this quantity offers a photo of present scholarship on Tolstoy.

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Everybody will agree that to invent on the spot a “little fairy-tale or song” that provides consolation or joy will be “incomparably more important and fruitful than to write a novel or a symphony” (155; PSS 30: 183). It remains to consider one final category of musical expression in Tolstoy’s writings: music dreamed. 33 He mentions several composers – Wagner, Ravel, Stravinsky, Berlioz – who created (or channeled) substantial musical ideas, often fully orchestrated, in hallucinatory “hypnagogic” (pre-sleep) and “hypnopomnic” (post-awakening) states.

G. Paliukh and A. V. , Lev Tolstoi i muzyka: khronika, notografiia, bibliografiia (Moscow: Sovetskii kompozitor, 30 caryl emerson 1977), 41–258 (“Muzykal’naia khronika zhizni L. N. Tolstogo,” a digest of comments on music from diaries, letters, memoirs, and Tolstoy’s fiction). All citations checked against the Jubilee edition and occasionally filled out or corrected. 10. From his 1861 article “Iasnopolianskaia shkola za noiabr’ i dekabr’ mesiatsy,” PSS 8: 120–25, cited in Lev Tolstoi i muzyka, 83. 11.

Prokofiev remained with War and Peace – sensibly, it turned out, for the Mariengof libretto was banned in May 1941. 41 Gypsies sing in the brothel in act ii, scene ii (the heroine, we Tolstoy and music 27 recall, was fathered by a “passing gypsy”), against a backdrop of uninterrupted, unrepentant state violence. The ending is abrupt and nonnovelistic. After Simonson stammers out his confession of love, romance as a motif is abruptly curtailed; only a hurried shout “Farewell” passes between Katiusha and Nekhliudov as she is led away in a throng deeper into Siberia, to a plaintive folk lament.

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