LEXICON OF MUSICAL INVECTIVE PDF

His parents adopted the Orthodox faith after the birth of his older brother, and Nicolas was baptized in the Russian Orthodox Church. He grew up in the intelligentsia. After the Russian Revolution of , he moved south, first to Kiev , then to Constantinople , and ultimately to Paris , where many other Russian musicians and his sister Yulia Slonimskaya Sazonova [2] had already fled. He worked as accompanist to conductor Serge Koussevitzky , and he toured Europe in —22 as accompanist to Vladimir Rosing. His nephew, Sergei Slonimsky became a composer.

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Shelves: from-my-bookshelves , music The forward to this books mentions: "It is a widely known fact - or, at least, a widely held belief - that negative criticism is more entertaining to read than enthusiastic endorsement. There is certainly no doubt that many critics write pans with an unbridled gusto that seems to be lacking in their usually rarer raves, and these critics often become more famous, or infamous, than their less caustic colleagues Most of us feel constrained, in person, to say politely pleasant things to The forward to this books mentions: "It is a widely known fact - or, at least, a widely held belief - that negative criticism is more entertaining to read than enthusiastic endorsement.

And I enjoyed every single bit of it. Read some reviews. Shake your head. Put it down. Come back to it. Aug 24, Caleb Hu rated it it was amazing Mischevious, hilarious, often very quotable- some of the greatest content from this book comes not from the author but from the critics and composers who often have the most outlandishly scathing criticisms about those currently revered as legends.

Favorite quote goes to Max Reger: "I am sitting in the smallest room of my house. I have my review before me.

In a moment it will be behind me! Bartok elected to play his composition dignified by the title Concerto for Pianoforte and Orchestra. Note the ommission of key. Ultra-moderns cannot be bothered with such trifling designations It has been said that the Concerto is based on folk tunes. They have been successfully concealed.

Only tonal chaos arises from the diabolical employment of unrelated keys simultaneously. It eclipses the saddest and sourest moments of Debussy.

To the elderly among the old critics, Slonimsky notes, new music always seems louder than what they are used to. They also often resorted to linguistic similes, comparing new music to "Chinese", a then-handy symbol of incomprehensibility. You can read it in an hour at your public or university library.

The most lengthy sections are devoted to Liszt, Wagner, Richard Strauss, but just about every composer since Beethoven comes in for some abuse. These reviews, extracted for the most part from newspapers and journals, are generally contemporaneous with the music or composers they pan. Some Russian bozo enthusiastically condemns, with.

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