1.
Luigi Nono (painter)
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Luigi Nono was an Italian painter. A young Nono entered the Accademia of Venice, then under the leadership of Pompeo Marino Molmenti and he later returned to painting genre subjects of everyday life, and these paintings would prove to be his most influential. If his contemporary, Giacomo Favretto depicted the sunny and humorous events of contemporary Venice, Nono delved into the painful, for example, one of his paintings, Abbandonati exhibited at the 5th Exposizione of Venice, depicts a homeless mother and child sleeping under a church portal. He also paints the funeral of a child, to the 1881 Mostra of Venice, he sent, Le amanti and Refugium peccatorum, considered one of his masterworks. To the 1883 Promotrice, he sent Sottomarino, to Rome also in 1883, he redisplayed Refugium peccatorum. In 1887 at Venice, he exhibited, I Recini da festa, in 1885, he painted Il Bimbo Malato. In 1888 at Bologna, he displayed, A Venezia, luigi Nonos grandson of the same name was an Italian avant-garde music composer. In 2012, an exhibit of his took place in Milan
Luigi Nono (painter)
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Study for Abbandonati, 1875.
Luigi Nono (painter)
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Potato harvesting. (1877)
Luigi Nono (painter)
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Refugium peccatorum.
2.
Avant-garde
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The avant-garde are people or works that are experimental, radical, or unorthodox, with respect to art, culture, and society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, the avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, the avant-garde also promotes radical social reforms. Several writers have attempted, with limited success, to map the parameters of avant-garde activity, the Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book Teoria dellarte davanguardia. Other authors have attempted both to clarify and to extend Poggiolis study, bürgers essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh. Buchloh, in the collection of essays Neo-avantgarde and Culture Industry critically argues for an approach to these positions. Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions. The concept of avant-garde refers primarily to artists, writers, composers and thinkers whose work is opposed to cultural values. For Greenberg, these forms were therefore kitsch, phony, faked or mechanical culture, for instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales became the measure. It has become common to describe successful rock musicians and celebrated film-makers as avant-garde, nevertheless, an incisive critique of vanguardism as against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. Since then it has been flanked by what he called avant-garde ghosts to the one side, and this has seen culture become, in his words, a profession one of whose aspects is the pretense of overthrowing it. Avant-garde in music can refer to any form of working within traditional structures while seeking to breach boundaries in some manner. The term is used loosely to describe the work of any musicians who radically depart from tradition altogether, although most avant-garde composers have been men, this is not exclusively the case. Women avant-gardists include Pauline Oliveros, Diamanda Galás, Meredith Monk, there are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are Fluxus, Happenings, and Neo-Dada, Avant-garde – Wikipedia book Barron, Stephanie, and Maurice Tuchman. The Avant-garde in Russia, 1910–1930, New Perspectives, Los Angeles County Museum of Art Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Los Angeles, CA, Los Angeles County Museum of Art ISBN 0-87587-095-3, Cambridge, MA, ISBN 0-671-20422-X Berg, Hubert van den, and Walter Fähnders
Avant-garde
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The Love of Zero, a 1927 film by
Robert Florey
Avant-garde
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Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
3.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
Composer
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French composer
Louis-Nicolas Clérambault composing at the keyboard
4.
Classical music
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Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
Classical music
Classical music
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Nineteenth-century composer and pianist
Clara Schumann is one of only a few female composers mentioned in the Concise Oxford History of Music.
Classical music
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The Dublin Philharmonic Orchestra performs
Tchaikovsky 's
Fourth Symphony.
Classical music
–
A youth
concert band in performance.
5.
Venice Conservatory
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The Conservatorio di Musica Benedetto Marcello di Venezia is a conservatory in Venice, Italy named after composer Benedetto Marcello and established in 1876. In 1940, under the directorship of Gian Francesco Malipiero, it became Conservatorio di Stato Benedetto Marcello, the conservatory is housed in Palazzo Pisani a Santo Stefano - built between 1614 and 1615 -, located facing Campo Santo Stefano in the sestiere of San Marco. The building is owned by the municipality of Venice, the conservatory accepts foreign students, provided that they pass an entry test and have sufficient knowledge of the Italian language
Venice Conservatory
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Salle de concert
6.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
Renaissance
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David, by
Michelangelo (
Accademia di Belle Arti,
Florence) is a masterpiece of Renaissance and world art.
Renaissance
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Renaissance
Renaissance
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Leonardo da Vinci 's
Vitruvian Man (c. 1490) shows clearly the effect writers of Antiquity had on Renaissance thinkers. Based on the specifications in
Vitruvius '
De architectura (1st century BC), Leonardo tried to draw the perfectly proportioned man.
Renaissance
–
Portrait of a young woman (c. 1480-85) (
Simonetta Vespucci) by
Sandro Botticelli
7.
Madrigal
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A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied, the number of voices varies from two to eight, and most frequently from three to six and it is quite distinct from the Italian Trecento madrigal of the late 13th and 14th centuries, with which it shares only the name. Madrigals originated in Italy during the 1520s, unlike many strophic forms of the time, most madrigals were through-composed. In the madrigal, the composer attempted to express the emotion contained in each line, a frottola generally would consist of music set to stanzas of text, while madrigals were through-composed. However, some of the poems were used for both frottola and madrigals. The poetry of Petrarch in particular shows up in a variety of genres. In Italy, the madrigal was the most important secular form of music of its time, the madrigal reached its formal and historical zenith by the second half of the 16th century. English and German composers, too, took up the madrigal in its heyday, after the 1630s, the madrigal began to merge with the cantata and the dialogue. With the rise of opera in the early 17th century, the aria gradually displaced the madrigal, in the early 16th century, several humanistic trends converged which allowed the madrigal to form. First, there was a reawakened interest in use of Italian as a vernacular language, third, printed secular music had become widely available in Italy due to the recent invention of moveable type and the printing press. The music being written and sung, principally the frottola but also the ballata, canzonetta, and mascherata, was light and these popular music styles used repetition and soprano-dominated chordal textures, styles considerably more simple than those used by most of the resident composers of the Franco-Flemish school. Literary tastes were changing, and the more serious verse of Bembo and his school needed a means of expression more flexible and open than was available in the frottola. The first madrigals were written in Florence, either by native Florentines or by Franco-Flemish musicians in the employment of the Medici family, the madrigal did not replace the frottola right away, during the transitional decade of the 1520s, both frottole and madrigals were written and published. The first book of madrigals labeled as such was the Madrigali de diversi musici, libro de la Serena of Philippe Verdelot. Verdelot, a French composer, had written the pieces in the late 1520s and he included music by both Sebastiano and Costanzo Festa, as well as Maistre Jhan of Ferrara, in addition to his own music. They sold so well that Adrian Willaert made arrangements of some of works for single voice. Verdelot published madrigals for five and six voices as well, with the collection for six voices appearing in 1541, particularly popular was the first collection of madrigals by Jacques Arcadelt. Originally published in Venice, in 1539, it was reprinted throughout Europe for many years after, becoming the most often reprinted madrigal book of the entire era
Madrigal
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Pietro Bembo in a painting by
Titian. Madrigals appeared in part due to Bembo's advocacy of the Italian language as a vehicle for poetic expression.
Madrigal
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Luca Marenzio, a highly influential composer of madrigals in the last two decades of the 16th century
Madrigal
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Claudio Monteverdi in 1640 by
Bernardo Strozzi. Monteverdi was the most influential composer of madrigals after 1600.
8.
University of Padua
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The University of Padua is a premier Italian university located in the city of Padua, Italy. The University of Padua was founded in 1222 as a school of law and was one of the most prominent universities in early modern Europe and it is among the earliest universities of the world and the second oldest in Italy. The University of Padua is one of Italy’s leading universities and ranks in the first position in all the recent ranking of Italian large universities. In 2010 the university had approximately 65,000 students and in 2013 was ranked best university among Italian institutions of education with more than 40,000 students. The university is said to have been founded in 1222 when a large group of students. The first subjects to be taught were law and theology, there was also a Universitas Theologorum, established in 1373 by Urban V. The student body was divided into groups known as nations which reflected their places of origin, during this time, the university adopted the Latin motto, Universa universis patavina libertas. Nevertheless, the university had a turbulent history, and there was no teaching in 1237–61, 1509–17, the Botanical Garden of Padova, established by the university in 1545, was one of the oldest gardens of its kind in the world. Its title for oldest academic garden is in controversy because the Medici created one in Pisa in 1544, in addition to the garden, best visited in the spring and summer, the university also manages nine museums, including a History of physics museum. The University began teaching medicine in 1222 and it played a leading role in the identification and treatment of diseases and ailments, specializing in autopsies and the inner workings of the body. Since 1595, Paduas famous anatomical theatre drew artists and scientists studying the body during public dissections. It is the oldest surviving permanent anatomical theatre in Europe, anatomist Andreas Vesalius held the chair of Surgery and Anatomy and in 1543 published his anatomical discoveries in De Humani Corporis Fabrica. The book triggered public interest in dissections and caused many other European cities to establish anatomical theatres. On 25 June 1678, Elena Lucrezia Cornaro Piscopia, a Venetian noblewoman and mathematician, in recent years, the University has been able to meet the problems posed by overcrowded facilities by re-deploying over the Veneto as a whole. In 1990, the Institute of Management Engineering was set up in Vicenza, after which the courses at Brixen began once more. Other sites of re-deployment are at Rovigo, Treviso, Feltre, Castelfranco Veneto, Conegliano, Chioggia, recent changes in state legislation have also opened the way to greater autonomy for Italian universities, and in 1995 Padua adopted a new Statute that gave it greater independence. As the publications of innumerable conferences and congresses show, the modern-day University of Padua plays an important role in scholarly, notable people who have attended the University of Padua include, In natural sciences Nathaniel Eaton, Ph. D. and M. D
University of Padua
–
Diploma of Girolamo Martinengo, 1582
9.
Hermann Scherchen
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Hermann Scherchen was a German conductor. Originally a violist, he played among the violas of the Bluthner Orchestra of Berlin while still in his teens. He conducted in Riga from 1914 to 1916 and in Königsberg from 1928 to 1933, after which he left Germany in protest at the Nazi regime, from 1922 to 1950 he was the principal conductor of the city orchestra Winterthur. He was the teacher of Egisto Macchi, Marc Bélanger, Françoys Bernier, Frieda Belinfante and Karl Amadeus Hartmann and he also premiered Hartmanns early work Miserae. Conductor Francis Travis was a pupil, then conducting assistant, for five years and he is probably best known for his orchestral arrangement of Bachs The Art of Fugue. His 1953 Lehrbuch des Dirigierens is a standard textbook and his recorded repertoire was extremely wide, ranging from Vivaldi to Reinhold Glière. Like Vasily Safonov and Leopold Stokowski, Scherchen commonly avoided the use of a baton, however, Scherchen did not always dispense with the baton. The film of his rehearsal of his edition of Bachs The Art of Fugue with the CBC Toronto Chamber Orchestra shows him using a baton throughout and his first wife - who was also his third wife - was Auguste Marie Jansen, whom he married on June 17,1921. After a brief marriage to actress Gerda Müller 1927-1929, he was together with Gustl Jansen. In 1936 Scherchen married Chinese composer Xiao Shuxian in Peking, a daughter, Tona Scherchen, was born to them in 1938. She has also made a name for herself as a composer, the last of his five wives was the Zurich-based Romanian mathematics teacher Pia Andronescu, with whom he had 5 children, Myriam, David, Esther, Nathan and Alexandra. He died in Florence, survived by a number of children, from five wives, one his sons was Karl Hermann Wulff Scherchen. Wulff met Benjamin Britten when they were thirteen and twenty, respectively and their romantic relationship did not begin until four years later. John Bridcut describes the passionate exchanges of letters between the composer and the teenager in Brittens Children. Wulffs relationship with Britten is also the subject of Serenade for Tenor, Saxophone and Orchestra, Tahra ceased business after the death of the co-principal of the label, René Trémine. When Radó was threatened in Switzerland by German security agents and faced eviction, music does not have to be understood. It has to be listened to, Scherchen recorded an unusually wide range of repertoire, from the baroque to the contemporary. Included as well were significant recordings of music by Haydn, Beethoven, Berlioz, Tchaikovsky, Glière, Bartók, Schoenberg, in 1996 Tahra published the only commercially released recording of Malipieros complete LOrfeide
Hermann Scherchen
–
Hermann Scherchen.
10.
Twelve-tone technique
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All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th century composers, many important composers who had originally not subscribed to or even actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music. Schoenberg himself described the system as a Method of composing with twelve tones which are related only with one another and it is commonly considered a form of serialism. Schoenbergs countryman and contemporary Josef Matthias Hauer also developed a system using unordered hexachords or tropes—but with no connection to Schoenbergs twelve-tone technique. Other composers have created systematic use of the scale. The twelve tone technique was preceded by freely atonal pieces of 1908–23 which, though free, the twelve-tone technique was also preceded by nondodecaphonic serial composition used independently in the works of Alexander Scriabin, Igor Stravinsky, Béla Bartók, Carl Ruggles, and others. Oliver Neighbour argues that Bartók was the first composer to use a group of twelve notes consciously for a structural purpose, essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of modern musical practice, the ostinato. In Hauers breakthrough piece Nomos, Op. Schoenbergs idea in developing the technique was for it to replace those structural differentiations provided formerly by tonal harmonies, Some of these composers extended the technique to control aspects other than the pitches of notes, thus producing serial music. Some even subjected all elements of music to the serial process, the basis of the twelve-tone technique is the tone row, an ordered arrangement of the twelve notes of the chromatic scale. There are four postulates or preconditions to the technique which apply to the row, on which a work or section is based, no note is repeated within the row. The row may be subjected to interval-preserving transformations -—that is, it may appear in inversion, retrograde, or retrograde-inversion, the row in any of its four transformations may begin on any degree of the chromatic scale, in other words it may be freely transposed. A particular transformation together with a choice of transpositional level is referred to as a set form or row form, every row thus has up to 48 different row forms. However, not all prime series will yield so many variations because transposed transformations may be identical to each other. A simple case is the chromatic scale, the retrograde inversion of which is identical to the prime form. In the above example, as is typical, the retrograde inversion contains three points where the sequence of two pitches are identical to the prime row, thus the generative power of even the most basic transformations is both unpredictable and inevitable. Motivic development can be driven by such internal consistency, note that rules 1–4 above apply to the construction of the row itself, and not to the interpretation of the row in the composition. While a row may be expressed literally on the surface as thematic material, it need not be, however, individual composers have constructed more detailed systems in which matters such as these are also governed by systematic rules. The tone row chosen as the basis of the piece is called the prime series, untransposed, it is notated as P0
Twelve-tone technique
–
Schoenberg, inventor of twelve-tone technique
11.
Arnold Schoenberg
–
Arnold Franz Walter Schoenberg or Schönberg was an Austrian composer, music theorist, and painter. He was associated with the expressionist movement in German poetry and art, by 1938, with the rise of the Nazi Party, Schoenbergs works were labeled degenerate music, because he was Jewish. He moved to the United States in 1934, Schoenbergs approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have reacted against it. Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms, later, his name would come to personify innovations in atonality that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a melodic idea. Schoenbergs archival legacy is collected at the Arnold Schönberg Center in Vienna, Arnold Schoenberg was born into a lower middle-class Jewish family in the Leopoldstadt district of Vienna, at Obere Donaustraße 5. His father Samuel, a native of Bratislava, was a shopkeeper and he took only counterpoint lessons with the composer Alexander Zemlinsky, who was to become his first brother-in-law. In his twenties, Schoenberg earned a living by orchestrating operettas, while composing his own works and he later made an orchestral version of this, which became one of his most popular pieces. Strauss turned to a more conservative idiom in his own work after 1909, Mahler adopted him as a protégé and continued to support him, even after Schoenbergs style reached a point Mahler could no longer understand. Mahler worried about who would look after him after his death, Schoenberg, who had initially despised and mocked Mahlers music, was converted by the thunderbolt of Mahlers Third Symphony, which he considered a work of genius. Afterward he spoke of Mahler as a saint, in 1898 Schoenberg converted to Christianity in the Lutheran church. According to MacDonald this was partly to strengthen his attachment to Western European cultural traditions and he would self-identify as a member of the Jewish religion later in life. In October 1901, he married Mathilde Zemlinsky, the sister of the conductor and composer Alexander von Zemlinsky and he and Mathilde had two children, Gertrud and Georg. Gertrud would marry Schoenbergs pupil Felix Greissle in 1921, during the summer of 1908, his wife Mathilde left him for several months for a young Austrian painter, Richard Gerstl. This period marked a change in Schoenbergs work. This was the first composition without any reference at all to a key, also in this year, he completed one of his most revolutionary compositions, the String Quartet No
Arnold Schoenberg
–
Arnold Schoenberg, Los Angeles, 1948
Arnold Schoenberg
–
Arnold Schönberg in Payerbach, 1903
Arnold Schoenberg
–
Schoenberg's Der Rote Blick (Red Gaze), 1910
Arnold Schoenberg
–
Arnold Schoenberg, by
Egon Schiele 1917
12.
Ode to Napoleon Buonaparte
–
In music, the Ode-to-Napoleon hexachord is the hexachord named after its use in the twelve-tone piece Ode to Napoleon Buonaparte by Arnold Schoenberg. Containing the pitch-classes 014589 it is given Forte number 6-20 in Allen Fortes taxonomic system, the primary form of the tone row used in the Ode allows the triads of G minor, E♭ minor, and B minor to easily appear. The Ode-to-Napoleon hexachord is the six-member set-class with the highest number of interval classes 3 and 4 yet lacks 2s and its only five-note subset is 5-21, the complement of which is 7-21, the only superset of 6-20. The only more redundant hexachord is 6-35 and it is also Ernő Lendvais 1,3 Model scale and one of Milton Babbitts six all-combinatorial hexachord source sets. The hexachord has been used by composers including Bruno Maderna and Luigi Nono,41 di Arnold Schönberg, Weberns Concerto Op.24, Schoenbergs Suite Op.29, Babbitts Composition for Twelve Instruments and Composition for Four Instruments third and fourth movements. The hexachord has also used by Alexander Scriabin and Béla Bartók but is not featured in the music of Igor Stravinsky. The Music of Alexander Scriabin, p.214, cited in Van den Toorn, p. 128-29. Re, Intervallic Relations Between Two Collections of Notes, journal of Music Theory 3, no. Wason, Robert W. Tonality and Atonality in Frederic Rzewskis Variations on The People United Will Never Be Defeated, perspectives of New Music 26, no.1. Cited in Van den Toorn, p. 128-29
Ode to Napoleon Buonaparte
–
"Ode-to-Napoleon" hexachord in
prime form Play (
help ·
info).
13.
Italian Resistance
–
It was formed by pro-Allied Italians, following the Allied invasion of the country, the armistice between Italy and Allied armed forces, and German military occupation of northern Italy. The movement is known as the Italian resistance and the Italian partisans. The brutal conflict they took part in is referred to as the Italian Liberation War or as the Italian Civil War, the modern Italian Republic was declared to be founded on the struggle of the resistance. The periods best-known battle broke out in Rome the day the armistice was announced, outnumbered German Fallschirmjäger and Panzergrenadiere were initially repelled and endured heavy losses, but slowly gained the upper hand, aided by their experience and superior Panzer component. The Italian Centauro II Divisions absence from the battle contributed to the German defeat given its German-made tanks and it was composed primarily of ex-Blackshirts and was not trusted. By 10 September, the Germans had penetrated downtown Rome and the Granatieri made their last stand at Porta San Paolo, at 4 pm, General Giorgio Carlo Calvi di Bergolo signed the order of surrender, the Italian divisions were disbanded, and their members taken prisoner. Generals Raffaele Cadorna, Jr. and Giuseppe Cordero Lanza di Montezemolo joined the underground, one of the most important episodes of resistance by Italian armed forces after the armistice was the battle of Piombino, Tuscany. Battle broke out at 21,15 on 10 September, between the German landing forces and the Italian coastal batteries, tanks, and civilian population, sauro and Carbet were scuttled because of the damage they had suffered. The German attack was repelled, by the dawn of 11 September,120 Germans had been killed, Italian casualties had been 4 killed and a dozen wounded, four Italian submarine chasers were also sunk during the fightning. Later in the morning, however, De Vecchi ordered the prisoners to be released, many of the sailors, soldiers and citizens who had fought in the battle of Piombino retreated to the surrounding woods and formed the first partisan formations in the area. In the days following 8 September 1943 most servicemen, left without orders from higher echelons, were disarmed and shipped to POW camps in the Third Reich, however, some garrisons stationed in occupied Greece, Albania, Yugoslavia and Italy fought the Germans. Admirals Inigo Campioni and Luigi Mascherpa led an attempt to defend Rhodes, Kos, Leros, with reinforcements from SAS, SBS and British Army troops under the command of Generals Francis Gerrard, Russell Brittorous and Robert Tilney, the defenders held on for a month. However, the Wehrmacht took the islands air and sea landings by infantry. Both Campioni and Mascherpa were captured and executed at Verona for high treason, on 13 September 1943, the Acqui Division stationed in Cefalonia was ordered by Italian High Command to attack the Germans, despite ongoing negotiations. After a ten-day battle, the Germans executed thousands of officers and those killed in the massacre of the Acqui Division included division commander General Antonio Gandin. Other Italian forces remained trapped in Yugoslavia following the armistice and some decided to fight alongside the local resistance, when the unit finally returned to Italy at the end of the war, half its members had been killed or were listed as missing in action. Bastia, in Corsica, was the setting of a battle between Italian torpedo boats and an attacking German flotilla. Italian soldiers captured by the Germans numbered around 650, 000-700,000, most refused cooperation with the Third Reich despite hardship, chiefly to maintain their oath of fidelity to the King
Italian Resistance
–
Unidentified uniformed Italians shot by invading Germans in Rome, September 1943
Italian Resistance
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Flag of the
National Liberation Committee
Italian Resistance
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An Italian partisan in
Florence on August 14, 1944
Italian Resistance
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Partisan Alfredo Sforzini
14.
Hans Werner Henze
–
Hans Werner Henze was a German composer. In particular, his works reflect his consistent cultivation of music for the theatre throughout his life. Henze was also known for his political convictions and he left Germany for Italy in 1953 because of a perceived intolerance towards his leftist politics and homosexuality. Late in life he lived in the village of Marino in the central Italian region of Lazio, an avowed Marxist and member of the Communist Party of Italy, Henze produced compositions honoring Ho Chi Minh and Che Guevara. Henze spent a year teaching in Cuba, though he became disillusioned with Castro. Henze was born in Gütersloh, Westphalia, the eldest of six children of a teacher and that and his political views led to conflict with his conservative father. Henzes father, Franz, had served in the First World War and was wounded at Verdun. He worked as a teacher in a school at Bielefeld, formed on progressive lines, Franz Henze then moved to Dünne, a small village near Bünde, where he fell under the spell of Nazi propaganda. Books by Jewish and Christian authors were replaced in the Henze household by literature reflecting Nazi views, the older boys, including Hans, were enrolled in the Hitler Youth. Henze began studies at the music school of Braunschweig in 1942, where he studied piano, percussion. Franz Henze rejoined the army in 1943 and he was sent to the Eastern front, Henze had to break off his studies after being conscripted into the army in 1944, towards the end of the Second World War. He was trained as a radio officer and he was soon captured by the British and held in a prisoner-of-war camp for the remainder of the war. In 1945 he became an accompanist in the Bielefeld City Theatre and he also took part in the famous Darmstadt New Music Summer School, a key vehicle for the propagation of avant-garde techniques. At the 1947 summer school, Henze turned to serial technique, in his early years he worked with twelve-tone technique, for example in his First Symphony and Violin Concerto of 1947. Sadlers Wells Ballet visited Hamburg in 1948, this inspired Henze to write a poem, Ballett-Variationen. The first ballet he saw was Frederick Ashtons Scènes de Ballet and he wrote a letter of appreciation to Ashton, introducing himself as a 22-year-old composer. The next time he wrote to Ashton he enclosed the score of his Ballett-Variationen and this work was first performed in Düsseldorf in September 1949 and staged for the first time in Wuppertal in 1958. In 1948 he became assistant at the Deutscher Theater in Konstanz
Hans Werner Henze
–
Hans Werner Henze in 1960
15.
Pierre Boulez
–
Pierre Louis Joseph Boulez CBE was a French composer, conductor, writer and organiser of institutions. He was one of the dominant figures of the classical music world. Born in Montbrison in the Loire district of France, the son of an engineer, Boulez studied at the Paris Conservatoire with Olivier Messiaen and he began his professional career in the late 1940s as Music Director of the Renaud-Barrault theatre company in Paris. As a young composer in the 1950s he quickly became a figure in avant-garde music, playing an important role in the development of integral serialism. From the 1970s onwards he pioneered the transformation of instrumental music in real time. In parallel with his activities as a composer Boulez became one of the most prominent conductors of his generation and he made frequent guest appearances with many of the worlds other great orchestras, including the Vienna Philharmonic Orchestra, the Berlin Philharmonic Orchestra and the London Symphony Orchestra. His recorded legacy is extensive and he received 26 Grammy Awards, Pierre Boulez died at his home in Baden-Baden on 5 January 2016, aged 90. Pierre Boulez was born on 26 March 1925, in Montbrison and he was the third of four children, an older sister, Jeanne and younger brother, Roger were preceded by a first child, also called Pierre, who died in infancy. By the age of fifteen he was sceptical about religion, what struck me most was that it was so mechanical, as a child he took piano lessons, played chamber music with local amateurs and sang in the school choir. After completing the first part of his baccalaureate a year early he spent the year of 1940–41 at the Pensionnat St. Louis. The following year he took courses in advanced mathematics at the University of Lyon which his father hoped would prepare him for a career in engineering and he was in Lyon when the Vichy government fell and the Germans took over. It was not a time, and nothing to eat. It was in Lyon that he first heard an orchestra, saw his first operas and met the well-known soprano Ninon Vallin, impressed by his ability, she persuaded Léon to allow his son to apply to the Conservatoire in Lyon, but the selection board rejected him. Boulez was determined to pursue a career in music, the following year, with his sisters support in the face of opposition from his father, he studied the piano and harmony privately with Lionel de Pachmann. Our parents were strong, but finally we were stronger than they, in fact, when he moved to Paris in the autumn of 1943, Léon accompanied him, helped him to find a room and subsidised him until he could earn a living. In late 1943 he entered the preparatory class of Georges Dandelot at the Paris Conservatoire. There he was introduced to Andrée Vaurabourg, wife of the composer Arthur Honegger and he greatly enjoyed working with her and she remembered him as an exceptional student, using his exercises as models in advanced counterpoint until the end of her teaching career. He also studied the piano privately in the hope of entering Jean Doyens class, but he was unsuccessful
Pierre Boulez
–
Pierre Boulez (1968)
Pierre Boulez
–
The 1976 production of
Der Ring des Nibelungen at
Bayreuth Festival, conducted by Boulez
Pierre Boulez
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Boulez and
Roger Wright, Director of the
BBC Proms returning to the
Royal Albert Hall
Pierre Boulez
–
The
Ensemble InterContemporain after a performance of
Sur Incises in
Barbican Hall, London, April 2015
16.
Karlheinz Stockhausen
–
Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. Another critic calls him one of the visionaries of 20th-century music. He is known for his work in electronic music, aleatory in serial composition. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music. His works, composed over a period of sixty years. His theoretical and other writings comprise ten large volumes and he received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company. He died of heart failure at the age of 79, on 5 December 2007 at his home in Kürten. Stockhausen was born in Burg Mödrath, the castle of the village of Mödrath, the village, located near Kerpen in the Cologne region, was displaced in 1956 to make way for lignite strip mining, but the castle itself still stands. Despite its name, the building is not actually a castle at all, because of its imposing size, locals began calling it Burg Mödrath. From 1925 to 1932 it was the maternity home of the Bergheim district, in 1950, the owners, the Düsseldorf chapter of the Knights of Malta, turned it into an orphanage, but it has subsequently returned to private ownership and is today a private residence again. His father, Simon Stockhausen, was a schoolteacher, and his mother Gertrud was the daughter of a family of farmers in Neurath in the Cologne Bight. A daughter, Katherina, was born the year after Karlheinz, from the age of seven, Stockhausen lived in Altenberg, where he received his first piano lessons from the Protestant organist of the Altenberg Cathedral, Franz-Josef Kloth. His new wife, Luzia, had been the familys housekeeper, in 1941 he learned that his mother had died, ostensibly from leukemia, although everyone at the same hospital had supposedly died of the same disease. It was generally understood that she had been a victim of the Nazi policy of killing useless eaters, Stockhausen dramatized his mothers death in hospital by lethal injection, in Act 1 scene 2 of the opera Donnerstag aus Licht. In the autumn of 1944, he was conscripted to serve as a bearer in Bedburg. In February 1945, he met his father for the last time in Altenberg, Simon, who was on leave from the front, told his son, Im not coming back. By the end of the war, his father was regarded as missing in action, a comrade later reported to Karlheinz that he saw his father wounded in action
Karlheinz Stockhausen
–
Karlheinz Stockhausen in the
Electronic Music Studio of the WDR, October 1994
Karlheinz Stockhausen
–
Altenberg Cathedral, c. 1925, where Stockhausen had his first music lessons
Karlheinz Stockhausen
–
Karlheinz Stockhausen in the garden of his home in Kürten, 2005
Karlheinz Stockhausen
–
Stockhausen lecturing at the 12th
International Summer Courses for New Music in Darmstadt, 1957
17.
Moses und Aron
–
Moses und Aron is a three-act opera by Arnold Schoenberg with the third act unfinished. The German libretto is by the composer after the Book of Exodus and it is that I am not a German, not a European, indeed perhaps scarcely even a human being, but that I am a Jew. I am an intruder everywhere, welcome nowhere, Der Biblische Weg should be considered as both a personal and political play. Moses, at the center of the biblical Exodus story, had become from the time of Heinrich Heine to that of Herzl and Schoenberg, the ideal incarnation of a national and spiritual redeemer. From the sketchy outline of the play to its version and to the inception of Moses und Aron as an oratorio, it then became an opera. Schoenberg often stated his intention to complete the work but composed only a few sketches for Act 3, despite its unfinished status, it is widely regarded as Schoenbergs masterpiece. Schoenbergs title may have omitted an A in Aarons name because the composer was severely superstitious about the number 13, zoltán Kocsis had received permission from Schoenbergs heirs in 2009 to complete the last act. His version was premiered in concert at Budapest on 16 January 2010, as Schoenberg always intended to finish the work, the opera was not performed during his lifetime. However, the first public performance of music from the opera was of Der Tanz um das goldene Kalb in concert at Darmstadt on 2 July 1951, just 11 days before the composers death. There was a performance of the two acts in Hamburg on 12 March 1954 with Hans Herbert Fiedler as Moses and Helmut Krebs as Aron. The first staging was in Zurich at the Stadttheater on 6 June 1957, again with Hans Herbert Fiedler as Moses and conducted by Hans Rosbaud, georg Solti conducted the first performance at the Royal Opera House, London on 28 June 1965. The singers were Forbes Robinson and Richard Lewis, the New York premiere was presented by the New York City Opera conducted by Christopher Keene, with Richard Cross in the role of Moses and Thomas Young as Aaron, directed by Hans Neugebauer. The Metropolitan Opera did not stage the work until 20 February 1999, under the baton of James Levine with John Tomlinson in his role as Moses. The first performance in a socialist country was in 1988 at Staatsoper Berlin as staged by Ruth Berghaus, in 1973, the work was also made into a film by Jean-Marie Straub and Danièle Huillet. A2006 production by the Vienna State Opera has been published as a DVD. C, Moses, in the presence of the burning bush, reluctantly receives from God the order to become a prophet and free Israel from bondage in Egypt. Moses asks to be spared such a task, he is old and though he can think, God assures him that he will put words in his heart and orders him to find his brother Aron. In the desert Moses greets Aron, who will have to serve as his spokesman, soon they start misunderstanding each other, Moses assures him that love is the key to unlocking this mystery, but Aron praises God for hearing prayers and receiving offerings. Moses cautions that the purification of ones own thinking is the reward to be expected from tributes
Moses und Aron
–
Arnold Schoenberg
Moses und Aron
–
Schoenberg Der Rote Blick (Red Gaze), 1910.
Moses und Aron
–
Michelangelo Moses
18.
Italian Communist Party
–
The Italian Communist Party was a communist political party in Italy. The PCI was founded as Communist Party of Italy on 21 January 1921 in Livorno, Amadeo Bordiga and Antonio Gramsci led the split. Outlawed during the Fascist regime, the party played a part in the Italian resistance movement. It changed its name in 1943 to PCI and became the second largest political party of Italy after World War II, at the time it was the largest communist party in the West. The more radical members of the party left to form the Communist Refoundation Party, the PCI participated to its first general election in 1921, obtaining 4. 6% of the vote and 15 seats in the Chamber of Deputies. In 1926, the Fascist government of Benito Mussolini outlawed the PCI, although forced underground, the PCI maintained a clandestine presence within Italy during the years of the Fascist regime. Many of its leaders were also active in exile, during its first year as a banned party, Antonio Gramsci defeated the partys left wing, led by Amadeo Bordiga. Gramsci replaced Bordigas leadership at a conference in Lyon, and issued a manifesto expressing the programmatic basis of the party, however, Gramsci soon found himself jailed by Mussolinis regime, and the leadership of the party passed to Palmiro Togliatti. Togliatti would lead the party until it emerged from suppression in 1944, the communists contribution to the new Italian democratic constitution was decisive. The Gullo decrees of 1944, for instance, sought to improve social, in the first general elections of 1948 the party joined the PSI in the Popular Democratic Front, but was defeated by the Christian Democracy party. The party gained considerable success during the following years and occasionally supplied external support to centre-left governments. It successfully lobbied Fiat to set up the AvtoVAZ car factory in the Soviet Union, the party did best in Emilia-Romagna, Tuscany and Umbria, where it regularly won the local administrative elections, and in some of the industrialized cities of Northern Italy. At the city government level during the course of the period, the PCI demonstrated their capacity for uncorrupt, efficient. After the elections of 1975, the PCI was the strongest force in all of the municipal councils of the great cities. The PCIs municipal showcase was Bologna, which was held continuously by the PCI from 1945 onwards, from 1946 to 1956, the Communist city council built 31 nursery schools,896 flats, and 9 schools. Health care improved substantially, street lighting was installed, new drains and municipal launderettes were built, in 1972, the then-mayor of Bologna, Renato Zangheri, introduced a new and innovative traffic plan with strict limitations for private vehicles and a renewed concentration on cheap public transport. Bolognas social services continued to expand throughout the early and mid-Seventies, communists administrations at a local level also helped to aid new businesses while also introducing innovative social reforms. The Soviet Unions brutal suppression of the Hungarian Revolution of 1956 created a split within the PCI, the party leadership, including Palmiro Togliatti and Giorgio Napolitano, regarded the Hungarian insurgents as counter-revolutionaries, as reported at the time in lUnità, the official PCI newspaper
Italian Communist Party
–
Palmiro Togliatti
Italian Communist Party
–
Italian Communist Party Partito Comunista Italiano
Italian Communist Party
–
Enrico Berlinguer
19.
Il canto sospeso
–
Il canto sospeso is a cantata for vocal soloists, choir, and orchestra by the Italian composer Luigi Nono, written in 1955–56. It is one of the most admired examples of composition from the 1950s. The title Il canto sospeso may be translated as The Suspended Song. Their execution on 19 June 1953 caused outrage in Europe, the phrase in the English original is the song unsung. The score is dedicated a tutti loro, the premiere was given under the direction of Hermann Scherchen in Cologne on 24 October 1956. Four years later it was performed at the twenty-third Festival of Contemporary Music of the Venice Biennale under the direction of Bruno Maderna. This Venice performance was recorded for the radio on 17 September 1960 and in 1988, four years after completing the work, Nono incorporated its entire fourth movement into his opera Intolleranza 1960. In its alternation of instrumental, choral, and solo movements, as well as in some internal details, Nono himself referred to the work as a cantata. It is a series, whose retrograde is identical to the prime form transposed by a tritone. Herbert Eimert, reviewing the concert, declared that Il canto sospeso probably left the most significant impression to date of any work of the young generation of composers today. … This one work would be enough to legitimize the enigmatic legacy of Webern once, sides in the debate were largely along national lines, between West Germany and Italy. In at least one case opposition to Nonos composition went beyond words, a terror bombing at the Munich Oktoberfest on 26 September 1980 killed 13 people and injured more than 200 others. It is believed to have been directed at the performance of Il canto sospeso. The political message of the work, rather than its use of serialism, is presumed to have been the provocation for the attack. Though largely overshadowed by the debate, various aspects of the composition have attracted a steady stream of analysts. Arnold Schoenberg, La vocazione di Mosè, sinfonieorchester und Chor der Norddeutscher Rundfunk Hamburg, cond. Ilsa Hollweg, soprano, Eva Bornemann, alto, Friedrich Lenz, tenor, Chorus and Orchestra of WDR Cologne, severino Gazzelloni, flute, Dorothy Dorow, soprano, Choro ed Orchestra della Radio Audizioni Italia di Roma, cond. Barbara Bonney, soprano, Susanne Otto, alto, Marek Torzewski, tenor, Susanne Lothar and Bruno Ganz, speakers, recorded in the Philharmonie, Berlin, 9–11 December 1992 and 3 &4 September 1992
Il canto sospeso
–
All-interval "wedge" series used in Il canto sospeso
20.
Anton Webern
–
Anton Friedrich Wilhelm von Webern was an Austrian composer and conductor. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, Weberns music was among the most radical of its milieu, both in its concision and in its rigorous and resolute apprehension of twelve-tone technique. Webern was born in Vienna, then Austria-Hungary, as Anton Friedrich Wilhelm von Webern and he was the only surviving son of Carl von Webern, a civil servant, and Amelie who was a competent pianist and accomplished singer—possibly the only obvious source of the future composers talent. He never used his middle names and dropped the von in 1918 as directed by the Austrian governments reforms after World War I and he lived in Graz and Klagenfurt for much of his youth. Webern memorialized the Preglhof in a diary poem An der Preglhof and in the tone poem Im Sommerwind, once Weberns father sold the estate in 1912, Webern referred to it nostalgically as a lost paradise. Art historian Ernst Dietz, Weberns cousin and at time a student at Graz, may have introduced Webern to the work of Arnold Böcklin and Giovanni Segantini. Segantinis work was an inspiration for Weberns 1905 single-movement string quartet. In 1902 Webern began attending classes at Vienna University, there he studied musicology with Guido Adler, writing his thesis on the Choralis Constantinus of Heinrich Isaac. He studied composition under Arnold Schoenberg, writing his Passacaglia, op.1 as his piece in 1908. He met Alban Berg, who was also a pupil of Schoenberg and these two relationships would be the most important in his life in shaping his own musical direction. After graduating, he took a series of conducting posts at theatres in Ischl, Teplitz, Danzig, Stettin, there he helped run Schoenbergs Society for Private Musical Performances from 1918 through 1922 and conducted the Vienna Workers Symphony Orchestra from 1922 to 1934. Letters document their correspondence in many subsequent years, and she would in turn provide him with facilities to private lessons as a convenience to Webern, his family. As early as 1933, an Austrian gauleiter on Bayerischer Rundfunk mistakenly and his familys financial situation deteriorated until, by August 1940, his personal records reflected no monthly income. It was thanks to the Swiss philanthropist Werner Reinhart that Webern was able to attend the premiere of his Variations for Orchestra, op.30 in Winterthur. Reinhart invested all the financial and diplomatic means at his disposal to enable Webern to travel to Switzerland, in return for this support, Webern dedicated the work to him. On the other, some private correspondence attests to his Nazi sympathies, Weberns patriotism led him to endorse the Nazi regime in a series of letters to Joseph Hueber, who was serving in the army and himself held such views. Webern described Hitler on May 2,1940 as this man who created the new state of Germany. Only later did Krasner himself realize how self-admittedly foolhardy he had been and in danger he had placed himself
Anton Webern
–
Anton Webern in
Stettin, October 1912
Anton Webern
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The Preglhof in
Oberdorf, Webern's childhood home
21.
Fascism
–
Fascism /ˈfæʃɪzəm/ is a form of radical authoritarian nationalism that came to prominence in early 20th-century Europe. The first fascist movements emerged in Italy during World War I, opposed to liberalism, Marxism, and anarchism, fascism is usually placed on the far-right within the traditional left–right spectrum. Fascists saw World War I as a revolution that brought changes to the nature of war, society, the state. The advent of war and the total mass mobilization of society had broken down the distinction between civilians and combatants. A military citizenship arose in which all citizens were involved with the military in some manner during the war, Fascism rejects assertions that violence is automatically negative in nature, and views political violence, war, and imperialism as means that can achieve national rejuvenation. Fascists advocate a mixed economy, with the goal of achieving autarky through protectionist and interventionist economic policies. Since the end of World War II in 1945, few parties have openly described themselves as fascist, the descriptions neo-fascist or post-fascist are sometimes applied more formally to describe parties of the far right with ideologies similar to, or rooted in, 20th century fascist movements. The Italian term fascismo is derived from fascio meaning a bundle of rods and this was the name given to political organizations in Italy known as fasci, groups similar to guilds or syndicates. According to Mussolinis own account, the Fascist Revolutionary Party was founded in Italy in 1915, in 1919, Mussolini founded the Fasci Italiani di Combattimento in Milan, which became the Partito Nazionale Fascista two years later. The symbolism of the fasces suggested strength through unity, a rod is easily broken. Similar symbols were developed by different fascist movements, for example, historians, political scientists, and other scholars have long debated the exact nature of fascism. Each interpretation of fascism is distinct, leaving many definitions too wide or narrow, according to many scholars, fascism—especially once in power—has historically attacked communism, conservatism and parliamentary liberalism, attracting support primarily from the far right. Roger Griffin describes fascism as a genus of political ideology whose mythic core in its various permutations is a form of populist ultranationalism. Griffin describes the ideology as having three components, the rebirth myth, populist ultra-nationalism and the myth of decadence. Fascism is a revolutionary, trans-class form of anti-liberal, and in the last analysis. Fascist Philosophies vary by application, but remain distinct by one theoretic commonality, all traditionally fall into the far-right sector of any political spectrum, catalyzed by afflicted class identities over conventional social inequities. John Lukacs, Hungarian-American historian and Holocaust survivor, argues there is no such thing as generic fascism. He claims that National Socialism and Communism are essentially manifestations of populism, Fascism was influenced by both left and right, conservative and anti-conservative, national and supranational, rational and anti-rational
Fascism
–
Georges Sorel
Fascism
–
Enrico Corradini
Fascism
–
Filippo Tommaso Marinetti, Italian modernist author of the
Futurist Manifesto (1909) and later the co-author of the
Fascist Manifesto (1919)
Fascism
–
Benito Mussolini in 1917, as a soldier in
World War I. In 1914, Mussolini founded the
Fasci d'Azione Rivoluzionaria that he led. Mussolini promoted the Italian intervention in the war as a revolutionary nationalist action to liberate Italian-claimed lands from Austria-Hungary.
22.
Theodor W. Adorno
–
Theodor W. Adorno was a German philosopher, sociologist, and composer known for his critical theory of society. He is widely regarded as one of the 20th centurys foremost thinkers on aesthetics and philosophy, as a writer of polemics in the tradition of Nietzsche and Karl Kraus, Adorno delivered scathing critiques of contemporary Western culture. Theodor W. Adorno was born as Theodor Ludwig Wiesengrund in Frankfurt am Main on September 11,1903, the only child of Oscar Alexander Wiesengrund and Maria Calvelli-Adorno della Piana. His mother, a devout Catholic from Corsica, was once a professional singer, while his father, proud of her origins, Maria wanted her sons paternal surname to be supplemented by the addition of her own name, Adorno. Thus his earliest publications carried the name Theodor Wiesengrund-Adorno, upon his application for US citizenship and he was not only a precocious child but, as he recalled later in life, a child prodigy who could play pieces by Beethoven on the piano by the time he was twelve. At the age of six, he attended the Deutschherren middle school before transferring to the Kaiser-Wilhelm Gymnasium, I took this motif so much as my own that I do not believe I have ever written anything without reference to it, either implicit or explicit. Yet Adornos intellectual nonconformism was no less shaped by the repugnance he felt towards the nationalism which swept through the Reich during the First World War, the younger generations distrust for traditional knowledge arose from the way in which this tradition had discredited itself. Over time, Oscar Wiesengrunds firm established close professional and personal ties with the factory of Karplus & Herzberger in Berlin, I am not exaggerating in the slightest when I say that I owe more to this reading than to my academic teachers. In the summer of 1924, Adorno received his doctorate with a study of Edmund Husserl under the direction of the unorthodox neo-Kantian Hans Cornelius, before his graduation, Adorno had already met with his most important intellectual collaborators, Max Horkheimer and Walter Benjamin. Through Corneliuss seminars, Adorno met his future collaborator Max Horkheimer, in Vienna, he attended public lectures of the satirist Karl Kraus with Berg and met Lukács, who had been living in Vienna after the failure of the Hungarian Soviet Republic. Alban Berg, the man Adorno referred to as my master and teacher, was among the most prescient of his young pupils early friends, convinced that and you are capable of supreme achievements and will undoubtedly fulfill this promise in the shape of great philosophical works. In December 1926 Adornos Two Pieces for String Quartet, op.2 were performed in Vienna, after writing the Piano Pieces in strict twelve-tone technique, as well as songs later integrated into the Six Bagatelles for Voice and Piano, op. 6, Adorno presented his Habilitation manuscript, The Concept of the Unconscious in the Transcendental Theory of the Psyche, Cornelius advised Adorno to withdraw his application on the grounds that the manuscript was too close to his own way of thinking. In this manuscript, Adorno attempted to underline the epistemological status of the unconscious as it emerged from Freuds early writings, against the function of the unconscious in both Nietzsche and Spengler, Adorno argued that Freuds notion of the unconscious serves as a sharp weapon. Against every attempt to create a metaphysics of the instincts and to deify full, undaunted by his academic prospects, Adorno threw himself once again into composition. In addition to publishing numerous reviews of performances and concerts, Adornos Four Songs for Medium Voice and Piano. Between 1928 and 1930 Adorno took on a role within the editorial committee of the Musikblätter des Anbruch. During this period he published the essays Night Music, On Twelve-Tone Technique and Reaction, at this time, Adorno struck up a correspondence with the composer Ernst Krenek, with whom he discussed problems of atonality and twelve-tone technique
Theodor W. Adorno
–
(April 1964)
Theodor W. Adorno
–
The "Adorno-Ampel" (Adorno-traffic light) on Senckenberganlage, a street which divides the Institute for Social Research from
Goethe University Frankfurt —Adorno requested its construction after a pedestrian death in 1962, and it was finally installed 25 years later.
23.
Nazi
–
National Socialism, more commonly known as Nazism, is the ideology and practice associated with the 20th-century German Nazi Party and Nazi Germany, as well as other far-right groups. Nazism subscribed to theories of racial hierarchy and Social Darwinism, identifying Germans as part of what Nazis regarded as an Aryan or Nordic master race and it aimed to overcome social divisions and create a homogeneous society, unified on the basis of racial purity. The term National Socialism arose out of attempts to create a nationalist redefinition of socialism, the Nazi Partys precursor, the Pan-German nationalist and anti-Semitic German Workers Party, was founded on 5 January 1919. By the early 1920s, Adolf Hitler assumed control of the organisation, following the Holocaust and German defeat in World War II, only a few fringe racist groups, usually referred to as neo-Nazis, still describe themselves as following National Socialism. The full name of Adolf Hitlers party was Nationalsozialistische Deutsche Arbeiterpartei, the shorthand Nazi was formed from the first two syllables of the German pronunciation of the word national. The term was in use before the rise of the NSDAP as a colloquial and derogatory word for a peasant, characterizing an awkward. It derived from Ignaz, being a version of Ignatius, a common name in Bavaria. Opponents seized on this and shortened the first word of the name, Nationalsozialistische. The NSDAP briefly adopted the Nazi designation, attempting to reappropriate the term, the use of Nazi Germany, Nazi regime, and so on was popularised by German exiles abroad. From them, the spread into other languages and was eventually brought back to Germany after World War II. In English, Nazism is a name for the ideology the party advocated. The majority of scholars identify Nazism in practice as a form of far-right politics, far-right themes in Nazism include the argument that superior people have a right to dominate over other people and purge society of supposed inferior elements. Adolf Hitler and other proponents officially portrayed Nazism as being neither left- nor right-wing, but the politicians of the Right deserve exactly the same reproach. It was through their miserable cowardice that those ruffians of Jews who came into power in 1918 were able to rob the nation of its arms, a major inspiration for the Nazis were the far-right nationalist Freikorps, paramilitary organisations that engaged in political violence after World War I. The Nazis stated the alliance was purely tactical and there remained substantial differences with the DNVP, the Nazis described the DNVP as a bourgeois party and called themselves an anti-bourgeois party. After the elections in 1932, the alliance broke after the DNVP lost many of its seats in the Reichstag, the Nazis denounced them as an insignificant heap of reactionaries. The DNVP responded by denouncing the Nazis for their socialism, their violence. Kaiser Wilhelm II, who was pressured to abdicate the throne and flee into exile amidst an attempted communist revolution in Germany, there were factions in the Nazi Party, both conservative and radical
Nazi
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Foreground, left to right: Führer
Adolf Hitler;
Hermann Göring; Minister of Propaganda
Joseph Goebbels;
Rudolf Hess
Nazi
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Nazis alongside members of the far-right
reactionary and
monarchist German National People's Party (DNVP), during the brief Nazi-DNVP alliance in the
Harzburg Front from 1931 to 1932
Nazi
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Johann Gottlieb Fichte, considered one of the fathers of German nationalism
24.
All-interval twelve-tone row
–
In music, an all-interval twelve-tone row, series, or chord, is a twelve-tone tone row arranged so that it contains one instance of each interval within the octave,1 through 11. A twelve-note spatial set made up of the eleven intervals, there are 1,928 distinct all-interval twelve-tone rows. These sets may be ordered in time or in register, distinct in this context means in transpositionally and rotationally normal form, and disregarding inversionally related forms. Since the sum of numbers 1 through 11 equals 66, a row must contain a tritone between its first and last notes, as well as in their middle. The Pyramid chord consists of every interval stacked, low to high, from 12 to 1 and while it contains all intervals, it does not contain all pitch classes and is thus not a tone row. Klein chose the name Mutterakkord in order to avoid a term such as all-interval twelve-tone row. The Mother chord row was used by Alban Berg in his Lyric Suite. The Grandmother chord is an eleven-interval, twelve-note, invertible chord with all of the properties of the Mother chord and it was invented by Nicolas Slonimsky on February 13,1938. Found by John F. Link, they have used by Elliott Carter in pieces such as Symphonia. On Eleven-Interval Twelve-Tone Rows, Perspectives of New Music 3/2, 93–103, a Re-examination of All-Interval Rows, Proceedings of the American Society of University Composers 7/8, 73–74. Archived from the original on March 8,2012
All-interval twelve-tone row
–
Elliott Carter often bases his all-interval sets on the list generated by Bauer-Mendelberg and Ferentz and uses them as a "
tonic " sonority Play (
help ·
info).
25.
Bauhaus
–
The Bauhaus was founded by Walter Gropius in Weimar. Nonetheless, it was founded with the idea of creating a work of art in which all arts, including architecture. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design, the Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Although the school was closed, the continued to spread its idealistic precepts as they left Germany. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated, Gropius did not share these radical views, thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. In its first seven years, the Werkbund came to be regarded as the body on questions of design in Germany. The entire movement of German architectural modernism was known as Neues Bauen, beginning in June 1907, Peter Behrens pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. Behrens was a member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity, beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a minimal dwelling written into the new Weimar Constitution, ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, the Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization, the two schools were the first to train artist-designers in a modern manner. Vkhutemas was a school than the Bauhaus, but it was less publicised outside the Soviet Union. With the internationalism of modern architecture and design, there were exchanges between the Vkhutemas and the Bauhaus. In addition, El Lissitzkys book Russia, an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there. The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906
Bauhaus
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The Bauhaus Dessau.
Bauhaus
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1921/2,
Walter Gropius '
Expressionist Monument to the March Dead
Bauhaus
–
Typography by
Herbert Bayer above the entrance to the workshop block of the Bauhaus, Dessau, 2005
Bauhaus
–
The Bauhaus Museum - Tel Aviv
26.
John Cage
–
John Milton Cage Jr. was an American composer, music theorist, writer, philosopher, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of dance, mostly through his association with choreographer Merce Cunningham. The content of the composition is not four minutes and 33 seconds of silence, as is often assumed, the works challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the piano, for which he wrote numerous dance-related works. The best known of these is Sonatas and Interludes and his teachers included Henry Cowell and Arnold Schoenberg, both known for their radical innovations in music, but Cages major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, the I Ching, an ancient Chinese classic text on changing events, became Cages standard composition tool for the rest of his life. Cage was born September 5,1912, at Good Samaritan Hospital in downtown Los Angeles and his father, John Milton Cage, Sr. was an inventor, and his mother, Lucretia Harvey, worked intermittently as a journalist for the Los Angeles Times. The familys roots were deeply American, in a 1976 interview, John Milton Sr. taught his son that if someone says cant that shows you what to do. In 1944–45 Cage wrote two small character pieces dedicated to his parents, Crete and Dad, the latter is a short lively piece that ends abruptly, while Crete is a slightly longer, mostly melodic contrapuntal work. During high school, one of his teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer and he graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being hushed and silent, he said, we should have the opportunity to hear other people think. Cage enrolled at Pomona College in Claremont as a major in 1928. Instead of doing as they did, I went into the stacks, I received the highest grade in the class. That convinced me that the institution was not being run correctly, Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris, Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it and he then took up painting, poetry and music
John Cage
–
John Cage (1988)
John Cage
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John Cage (left) and
Michael Bach in Assisi, Italy, 1992
John Cage
–
Variations III, No. 14, a 1992 print by Cage from a series of 57.
27.
Opera
–
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
Opera
–
The performers from the Atlanta Opera sing the finale of
Lucia di Lammermoor. The
opera orchestra is visible in the lowered area in front of the stage.
Opera
–
The
Palais Garnier of the
Paris Opéra, one of the world's most famous
opera houses.
Opera
–
Claudio Monteverdi
Opera
–
George Frideric Handel, 1733
28.
Vsevolod Meyerhold
–
Vsevolod Emilevich Meyerhold was a Russian and Soviet theatre director, actor and theatrical producer. His provocative experiments dealing with physical being and symbolism in a theatre setting made him one of the seminal forces in modern international theatre. During the Great Purge, Meyerhold was arrested, tortured and executed in February 1940 and he was the youngest of eight children. After completing school in 1895, Meiergold studied law at Moscow University and he was torn between studying theatre or a career as a violinist. However, he failed his audition to become the second violinist in the University orchestra, on his 21st birthday, he converted from Lutheranism to Orthodox Christianity and accepted Vsevolod as an Orthodox Christian name. Meyerhold began acting in 1896 as a student of the Moscow Philharmonic Dramatic School under the guidance of Vladimir Nemirovich-Danchenko, co-founder of the Moscow Art Theatre. At the MAT, Meyerhold played 18 roles, such as Vasiliy Shuiskiy in Tsar Fyodor Ioannovich and Ivan the Terrible in The Death of Ivan the Terrible, after leaving the MAT in 1902, Meyerhold participated in a number of theatrical projects, as both a director and actor. Each project was an arena for experiment and creation of new staging methods, Meyerhold was one of the most fervent advocates of Symbolism in theatre, especially when he worked as the chief producer of the Vera Komissarzhevskaya theatre in 1906–1907. He was invited back to the MAT around this time to pursue his experimental ideas, Meyerhold continued theatrical innovation during the decade 1907–1917, while working with the imperial theatres in St. Petersburg. He introduced classical plays in a manner, and staged works of controversial contemporary authors like Fyodor Sologub, Zinaida Gippius. In these plays, Meyerhold tried to return acting to the traditions of Commedia dellarte and his theoretical concepts of the conditional theatre were elaborated in his book On Theatre in 1913. The Russian Revolution of 1917 made Meyerhold one of the most enthusiastic activists of the new Soviet Theatre and he joined the Bolshevik Party in 1918 and became an official of the Theatre Division of the Commissariat of Education and Enlightenment. In 1918–1919, Meyerhold formed an alliance with Olga Kameneva, the head of the Division, together, they tried to radicalize Russian theatres, effectively nationalizing them under Bolshevik control. Meyerhold came down with tuberculosis in May 1919 and had to leave for the south, after returning to Moscow, Meyerhold founded his own theatre in 1920, which was known from 1923 as the Meyerhold Theatre until 1938. Meyerhold confronted the principles of theatrical academism, claiming that they are incapable of finding a common language with the new reality, Meyerhold’s methods of scenic constructivism and circus-style effects were used in his most successful works of the time. Some of these works included Nikolai Erdmans The Mandate, Vladimir Mayakovsky’s Mystery-Bouffe, Fernand Crommelyncks Le Cocu magnifique, mayakovsky collaborated with Meyerhold several times, and was said to have written The Bedbug especially for him, Meyerhold continued to stage Mayakovskys productions even after the latters suicide. The actors participating in Meyerhold’s productions acted according to the principle of biomechanics, Meyerhold gave initial boosts to the stage careers of some of the most distinguished comic actors of the USSR, including Sergey Martinson, Igor Ilyinsky and Erast Garin. Energy was replaced by trance, the dynamic with the static, happy jesting humour with bitter, Meyerhold also gave a start to his one time assistant of The Queen of Spades Matvey Dubrovin, who later created his own theater in Leningrad
Vsevolod Meyerhold
–
Meyerhold preparing for the role of Treplev for the
Moscow Art Theater 1898 production of
The Seagull by
Anton Chekhov
Vsevolod Meyerhold
–
Vsevolod Meyerhold by
Boris Grigoriev, 1916
Vsevolod Meyerhold
–
Alexander Golovin 's portrait of Meyerhold.
Vsevolod Meyerhold
–
Meyerhold's mugshot, taken at the time of his arrest by Soviet police
29.
Vladimir Mayakovsky
–
Vladimir Vladimirovich Mayakovsky was a Russian Soviet poet, playwright, artist, and actor. Mayakovsky often found engaged in confrontation with the increasing involvement of the Soviet State in cultural censorship. Even after death his relationship with the Soviet state remained unsteady, Vladimir Vladimirovichs mother Alexandra Alexeyevna, was a housewife, looking after the children, a son and two daughters, Olga and Lyudmila. The family was of Russian and Zaporozhian Cossack descent on their fathers side, at home the family spoke Russian. With his friends and at school Mayakovky used Georgian, I was born in the Caucasus, my father is a Cossack, my mother is Ukrainian. Thus three cultures are united in me, he told the Prague newspaper Prager Presse in a 1927 interview, Georgia for Mayakovsky remained the eternal symbol of beauty. I know, its nonsense, Eden and Paradise, but since people sang about them // It must have been Georgia, the joyful land, in 1902 Mayakovsky joined the Kutais gymnasium where, as a 14-year-old he took part in socialist demonstrations at the town of Kutaisi. His mother, aware of his activities, apparently didnt mind, people around warned us we were giving a young boy too much freedom. But I saw him developing according to the new trends, sympathized with him and pandered to his aspirations, she later remembered. After the sudden and premature death of his father in 1906 the family — Mayakovsky, his mother, in July 1906 Mayakovsky joined the 4th form of the Moscows 5th Classic gymnasium and soon developed a passion for Marxist literature. For me it was philosophy, Hegel, natural sciences, but first and foremost, thered be no higher art for me than The Foreword by Marx, he recalled in the 1920s in his autobiography I, Myself. In 1908, the boy was dismissed from the gymnasium because his mother was no able to afford the tuition fees. For two years he studied at the Stroganov School of Industrial Arts, where his sister Lyudmila had started her studies a few years earlier. As a young Bolshevik activist, Mayakovsky distributed propaganda leaflets, possessed a pistol without a license and this resulted in a series of arrests and finally an 11-month imprisonment. It was in a confinement of the Moscow Butyrka prison that Mayakovsky started writing verses for the first time. Revolution and poetry got entangled in my head and became one, he wrote in I, as an underage person, Mayakovsky avoided a serious prison sentence and in January 1910 was released. A warden confiscated the young mans notebook, and years later Mayakovsky conceded that was all for the better, upon his release from prison, Mayakovsky remained an ardent Socialist, but realized his own inadequacy as a serious revolutionary. Having left the Party, he concentrated on education, sat down and started to learn… Now my intention was to make the Socialist art, he later remembered
Vladimir Mayakovsky
–
Mayakovsky in 1924
Vladimir Mayakovsky
–
The Mayakovskys in Kutaisi
Vladimir Mayakovsky
–
Mayakovsky in 1910
Vladimir Mayakovsky
–
Mayakovsky (center) with the fellow Futurist group members
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