358:
426:; however, the conductor's score published by Kalmus includes a note that the sheet is to be vibrated at each vertical accent and for the sheet to vibrate naturally between beats. The last ten measures of the piece accelerate and grow louder until the penultimate measure, where most of the instrumentation drops away. The horn and trumpet play a brief figure and the full orchestra returns to end the piece with a
350:
At the trio, the machine suddenly shuts down. Upper winds and the snare drum push forward to a syncopated exchange between the low brass and upper winds and marked by the bass drum and tam-tam. This gives way to a steady, march-like timpani motif that drives the orchestra back to the atmosphere of
341:
that begin in a few instruments and, measure by measure, are added to the sound until the instruments join together to suggest the sound of a factory at work. By measure twenty-seven, the overlapping instruments create a deliberate and machine-like sound above which the horns are directed to stand
322:
across the orchestra that build slowly to a trio section, after which it returns to the feeling of the allegro beginning for the coda. In this way
Mosolov "coordinates the mechanistic rhythms into specific orchestral groups that work together like cogs in a well-oiled machine." Mosolov uses a live
145:
on
September 6, 1930, where it was critically acclaimed. One critic said of the piece, "We have ... a kind of lyrical theme, the song of steel, or possible of man, the ironmaster. ... t is an essentially musical idea carried out with convincing skill, and as a concluding piece to an orchestral
414:
Now the machine has returned to full power. Musical ideas from the introduction are reintroduced, and the piccolo and iron sheet are added to the texture. Some performances, including those of the
85:
of 1917, romantic music—though not banned—fell from prominence as it was a remnant of the deposed ruling class, and experimental and revolutionary ideas flourished. In 1923, the
117:
on
December 4, 1927, in a concert by the Association for Contemporary Music commemorating the tenth anniversary of the Russian Revolution. The same concert featured
138:
969:
615:
422:, interpret the iron sheet part (see figure) as both for iron sheet and orchestral anvil, with anvil strikes on every beat as indicated by the vertical
378:
377:
974:
86:
950:
920:
835:
719:
729:
Hammer, Les (1997). Dorris, George; Anderson, Jack (eds.). "'The Spirit of the
Factory': Adolph Bolm's Post-Moderne Masterpiece".
207:
177:—which opened to "rousing ovations, rapturous reviews, and popular demands" for an encore performance. This was the first time
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385:
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122:
189:
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826:(2005). "Alexander Vasil'yevich Mosolov". In Woodstra, Chris; Brennan, Gerald; Schrott, Allen (eds.).
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Makanowitzky, Barbara (July 1965). Mohrenschildt, Dimitri (ed.). "Music to Serve the State".
854:
786:
774:
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389:
337:
The piece begins as a representation of the start of the machine, with a tam-tam stroke and
181:
was performed for a stage performance, although it was never staged as originally intended.
53:
29:
448:
113:
was presented as the first movement of an orchestral suite from the ballet, premiered in
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244:
591:"Various Artists \ A Young Person's Guide to the Avant-Garde [LTMCD 2569]"
56:. It was composed between 1926 and 1927 as the first movement of the ballet suite
376:
479:
443:
264:
154:
742:
401:
288:
866:
798:
790:
750:
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Ferenc, Anna (2004). "Music in the socialist state". In
Edmunds, Neil (ed.).
686:
882:
814:
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702:
292:
203:
828:
All Music Guide to
Classical Music: The Definitive Guide to Classical Music
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66:, "In Prison," "At the Ball," and "On the Square" have been lost, and
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114:
913:
Music for the
Revolution: Musicians and Power in Early Soviet Russia
220:
concerts at Chase Center, San
Francisco on September 6 and 8, 2019.
858:
678:
193:
280:
240:
906:(Musical score), Boca Raton, FL: Edwin F. Kalmus, KM.A8127-FSC.
777:(July 1937). Engel, Carl (ed.). "Soviet Music and Musicians".
897:(Musical score), Hamburg: Musikverlag Hans Sikorski, SIK1585.
329:, which uses mechanical elements to reach its musical goals.
356:
89:
was founded for avant-garde composers. Mosolov, his teacher
323:
orchestra to create a factory-like sound, unlike
Antheil's
315:. It begins with an allegro section, consisting of brief
70:
is performed today as a standalone orchestral episode.
665:
Evans, Edwin (October 1, 1930). "The Liége
Festival".
188:
performed an early recording of the piece in 1934 for
939:
Music of the Repressed Russian Avant-Garde, 1900–1929
137:. Mosolov's composition was performed at the eighth
830:. San Francisco: Backbeat Books. pp. 881–2.
165:(not to be confused with the 1924 composition by
48:, is the most well-known work by Soviet composer
16:For the factory that makes castings of iron, see
714:. Abingdon, England: Routledge. pp. 8–18.
712:Soviet Music and Society under Lenin and Stalin
384:Transition from trio to coda. Performed by the
57:
37:
8:
139:International Society for Contemporary Music
941:. Westport, CT: Greenwood Press. pp.
537:
535:
146:programme it deserves to become popular."
915:. University Park, PA: Penn State Press.
935:"Alexander V. Mosolov: The Man of Steel"
737:(2). New York: Marcel Dekker: 191–208.
495:
101:was originally composed for the ballet
42:), Op. 19, commonly referred to as the
399:
342:and play the main theme of the piece.
105:with a scenario by Inna Chernetskaya.
62:("Steel"). The remaining movements of
785:(3). New York: G. Schirmer: 295–305.
502:
7:
81:is a product of its time. After the
673:(1052). London: Novello: 898–902.
649:
87:Association for Contemporary Music
14:
970:Compositions by Alexander Mosolov
637:
625:
184:Conducted by Julius Ehrlich, the
895:Die Eisengießerei "Iron Foundry"
400:Problems playing this file? See
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208:San Francisco Symphony Orchestra
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565:
541:
526:
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149:At the Hollywood Bowl in 1931,
553:
186:Orchestre Symphonique de Paris
97:, and other composers joined.
52:and a prime example of Soviet
1:
447:, a 1923 orchestral piece by
420:Royal Concertgebouw Orchestra
386:Royal Concertgebouw Orchestra
206:performed the piece with the
904:The Foundry (Machine-Music)
303:, iron sheet, and strings.
58:
38:
1006:
853:(3). Hanover, NH: 266–77.
133:, and Leonid Polovinkin's
109:was never staged; instead
15:
975:Music of the Soviet Union
743:10.1080/01472529708569279
214:conducting, during their
159:The Spirit of the Factory
153:was used as the music to
33:
416:Interlochen Arts Academy
311:The piece is written in
192:, who released it as a
791:10.1093/mq/xxiii.3.295
485:Russian Constructivism
361:
25:Factory: machine-music
779:The Musical Quarterly
360:
212:Michael Tilson Thomas
196:record with the name
911:Nelson, Amy (2004).
39:Zavod: muzyka mashin
339:repetitious figures
95:Dmitri Shostakovich
34:Завод: музыка машин
891:Mosolov, Alexander
650:Mosolov ed. Kalmus
458:, a 1924 piece by
362:
91:Nikolai Myaskovsky
83:Russian Revolution
990:1927 compositions
980:Russian formalism
775:Kozlenko, William
667:The Musical Times
503:Makanowitzky 1965
465:Alexander Mosolov
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171:Mechanical Ballet
127:Nikolai Roslavets
50:Alexander Mosolov
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175:The Iron Foundry
163:Ballet mécanique
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224:Instrumentation
161:—known also as
123:Second Symphony
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985:Futurist music
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277:bass trombone
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253:bass clarinet
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599:. Retrieved
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510:
498:
453:
442:
413:
369:Iron Foundry
368:
349:
336:
333:Introduction
324:
313:ternary form
310:
245:English horn
229:Iron Foundry
228:
227:
215:
202:
197:
183:
179:Iron Foundry
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174:
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162:
158:
151:Iron Foundry
150:
148:
141:festival in
134:
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119:Shostakovich
111:Iron Foundry
110:
106:
102:
99:Iron Foundry
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79:Iron Foundry
78:
77:
68:Iron Foundry
67:
63:
45:Iron Foundry
44:
43:
24:
23:
22:
578:Hammer 1997
566:Hammer 1997
542:Ferenc 2004
527:Sitsky 1994
515:Nelson 2004
480:Suprematism
444:Pacific 231
392:, conductor
157:'s ballet,
155:Adolph Bolm
964:Categories
659:References
626:Lewis 2005
554:Evans 1930
402:media help
289:snare drum
129:' cantata
893:(1958) ,
867:0036-0341
799:0027-4631
751:0027-4666
687:0027-4666
640:, p. 302.
628:, p. 882.
601:7 January
580:, p. 191.
568:, p. 192.
556:, p. 901.
517:, p. 200.
505:, p. 267.
428:sforzando
317:chromatic
293:bass drum
273:trombones
249:clarinets
204:Metallica
933:(1994).
883:47075590
815:53165498
767:48483212
703:53165808
544:, p. 12.
529:, p. 61.
475:Futurism
437:See also
307:Analysis
269:trumpets
267:, three
257:bassoons
217:S&M2
190:Columbia
135:Prologue
424:accents
320:figures
301:tam-tam
297:cymbals
285:timpani
263:, four
233:piccolo
131:October
74:History
30:Russian
18:foundry
949:
919:
881:
875:126628
873:
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807:738987
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759:916883
757:
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718:
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695:916883
693:
685:
597:. 2013
279:, and
271:, two
255:, two
247:, two
239:, two
237:flutes
235:, two
173:, and
115:Moscow
943:60–86
871:JSTOR
803:JSTOR
783:XXIII
755:JSTOR
691:JSTOR
652:p. 3.
491:Notes
265:horns
241:oboes
194:78rpm
143:Liège
64:Steel
947:ISBN
917:ISBN
879:OCLC
863:ISSN
832:ISBN
811:OCLC
795:ISSN
763:OCLC
747:ISSN
716:ISBN
699:OCLC
683:ISSN
603:2023
431:stab
418:and
410:Coda
346:Trio
281:tuba
107:Stal
103:Stal
59:Stal
855:doi
787:doi
739:doi
675:doi
169:),
121:'s
966::
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