484:, the leaders of the Composers' Union of the Soviet Union banned a concert entirely devoted to the composer. After the first publication about Roslavets's original theoretical concept, based on archival materials (Lobanova 1983) had appeared, M. Lobanova's lecture on Roslavets's musical-theoretical system, declared in the program of the international conference "Musica nel nostro tempo" (Milan) was forbidden in 1984: leading functionaries of the Composers' Union of the Soviet Union had accused the researcher of "illegal contacts to the West." After that, dismissal by Lobanova from the Moscow conservatory was attempted as well as deprivation of her scientific degree and rights for teaching; soon, they tried to use an application of retaliatory psychiatry with the dissident diagnosis against Lobanova.
1284:
289:, Roslavets could get no official position for the remainder of his life. Roslavets was not admitted to the Composers' Union, instead he became a member of the Musical Fund. Punitive measures against him had been planned in 1938, and the former "proletarian musicians" had already spread disinformation about him; however Roslavets suffered a severe stroke in 1939 and was a disabled until his death following a second stroke in 1944. His last publication, a song, appeared in 1942.
1738:
1748:
31:
445:
Roslavets belonged "to the arrested peoples’ enemies," did not improve the situation; Roslavets's oeuvre was suppressed. In 1967 the employee of the Glinka-Museum, Georgi Kirkor, refused
Efrosinya Roslavets access to the museum's materials; Kirkor declared Nikolai Roslavets "to be alien to the people" and accused the composer of "relations with the world of
274:, Georgi Polyanovsky, Alexey Sergeev and Boris Shekhter. It resulted in a professional prohibition of employment. In 1930 Roslavets was banned from obtaining a position as a political editor for two years. In order to save his life, Roslavets had to publicly repent for his former "political mistakes".
112:
There are three autobiographies by
Roslavets that differ considerably from one another. In one of them, published 1924, the composer deliberately misrepresented his biography in order to prevent the attacks by the "Proletarian Musician" faction. There are differing accounts of Roslavets' birthplace,
487:
In 1989 Efrosinja
Roslavets requested the Moscow composer organisation, that had just proclaimed itself to be independent from Tikhon Khrennikov's Composers' Union of the Soviet Union, to reconstruct and publish Roslavets's works and to restore Roslavets's grave. In 1990, with the assistance of the
444:
In 1967 the composer's niece
Efrosinya Roslavets undertook the first steps to rehabilitate her uncle. It has been found that the composer never submitted to the politically repressive measures. This important step, that the refusal to play Roslavets's compositions was justified for the reason that
456:
For thirty years, Roslavets's name, expunged from the musical dictionaries, was hardly mentioned in Soviet musical literature. His name reappeared in a Soviet musical dictionary in 1978 in a negative context. Typical of the highly negative official attitude towards
Roslavets were sentences like
1059:
Gojowy D. Die
Musikavantgarde im Osten Europas. Eine Einführung. In: "Internationale Musik-Festivals Heidelberg 1991 und 1992. Russische Avantgarde. Musikavantgarde im Osten Europas. Dokumentation – Kongressbericht." Heidelberg 1992, pp. 145–150; Gojowy D. Wiederentdeckte Vergangenheit. Die
269:
was played in the concert in Moscow celebrating the 10th anniversary of the
Revolution. In 1930 Roslavets was accused of being a "protector" of the Association of the Moscow Authors which according to the group "Proletarian Musician" was promoting "light music" and "spreading of the
588:
Violin
Concerto No. 1 (1925) — Schott ED 7823 (score) (copublication with Sov. Kompozitor, 1990); violin and piano arrangement made by the composer published in 1927 by Muzykal'nyi Sektor Gosudarstvennovo izd-va (engraved) (a manuscript violin and piano reduction is now issued by
420:. The works of his last years in Moscow show a simplification of his characteristic language to admit an expanded conception of tonality (for instance in the 24 Preludes for violin and piano), but are still highly professional. Among Roslavets' later compositions, the
216:, Roslavets fought for professionalism, the best in Russian, Western classical and New Music; criticizing vulgar identifications of music with ideology (exemplified in his article ‘On pseudo-proletarian music’). He wrote the first Russian article about
362:, most of Roslavets’ "synthetic chords" consist of six to nine tones. In the 1920s Roslavets developed his system, expanding it to encompass counterpoint, rhythm, and musical form while elaborating new principles of teaching. In Roslavets' earlier
1060:
russisch-sowjetische
Avantgarde der 10er und 20er Jahre rehabilitiert? – In: Neue Musik im politischen Wandel. Veröffentlichungen des Darmstädter Instituts für Neue Musik und musikalische Erziehung, Bd. 32. Mainz 1991, S. 9–22
432:
After
Roslavets's death his apartment was ransacked by a group of former "Proletarian Musicians" who confiscated many manuscripts. Roslavets's widow succeeded in hiding many manuscripts; afterwards she handed them over to
351:." Although in the 1920s Roslavets criticized Scriabin because of his "oversimplification", the "new system of sound organisation" was first of all inspired by Scriabin's ideas and concepts as these were transmitted by
488:
head of the Moscow composer organisation, Georgi Dmitriev, Roslavets's grave was identified and restored. Later Roslavets's grave was destroyed again, and all protests remain until now unsuccessful.
347:
had already stressed the original nature of Roslavets' style. In an article published in 1925 the critic Yevgeni Braudo pointed out that this was no more helpful than calling Schoenberg "the German
464:(1934–2008) had been promoting Roslavets. For his activities Gojowy was constantly ideologically attacked on behalf of the officials of the Soviet Composers' Union, in particular personally by
441:, or Russian state archive for literature and art). Some manuscripts were kept by Roslavets's pupil, P. Teplov; now they are in the State Central Glinka-Museum for Musical Culture.
176:
journals, and futurist artists designed some covers for his music. After 1917 the composer became one of the most prominent public figures of "leftist art" in Russia, together with
472:. The copies of his articles which the journalist sent to his Soviet colleagues were confiscated by the Soviet customs; Gojowy himself was not allowed to get a Soviet visa.
1181:"Internationale Musik-Festivals Heidelberg 1991 und 1992. Russische Avantgarde. Musikavantgarde im Osten Europas. Dokumentation – Kongressbericht ". Heidelberg 1992.
480:
On December, 27th 1980 a concert took place at Mark Milman's club for Chamber music; a section of this concert was devoted to Roslavets's music. According to
1827:
227:
457:
those: "Roslavets is our enemy," "he is a composer whose music is not worth the paper on which it is written down," "Roslavets's tomb should be destroyed."
1330:
343:). Following an article of Vyacheslav Karatygin, published in February 1915, Roslavets was sometimes referred to as "the Russian Schoenberg," but in 1914
196:(then known as Kharkov, where he was director of the Musical Institute) and Moscow. He had a position in the State Publishing House, edited the journal
117:
to a peasant family, while he actually was born in 1881 into the family of a railway clerk (of Ukrainian origin, according to Detlef Gojowy) posted in
1302:
401:(1928), demonstrates an extraordinary mastery, a very complex and highly modern compositional technique, far from the simplification typical for "
328:, Roslavets' quest for a personal language began not later than in 1907; it led to his propounding a "new system of sound organisation" based on "
1832:
226:. This led to him being harshly attacked in the 1920s by the "proletarian musician" movement, especially by the representatives of the "RAPM"
1246:
285:. In 1933 the composer returned to Moscow, where he earned a meager living by teaching and taking occasional jobs. A victim of the political
270:
counter-revolutionary literature". The "Roslavets case" was led by Viktor Bely, Alexandr Davidenko, V. Klemens, Yuri Keldysh, Semion Korev,
1787:
874:
1837:
1822:
201:
1168:
1201:, edited by J. Braun, H. T. Hoffmann, and V. Karbusicky, pp. 159–76. Frankfurt am Main: Peter Lang, 1995. Second edition 1998.
1199:
Verfemte Musik. Komponisten in den Diktaturen unseres Jahrhunderts. Dokumentation des Kolloquiums vom 9.–12. Januar 1993 in Dresden
1812:
374:. The mature forms of this "new system of sound organization" are typical for the pieces composed between 1913 and 1917, such as
1807:
1323:
1817:
1797:
531:, cantata after Vasily Alexandrovsky, Vladimir, Kirillov, Sergey Obradovich—mezzo-soprano, mixed chorus and orchestra (1927)
1609:
393:, Roslavets made an important contribution to the "revolutionary propaganda in music" in such compositions as the cantata
46:
1145:
Gojowy D. "Wiederentdeckte Vergangenheit. Die russisch-sowjetische Avantgarde der 10er und 20er Jahre rehabilitiert?" In
1802:
1147:
Neue Musik im politischen Wandel. Veröffentlichungen des Darmstädter Instituts für Neue Musik und musikalische Erziehung
1782:
1659:
1348:
901:
1222:, pp. 241–72 . Mitteilungen der internationalen Arbeitsgemeinschaft an der Universität Leipzig 10. Leipzig 2005.
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1316:
1133:
Lobanova, Marina. "L’eredità die N. A. R. ne campo della teoria musicale". "Musica/Realtà" 12 (1983), p. 41–64
1792:
292:
He is buried in Vagan'kov cemetery in Moscow and the authorities have now granted permission to mark his grave.
142:
1729:
1298:
1256:
von Arnold Schönberg. Übersetzung, Einleitung (Roslawez und Schönberg) und Kommentar von Marina Lobanova".
938:
von Arnold Schönberg. Übersetzung, Einleitung (Roslawez und Schönberg) und Kommentar von Marina Lobanova",
1751:
1710:
1293:
1694:
1194:
Lobanova, Matina. "Der Fall Nikolaj Roslawez". "Neue Zeitschrift für Musik" 1995, no. 1; pp. 40–43.
413:
337:
235:
234:" (Production Collective of the Students at the Moscow Conservatory). Roslavets was accused of being a "
54:
1136:
Gojowy D. "Sinowi Borissowitsch im Keller entdeckt. Sowjetische Musikwissenschaft in der Perestrojka".
829:
Four Compositions (1919–1921): Prélude (lost); Poème; Prélude (lost); Prélude — Schott (in preparation)
468:, and the magazine "Soviet Music." Until 1989, Gojowy was treated as a "militant anti-communist" and a
453:, a close friend of Roslavets, had promoted Jewish music; the ASM had also promoted Jewish composers.
424:(1934–35) demonstrates one of the peaks of his "new system of sound organisation" in its later phase.
332:" that contain both the horizontal and vertical sound-material for a work (a concept close to that of
1777:
1772:
390:
386:(1913–14), and the Piano Sonatas Nos. 1 (1914) and 2 (1916, reconstructed by Eduard Babasian), etc.
366:
and chamber instrumental compositions those sets were already elaborated side by side with expanded
134:
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461:
300:
While still a student, Roslavets had been engaged in vigorous artistic debates provoked by Russian
243:
130:
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1589:
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1112:
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185:
146:
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1492:
1387:
1339:
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1164:
850:
602:
Chamber symphony for 18 players (1934–35) — ed. by M. Lobanova; Kompositor International 51581
469:
465:
402:
333:
217:
1187:
Lobanova, Marina. "Nikolaj Roslawez. Biographie eines Künstlers—Legende, Lüge, Wahrheit". In
412:, he turned for a while to working with folk material, producing among other works the first
231:
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305:
181:
177:
173:
138:
1073:, with a foreword by György Ligeti (Frankfurt/Main: Peter Lang, 1997), pp. 13–20; Lobanova
537:, symphonic poem—mixed chorus and orchestra (1928) — ed. by Marina Lobanova; Schott ED 8256
1624:
1522:
1472:
905:
559:
3 Volumes ed. by Marina Lobanova by Schott Music International: Schott ED 8435, 8436, 8437
363:
359:
313:
222:
81:
70:
1211:
Lobanova, Marina. "Das neue System der Tonorganisation von Nikolaj Andreevič Roslavec".
1674:
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1619:
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576:
522:
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85:
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58:
50:
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592:
Violin Concerto No. 2 (1936) — ed. by Marina Lobanova; Kompositor International 52700
317:
97:
69:
composer of Belarusian and Ukrainian origin. Roslavets was a convinced modernist and
776:
Three Compositions (1914) — Schott ED 7907 . First published 1915 (author's edition)
1689:
1644:
1558:
1553:
1432:
1422:
1392:
1377:
1032:
E.Roslavets' letter to M. Lobanova from 22.06.1987; cited in: Lobanova 1997, p. 48.
897:
569:
Symphony in C minor (1910) — ed. by Marina Lobanova; Kompositor International 51585
325:
126:
93:
89:
779:
Two Compositions (1915) — Schott ED 7907 . First published 1915 (author's edition)
1629:
1614:
543:, symphonic poem after Alexandre Zharov—bass, chorus and orchestra (1929?), lost
271:
239:
161:
30:
125:, where Roslavets began to study violin, piano, theory of music and harmony in
1679:
1669:
1639:
1372:
826:
Prelude (1919 or 1921) — reconstructed by M. Lobanova; Schott (in preparation)
678:
No. 4 (1920) — published in 1926 (see IMSLP); also available as Schott ED 8044
358:
Though the "new system of sound organisation" regulates the whole twelve-tone
282:
247:
213:
157:
101:
1174:
Hust "Chr. Tonalitätskonstruktion in den Klaviersonaten von N. A. Roslavec".
1664:
1584:
1467:
987:
Music of the Repressed Russian Avant-garde, 1900–1929 By Larry Sitsky, pg.41
579:(approx. 1912–13) — reconstructed and ed. by Marina Lobanova; Schott ED 8107
371:
340:
66:
735:
Sonata No. 1 (1926) — reconstructed and ed. by M. Lobanova; Schott ED 8177
1184:
McKnight "Ch. Nikolaj Roslavets". Diss. Ithaca: Cornell University, 1994.
409:
367:
301:
278:
251:
114:
17:
1208:, with a foreword by György Ligeti. Frankfurt am Main: Peter Lang, 1997.
996:
Lobanova 1983; 1997, pp. 132–88; 2001; 2004, S. 226–232 1983; 1997; 2001
446:
263:
193:
150:
129:'s musical classes. In 1902 Roslavets was accepted as a student at the
118:
1197:
Lobanova M. Nikolaj. "Roslavetz—Ein Schicksal unter der Diktatur". In
189:
62:
1103:
Foreman, Lewis. "In Search of a Soviet Pioneer: Nikolai Roslavets",
788:
No. 1 (1914) — Published by Muzyka, 1990 (edited by Eduard Babasyan)
900:
Andreevich Roslavetz. Internet Edition compiled by Onno van Rijen)
672:
No. 2 (1917) — reconstructed and ed. by M. Lobanova; Schott ED 8043
645:
No. 2 (1920) — reconstructed and ed. by M. Lobanova; Schott ED 8059
1308:
1218:
Lobanova, Marina. "Nicolaj Roslavec und sein tragisches Erbe". In
438:
437:(Central state archive for literature and art, Moscow; now called
286:
122:
29:
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No. 6 (1930s) — identified and ed. by M. Lobanova; Schott ED 8431
242:" artist, "alien to the proletariat", as well as "formalist", a "
651:
No. 4 (1927) — identified and ed. by M. Lobanova; Schott ED 8036
613:
609:
73:
thinker; his music was officially suppressed from 1930 onwards.
1312:
172:
In the 1910s Roslavets' compositions were published in Russian
1189:
Visionen und Aufbrüche. Zur Krise der modernen Musik 1908–1933
823:(1919) — reconstructed by M. Lobanova; Schott (in preparation)
549:(14. IV. 1930) after Pimen Panchenko—bass and orchestra (1930)
835:
Two Poems (1920) — published 1928 (Muzgiz, Universal Edition)
763:
Sonata No. 2 (1921–1922) — ed. by M. Lobanova; Schott ED 8039
791:
No. 2 (1916) — reconstructed by Eduard Babasyan; Schott 8391
1227:
Magier, Theosoph, Theurg: Alexander Skrjabin und seine Zeit
1191:, edited by W. Gruhn, et al.. Kassel 1994, pp. 45–62.
1110:
Gojowy D. "N. A. Roslavec, ein früher Zwölftonkomponist".
738:
Sonata No. 2 (1930s) — ed. by M. Lobanova; Schott ED 8178
449:". This dangerous accusation was caused by the fact that
1206:
M. Nikolaj Andreevič Roslavec und die Kultur seiner Zeit
1154:
Beobachtungen, Verfolgungen und Chroniken neuer Tonkunst
1071:
M. Nikolaj Andreevič Roslavec und die Kultur seiner Zeit
397:(1927) and numerous songs. However, his symphonic poem
188:
and others. Roslavets taught violin and composition in
1088:
M. Nikolai Andreyevich Roslavets i kultura ego vremeni
1075:
M. Nikolai Andreyevich Roslavets i kultura ego vremeni
1107:, New Series, No. 135, (Dec., 1980), pp. 27–29.
690:
Trois poèmes: Poéme douloureux, Poème lyrique, Poème
525:(before 1919) – baritone, chorus and orchestra; lost
320:
and others. Deeply influenced by the later works of
149:. He graduated in 1912, with a silver medal for his
1703:
1573:
1533:
1362:
1355:
1239:
Nikolai Andreyevich Roslavets i kultura ego vremeni
884:
882:
277:During 1932–33 he worked at the Musical Theater in
355:, a close friend of both Scriabin and Roslavets.
898:http://home.online.nl/ovar/roslavetz.htm(Nikolai
773:Three Etudes (1914) — published 1914 by Grosse
585:— symphonic poem after Baudelaire (1921), lost
1324:
1077:(St. Petersburg: Petroglif, 2011), pp. 11–21.
502:"Pakhta" (Cotton), ballet-pantomime (1931–32)
141:, counterpoint, fugue and musical form under
8:
616:, 2 violas and cello (1913) — Schott ED 8129
246:" and in the late 1920s and early 1930s, a "
228:Russian Association of Proletarian Musicians
751:(1912) — ed. by M. Lobanova; Schott ED 8045
1359:
1331:
1317:
1309:
1272:Studien zum russischen Musikdenken um 1920
622:No. 1 (1913) — published ca.1913 by Grosse
1303:International Music Score Library Project
1090:(St. Petersburg: Petroglif, 2011), p. 13.
1220:Musikgeschichte in Mittel- und Osteuropa
1119:Gojowy D. "Sowjetische Avantgardisten".
832:Five Preludes (1919–22) — Schott ED 7907
867:
1274:. Frankfurt am Main: Peter Lang, 1991.
725:24 Preludes (1941–42) — Schott ED 7940
380:Three Compositions for Voice and Piano
1233:Die Musik in Geschichte und Gegenwart
1149:, vol. 32, pp. 9–22. Mainz 1991.
1128:Neue sowjetische Musik der 20er Jahre
460:In the West, the German musicologist
384:Four Compositions for Voice and Piano
382:(1913), String Quartet No. 1 (1913),
7:
760:Sonata No. 1 (1921) — published 1924
113:some indicating that he was born in
1828:20th-century Russian male musicians
1285:Works by or about Nikolai Roslavets
1241:. St. Petersburg: Petroglif, 2011.
692:(1909–10) — Schott (in preparation)
304:, and was close to artists such as
1014:Lobanova 1997, pp. 189–95, 208–11.
575:, symphonic poem presumably after
202:Association for Contemporary Music
200:and was one of the leaders of the
25:
1161:Music of the Soviet Age 1917–1987
698:(1910s) — Schott (in preparation)
1746:
1737:
1736:
1299:Free scores by Nikolai Roslavets
817:(1919) — Schott (in preparation)
811:(1919) — Schott (in preparation)
800:No. 5 (1923) — published in 1925
722:(1935) — Schott (in preparation)
628:No. 3 (1920) — published in 1929
1294:Schott Musik International Site
782:Prelude (1915) — Schott ED 7907
631:No. 4 (1939) (incomplete score)
1610:Modes of limited transposition
875:Nikolaj Andrejewitsch Roslawez
714:Seven Pieces in first position
648:No. 3 (1921) — published 1925.
133:where he studied violin under
80:(three of them are lost), two
65:) was a significant Ukrainian
1:
1267:, fourth edition. N.Y., 1971.
634:No. 5 (1941) — Schott ED 8128
43:Никола́й Андре́евич Ро́славец
573:In the Hours of the New Moon
515:— mystery after Byron (1912)
39:Nikolai Andreevich Roslavets
1788:People from Surazhsky Uyezd
1660:Quartal and quintal harmony
1349:List of modernist composers
1215:54 (2001), pp. 400–28.
1178:54 (2001), pp. 429–37.
803:No. 6 (1928) (not complete)
1854:
1838:Moscow Conservatory alumni
1823:20th-century musicologists
1023:Lobanova 1997, pp. 231–34.
49:23 December 1880] in
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1152:Gojowy, D. Musikstunden.
1142:39 (1991), H. 11, S. 1224
1041:Lobanova 1997, pp. 11–12.
1005:Lobanova 1983; 1997; 2001
969:Lobanova 1997, pp. 87–95.
960:Lobanova 1997, pp. 72–86.
951:Lobanova 1997, pp. 60–72.
137:, free composition under
76:Among his works are five
42:
1260:61/1999, pp. 22–27.
749:Dance of the White Girls
716:(1930s) — Schott VLB 131
143:Mikhail Ippolitov-Ivanov
1813:Russian music theorists
1050:Gojowy 2008, pp. 11–12.
710:(1923) — published 1925
704:(1915) — Schott ED 8261
521:— symphonic poem after
45:; 4 January 1881 [
1808:Russian male composers
1711:Second Viennese School
1704:Schools of composition
720:Invention and Nocturne
681:No. 5 (1922–23) (lost)
258:Political persecutions
35:
1833:Pupils of Jan Hřímalý
1818:Russian musicologists
1798:Soviet male composers
1695:Twelve-tone technique
1225:Lobanova M. Mystiker
1123:1969, p. 537–42.
547:To Mayakovsky’s Death
492:Works (selected list)
428:Posthumous reputation
281:, now the capital of
236:counter-revolutionary
55:Chernigov Governorate
33:
1270:Wehrmeyer, Andreas.
1263:Slonimsky, Nicolas.
1252:Roslawez, Nikolai. "
978:Gojowy 1980, p. 329.
916:Lobanova 1997, 25–30
888:Lobanova 1997, 25ff.
519:On the Earth’s Death
391:Bolshevik revolution
61:– 23 August 1944 in
1803:Composers for piano
1116:22 (1969), S. 22–38
942:61/1999, pp. 22–27
934:Nikolaj Roslawez. "
797:No. 4 (1923) (lost)
619:5 String Quartets:
583:The Man and the Sea
554:For voice and piano
262:In 1928 Roslavets'
198:Muzykalnaya Kultura
131:Moscow Conservatory
1783:People from Surazh
1237:Lobanova, Marina.
1213:Die Musikforschung
1176:Die Musikforschung
1113:Die Musikforschung
904:2016-01-09 at the
345:Nikolay Myaskovsky
322:Alexander Scriabin
310:Aristarkh Lentulov
186:Vsevolod Meyerhold
147:Alexander Ilyinsky
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1247:978-5-98712-059-0
1163:. Stockholm 1998
1159:Hakobian, Levon.
1121:Musik und Bildung
925:Lobanova 1997, 44
851:Alexander Mosolov
785:6 Piano Sonatas:
470:persona non grata
466:Tikhon Khrennikov
218:Arnold Schoenberg
34:Nikolai Roslavets
16:(Redirected from
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1793:Soviet composers
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1716:Darmstadt School
1650:Post-romanticism
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1289:Internet Archive
1265:Music since 1900
1156:. Cologne, 2008.
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856:Leonid Sabaneyev
661:Violin and piano
513:Heaven and Earth
451:Leonid Sabaneyev
422:Chamber symphony
353:Leonid Sabaneyev
330:synthetic chords
306:Kasimir Malevich
182:Kazimir Malevich
154:Heaven and Earth
139:Sergei Vasilenko
82:violin concertos
44:
27:Russian composer
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1340:Modernist music
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1254:Pierrot lunaire
1229:. Hamburg 2004.
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669:No. 1 (1913)
654:No. 5 (lost)
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625:No. 2 (lost)
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127:Arkady Abaza
111:
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71:cosmopolitan
38:
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1778:1944 deaths
1773:1881 births
1640:Polyrhythms
1615:Neotonality
1503:Szymanowski
768:Piano music
666:6 Sonatas:
535:Komsomoliya
399:Komsomoliya
338:twelve-tone
272:Zara Levina
244:class enemy
162:verse drama
135:Jan Hřímalý
102:piano trios
100:, and five
1767:Categories
1685:Surrealism
1680:Stochastic
1670:Sound mass
1605:Microtonal
1577:techniques
1575:Genres and
1523:Stravinsky
1483:Skalkottas
1388:Schoenberg
1126:Gojowy D.
862:References
755:Meditation
564:Orchestral
541:Black Town
403:propaganda
389:After the
334:Schoenberg
283:Uzbekistan
248:Trotskyist
208:Musicology
41:(Russian:
1665:Serialism
1585:Atonality
1513:Prokofiev
1356:Composers
1258:Dissonanz
1204:Lobanova
1086:Lobanova
1069:Lobanova
940:Dissonanz
372:atonality
370:and free
341:serialism
240:bourgeois
67:modernist
18:Roslavets
1742:Category
1675:Spectral
1600:Futurism
1534:Americas
1518:Scriabin
1489:Hungary
1464:Germany
1448:Messiaen
1443:Koechlin
1419:Finland
1409:Czechia
1403:Pousseur
1399:Belgium
1369:Austria
902:Archived
840:See also
809:Berceuse
606:Nocturne
589:Schott.)
416:ballet,
410:Tashkent
405:works".
378:(1913),
368:tonality
364:romances
324:and his
302:Futurism
279:Tashkent
254:"; etc.
252:saboteur
174:Futurist
168:Futurism
115:Dushatyn
1727: ←
1655:Process
1544:Antheil
1509:Russia
1499:Poland
1479:Greece
1473:Strauss
1453:Milhaud
1438:Jolivet
1429:France
1423:Bergman
1305:(IMSLP)
1301:at the
1287:at the
1098:Sources
529:October
476:Revival
447:Zionism
395:October
349:Debussy
267:October
264:cantata
238:" and "
232:Prokoll
194:Kharkiv
151:cantata
119:Konotop
84:, five
1752:Portal
1554:Cowell
1549:Carter
1493:Bartók
1458:Varèse
1393:Webern
1383:Mahler
1378:Krenek
1363:Europe
1245:
1167:
757:(1921)
435:TsGALI
287:purges
156:after
96:, six
92:, two
88:, two
63:Moscow
51:Surazh
1630:Noise
1468:Reger
1433:Henry
1105:Tempo
821:Valse
815:Danse
702:Poème
507:Vocal
497:Stage
439:RGALI
414:Uzbek
296:Style
230:and "
212:As a
190:Elets
158:Byron
123:Kursk
1559:Ives
1413:Hába
1373:Berg
1243:ISBN
1165:ISBN
614:oboe
610:harp
608:for
250:", "
145:and
121:and
108:Life
47:O.S.
408:In
336:'s
220:'s
160:'s
1769::
881:^
612:,
316:,
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204:.
192:,
184:,
180:,
164:.
104:.
57:,
53:,
1332:e
1325:t
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1249:.
1171:.
20:)
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