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Rosa Newmarch and Russian Music in Late Nineteenth and Early Twentieth-Century England (Hardcover, New Ed)
Loot Price: R3,877
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Rosa Newmarch and Russian Music in Late Nineteenth and Early Twentieth-Century England (Hardcover, New Ed)
Series: Royal Musical Association Monographs
Expected to ship within 12 - 17 working days
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Philip Ross Bullock looks at the life and works of Rosa Newmarch
(1857-1940), the leading authority on Russian music and culture in
late nineteenth- and early twentieth-century England. Although
Newmarch's work and influence are often acknowledged - most
particularly by scholars of English poetry, and of the role of
women in English music - the full range of her ideas and activities
has yet to be studied. As an inveterate traveller, prolific author,
and polyglot friend of some of Europe's leading musicians, such as
Elgar, Sibelius and JanA!cek, Newmarch deserves to be better
appreciated. On the basis of both published and archival materials,
the details of Newmarch's busy life are traced in an opening
chapter, followed by an overview of English interest in Russian
culture around the turn of the century, a period which saw a
long-standing Russophobia (largely political and military)
challenged by a more passionate and well-informed interest in the
arts Three chapters then deal with the features that characterize
Newmarch's engagement with Russian culture and society, and - more
significantly perhaps - which she also championed in her native
England; nationalism; the role of the intelligentsia; and feminism.
In each case, Newmarch's interest in Russia was no mere instance of
ethnographic curiosity; rather, her observations about and passion
for Russia were translated into a commentary on the state of
contemporary English cultural and social life. Her interest in
nationalism was based on the conviction that each country deserved
an art of its own. Her call for artists and intellectuals to play a
vital role in the cultural and social life of the country
illustrated how her Russian experiences could map onto the liberal
values of Victorian England. And her feminism was linked to the
idea that women could exercise roles of authority and influence in
society through participation in the arts. A final chapter
considers how her late interest in the music of Czechoslovakia
picked up and developed these themes in the context of interwar
Europe.
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