Natasha's Dance (148 page)
The Sacre, played with an emotion I can describe only as non-Gallic and un-Teutonic, is an
The Sacre, played with an emotion I can describe only as non-Gallic and un-Teutonic, is an
The Sacre, played with an emotion I can describe only as non-Gallic and un-Teutonic, is an
Sacre,
secco
Danse de la terre
fagiotti
Evocation des ancetres
cinq vieillards
147
Stravinsky took delight in this distinct orchestral sound. It brought his Russian ballets
Stravinsky took delight in this distinct orchestral sound. It brought his Russian ballets
Stravinsky took delight in this distinct orchestral sound. It brought his Russian ballets
He also rejoiced in his rediscovery of spoken Russian. From the moment he arrived back
He also rejoiced in his rediscovery of spoken Russian. From the moment he arrived back
He also rejoiced in his rediscovery of spoken Russian. From the moment he arrived back
148
149
Symphony of Psalms
Requiem
150
I have spoken Russian all my life, I think in Russian, my way of expressing myself is Russ
I have spoken Russian all my life, I think in Russian, my way of expressing myself is Russ
I have spoken Russian all my life, I think in Russian, my way of expressing myself is Russ
151
There was much of Russia in Stravinsky’s heart. It was made up of more than the icons in his ho
There was much of Russia in Stravinsky’s heart. It was made up of more than the icons in his ho
There was much of Russia in Stravinsky’s heart. It was made up of more than the icons in his ho
Stravinsky barely knew Moscow. He had only been there once on a short day trip sixty years or
Stravinsky barely knew Moscow. He had only been there once on a short day trip sixty years or
Stravinsky barely knew Moscow. He had only been there once on a short day trip sixty years or
152
It is Vladimir Rimsky-Korsakov [the son of the composer], and I.S. has failed to recognize
It is Vladimir Rimsky-Korsakov [the son of the composer], and I.S. has failed to recognize
It is Vladimir Rimsky-Korsakov [the son of the composer], and I.S. has failed to recognize
153
In the few days since arriving in Russia Stravinsky had stepped back some fifty years. His f
In the few days since arriving in Russia Stravinsky had stepped back some fifty years. His f
In the few days since arriving in Russia Stravinsky had stepped back some fifty years. His f
Ruslan and Liudmila
154
his life, Stravinsky displayed no emotion. But, as he explained to Craft, it was only beca
his life, Stravinsky displayed no emotion. But, as he explained to Craft, it was only beca
his life, Stravinsky displayed no emotion. But, as he explained to Craft, it was only beca
155
‘chudno’
‘krasivo’
156
’Where is Shostakovich?’ Stravinsky kept asking from the moment he arrived. While Stravins
’Where is Shostakovich?’ Stravinsky kept asking from the moment he arrived. While Stravins
’Where is Shostakovich?’ Stravinsky kept asking from the moment he arrived. While Stravins
157
158
Petrushka
Symphony of Psalms).
The Khrushchev thaw was a huge release for Shostakovich. It enabled him to re-establish lin
The Khrushchev thaw was a huge release for Shostakovich. It enabled him to re-establish lin
The Khrushchev thaw was a huge release for Shostakovich. It enabled him to re-establish lin
Babi Yar
a month before his death on 9 August 1975. He even managed to find time to write two film sco
a month before his death on 9 August 1975. He even managed to find time to write two film sco
a month before his death on 9 August 1975. He even managed to find time to write two film sco
Hamlet
King Lear
The Devils.
159
Shostakovich and Stravinsky met at last in Moscow, at the Metro-pole Hotel, where a banquet
Shostakovich and Stravinsky met at last in Moscow, at the Metro-pole Hotel, where a banquet
Shostakovich and Stravinsky met at last in Moscow, at the Metro-pole Hotel, where a banquet
They were placed next to each other and sat in complete silence. I sat opposite them. Fin
They were placed next to each other and sat in complete silence. I sat opposite them. Fin
They were placed next to each other and sat in complete silence. I sat opposite them. Fin
’What do you think of Puccini?’
’What do you think of Puccini?’
’What do you think of Puccini?’
’I can’t stand him,’ Stravinsky replied.
’I can’t stand him,’ Stravinsky replied.
’I can’t stand him,’ Stravinsky replied.
’Oh, and neither can I, neither can I,’ said Shostakovich.160
’Oh, and neither can I, neither can I,’ said Shostakovich.160
’Oh, and neither can I, neither can I,’ said Shostakovich.160
160
That was virtually all the two men said. But at a second banquet at the Metropole, the eve
That was virtually all the two men said. But at a second banquet at the Metropole, the eve
That was virtually all the two men said. But at a second banquet at the Metropole, the eve
memorable occasion - one or those quintessentially Russian events which are punctuated
memorable occasion - one or those quintessentially Russian events which are punctuated
memorable occasion - one or those quintessentially Russian events which are punctuated
’The smell of the Russian earth is different, and such things are impossible to forget… A ma
’The smell of the Russian earth is different, and such things are impossible to forget… A ma
’The smell of the Russian earth is different, and such things are impossible to forget… A ma
can
161
He meant every word.
He meant every word.
He meant every word.
THE END
THE END
THE END
THE END
THE END
Table of Contents
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Unknown
Orlando Figes NATASHA’S DANCE A Cultural History of Russia Copyright © 2002
Orlando Figes NATASHA’S DANCE A Cultural History of Russia Copyright © 2002
Orlando Figes
Orlando Figes
NATASHA’S DANCE
NATASHA’S DANCE
A Cultural History of Russia
A Cultural History of Russia
A Cultural History of Russia
A Cultural History of Russia
Copyright © 2002 by Orlando Figes
Copyright © 2002 by Orlando Figes
Copyright © 2002 by Orlando Figes
ISBN: 08050-5783-8
ISBN: 08050-5783-8
ISBN: 08050-5783-8
For Lydia and Alice
For Lydia and Alice
For Lydia and Alice
For Lydia and Alice
Contents
Contents
Contents
List of Illustrations and Photographic Acknowledgements - ix
List of Illustrations and Photographic Acknowledgements - ix
List of Illustrations and Photographic Acknowledgements - ix
Notes on the Maps and Text - xv
Notes on the Maps and Text - xv
Notes on the Maps and Text - xv
Maps - xviii
Maps - xviii
Maps - xviii
Introduction - xxv
Introduction - xxv
Introduction - xxv
1 EUROPEAN RUSSIA - I
1 EUROPEAN RUSSIA - I
1 EUROPEAN RUSSIA - I
1 EUROPEAN RUSSIA - I
1 EUROPEAN RUSSIA - I
2. CHILDREN OF I 8 I 2. - 69
2. CHILDREN OF I 8 I 2. - 69
2. CHILDREN OF I 8 I 2. - 69
2. CHILDREN OF I 8 I 2. - 69
2. CHILDREN OF I 8 I 2. - 69
3. MOSCOW! MOSCOW! - 147
3. MOSCOW! MOSCOW! - 147
3. MOSCOW! MOSCOW! - 147
3. MOSCOW! MOSCOW! - 147
3. MOSCOW! MOSCOW! - 147
4. THE PEASANT MARRIAGE - 217
4. THE PEASANT MARRIAGE - 217
4. THE PEASANT MARRIAGE - 217
4. THE PEASANT MARRIAGE - 217
4. THE PEASANT MARRIAGE - 217
5. IN SEARCH OF THE RUSSIAN SOUL - 289
5. IN SEARCH OF THE RUSSIAN SOUL - 289
5. IN SEARCH OF THE RUSSIAN SOUL - 289
5. IN SEARCH OF THE RUSSIAN SOUL - 289
5. IN SEARCH OF THE RUSSIAN SOUL - 289
6. DESCENDANTS OF GENGHIZ KHAN - 355
6. DESCENDANTS OF GENGHIZ KHAN - 355
6. DESCENDANTS OF GENGHIZ KHAN - 355
6. DESCENDANTS OF GENGHIZ KHAN - 355
6. DESCENDANTS OF GENGHIZ KHAN - 355
7. RUSSIA THROUGH THE SOVIET LENS - 431
7. RUSSIA THROUGH THE SOVIET LENS - 431
7. RUSSIA THROUGH THE SOVIET LENS - 431
7. RUSSIA THROUGH THE SOVIET LENS - 431
7. RUSSIA THROUGH THE SOVIET LENS - 431
8. RUSSIA ABROAD - 523
8. RUSSIA ABROAD - 523
8. RUSSIA ABROAD - 523
8. RUSSIA ABROAD - 523
8. RUSSIA ABROAD - 523
List of Illustrations
List of Illustrations
List of Illustrations
and Photographic
and Photographic
and Photographic
Acknowledgements
Acknowledgements
Acknowledgements
Every effort has been made to contact all copyright holders. The publishers will be happy to
Every effort has been made to contact all copyright holders. The publishers will be happy to
Every effort has been made to contact all copyright holders. The publishers will be happy to
CHAPTER OPENERS
CHAPTER OPENERS
CHAPTER OPENERS
CHAPTER OPENERS
CHAPTER OPENERS
1. Benjamin Paterssen: Vue de la grande parade au Palais de l’Empereur
1. Benjamin Paterssen: Vue de la grande parade au Palais de l’Empereur
1. Benjamin Paterssen: Vue de la grande parade au Palais de l’Empereur
Vue de la grande parade au Palais de l’Empereur
Alexandre 1er a St Petersburg, c. 1803. Ashmolean Museum, Oxford
Alexandre 1er a St Petersburg, c. 1803. Ashmolean Museum, Oxford
Alexandre 1er a St Petersburg, c. 1803. Ashmolean Museum, Oxford
Alexandre 1er a St Petersburg, c.
2. Adolphe Ladurnier: View of the White Hall in the Winter Palace,
2. Adolphe Ladurnier: View of the White Hall in the Winter Palace,
2. Adolphe Ladurnier: View of the White Hall in the Winter Palace,
View of the White Hall in the Winter Palace,
St Petersburg, 1838. State Hermitage Museum, St Petersburg/
St Petersburg, 1838. State Hermitage Museum, St Petersburg/
St Petersburg, 1838. State Hermitage Museum, St Petersburg/
St Petersburg,
Petrushka, Moscow
Petrushka, Moscow
Petrushka, Moscow
3. St Basil’s Cathedral, Red Square, Moscow, during the late nineteenth
3. St Basil’s Cathedral, Red Square, Moscow, during the late nineteenth
3. St Basil’s Cathedral, Red Square, Moscow, during the late nineteenth
century (photo: David King Collection, London)
century (photo: David King Collection, London)
century (photo: David King Collection, London)
4. A typical one-street village in central Russia, c. 1910. Photograph
4. A typical one-street village in central Russia, c. 1910. Photograph
4. A typical one-street village in central Russia, c. 1910. Photograph
.
c.
by Netta Peacock. Victoria Albert Museum Picture Library,
by Netta Peacock. Victoria Albert Museum Picture Library,
by Netta Peacock. Victoria Albert Museum Picture Library,
London
London
London
5. Natalia Goncharova: backdrop design for The Firebird (1916)
5. Natalia Goncharova: backdrop design for The Firebird (1916)
5. Natalia Goncharova: backdrop design for The Firebird (1916)
The Firebird (1916)
Victoria Albert Museum Picture Library, London
Victoria Albert Museum Picture Library, London
Victoria Albert Museum Picture Library, London
6. Scvthian figures: late nineteenth-centurv archaeological engraving
6. Scvthian figures: late nineteenth-centurv archaeological engraving
6. Scvthian figures: late nineteenth-centurv archaeological engraving
List of Illustrations and Photographic Acknowledgements
List of Illustrations and Photographic Acknowledgements
List of Illustrations and Photographic Acknowledgements
7. Anna Akhmatova at the Fountain House. Copyright © Museum of Anna Akhmatova in the
7. Anna Akhmatova at the Fountain House. Copyright © Museum of Anna Akhmatova in the
7. Anna Akhmatova at the Fountain House. Copyright © Museum of Anna Akhmatova in the
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