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Blog Tag: Composers Guild of Great Britain

The Political Power of Music

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Categories: british composers, british performers, contemporary classical music, eclectic music, music profession, women in music
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The Political Power of Music

“The Noise of Time” by Julian Barnes is a novel about the life of Dimitri Shostakovich.

When I was reading it I was interested to be reminded how composers were used by Stalin and the Communist Party in an attempt to control the direction of new music. Stalin applied the notion of “socialist realism” to classical music, which demanded that mediums of art convey the struggle and triumph of the proletariat.

Musicians who hoped to gain financial support from the party were obligated to join the Union of Soviet Composers, a division of the Ministry of Culture. New works were then expected to be presented to the Union of Soviet Composers for approval prior to publication and that is how the Party hoped to control the direction of new music.

It is fascinating that in the 20th century the power of new music was considered to be so great as to be a threat if it was not controlled by the Party.

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Farewell to Max

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Categories: british composers, contemporary classical music, tributes
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SirPeterMaxwellDavies

Sir Peter Maxwell Davies

I have known Max for years – well, about 35 years, and, albeit through intermittent contact, that is still time enough to absorb a sense of the man, the musician, the communicator.

Too often styled as an ‘enfant terrible’ of the contemporary classical music world, his compositions are, to a large extent, far from the ‘difficult’ that commentators loved carelessly and lazily to use in pejorative description or parlance of avoidance, when in truth it was rather too difficult for them to take the time and trouble of better acquaintance.

Max was ever his own person – outwardly mild and congenial, inwardly robust, opinionated, fearless and frank.

A recent interview about his 10th symphony (think how many composers never got past number 9!) had him putting his work as a composer in the ‘upper end of civilised society’. Who dares, these days, from the world of contemporary music, to make such a claim?! Good on you, Max.

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