L’avant-garde musicale russe (1914­1921) : vers une révolution politique ?

Organized in the context of centennial celebrations of the 1917 Revolutions , the titled “ About 1917 : Russia , from Wars to Revolutions ” endeavored to into question the specificity of the 1914­1921 period . The artistic and musical has been shaken up by the historical events of 1917 . To what extent can we about a musical revolution ? How about the Russian musical avant­garde ? The Russian musical avant­garde of the 1910 ’ s and 1920 ’ s gathers various movements whose goals and esthetical principles subtly differed from one . Thus , it would be misleading to talk about a single “ Russian school ”. Avraamov ’ s constructivism is next to Georgi Rimski­Korsakov ’ s microtonal ; Ivan Vyshnegradski is close to Nikolaj Roslavets ’ s , Arthur Lourié ’ s and Golyshev ’ s atonal opuses , or the Theremin . Some of those musicians left after the Revolutions and went on working on their musical innovations in other countries (Vyshnegradski , Obukhov and Lourié in France ; Lourié and in the United States ). Some other remained in Russia (Roslavets , ) and ended up playing key roles in the musical life of the country . The event of that generation of composers lays in the quest of a filiation with aesthetics of Scriabin , who died suddenly in 1915 and who appears as a real as well as philosophical model . Numerous composers will claim his by seeking an echo of the resonances issued by the Scriabin ’ s harmonical in his last opuses . Through the study of three composers – Lourié , and Roslavets –, we will look into the various and many forms of the musical avant­garde , as well as the way it was intertwined with the political of 1917 .Martin-Chevalier Louisa. L’avant-garde musicale russe (1914­1921) : vers une révolution politique ?. In: Revue Russe n°49, 2017. Autour de 1917 : la Russie, de guerres en révolutions (1914-1921) pp. 87-97