Simon Morrison – författare

An erudite and entertaining history of Moscow, a city whose rich past offers crucial insight into contemporary global politics'Monumental' SUNDAY TIMES'Brilliant' TIMES LITERARY SUPPLEMENT'A marvellous book' HELEN RAPPAPORT, author of The Rebel Romanov‘Every page pulses with individual stories and historical insights' MARK GALEOTTI, author of A Short History of RussiaMoscow stands at the centre of a nation comprising eleven percent of the globe’s landmass, eleven time zones and nearly one hundred and fifty million people, some thirteen million of whom live in the capital. A Kingdom and a Village vividly brings to life Russia’s heart and soul, tracing its transformation from a ‘big village’ into a metropolis of vast geopolitical import.It is a stranger-than-fiction arc. The last century alone has featured invasions and battles, the destruction and reconstruction of sacred landmarks, and the collapse of the Soviet republic – not to mention the rise of an authoritarian leader who is a keen student of Russian history. Morrison reaches back to the city’s founding as a fortress on a river nearly a millennium ago. In the following centuries, any number of external forces – from Tatar Mongols and Swedes to Napoleon and Hitler – set their sights on Moscow, bolstering its self-conception as a glittering prize and site of perpetual defence and resurrection.Understanding Moscow not only unlocks the spellbinding mysteries of Russia’s past, but also the grim logic of its present. A Kingdom and a Village is an essential guide to a people and a nation.‘Magisterial … gripping’ BEN RHODES, author of The World As It Is‘A mesmerising tale of how Moscow came to be’ JILL DOUGHERTY, author of My Russia‘Morrison is the perfect biographer of Moscow’ SHAUN WALKER, author of The Illegals

A thrilling new biography of Pyotr Ilyich Tchaikovsky—composer of some of the world’s most popular orchestral and theatrical music“A lively, argumentative and thoughtful reflection on one of the 19th century’s most important musical figures.”—Michael O’Donnell, Wall Street JournalTchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire’s worth of music, and navigated the imperial Russian court to great advantage.In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky’s complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred.Morrison reexamines the relationship between Tchaikovsky’s music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky’s Empire unsettles everything we thought we knew—and gives us a vivid new appreciation of Russia’s most popular composer.

On a freezing night in January 2013, an assailant hurled acid in the face of the artistic director of the Bolshoi Ballet, dragging one of Russia’s most illustrious institutions into scandal. In Bolshoi Confidential, renowned musicologist Simon Morrison shows how the attack, and its torrid aftermath, underscored the importance of the Bolshoi to the art of ballet, to Russia, and to the world.With exclusive access to state archives and private sources, Morrison sweeps us through the history of the ballet, from its disreputable beginnings in 1776 to the recent £450 million restoration that has returned the Bolshoi to its former glory, even as its prized talent has departed.As Morrison reveals, the Bolshoi has transcended its own fraught history, surviving 250 years of artistic and political upheaval to define not only Russian culture, but also ballet itself.

A study in contrasts, the career of Sergey Prokofiev spanned the globe, leaving him witness to the most significant political and historical events of the first half of the twentieth century. In 1918, after completing a program of studies at the St. Petersburg conservatory, Prokofiev escaped Russia for the United States and later France where, like most émigré artists of the time, he made Paris his home. During these hectic years, he composed three ballets and three operas, fulfilled recording contracts, and played recitals of tempestuous music. Scores were stored in suitcases, scenarios and librettos drafted on hotel letterhead. The constant uprooting and transience fatigued him, but he regarded himself as a person of action who, personally and professionally, traveled against rather that with the current. Thus, in 1936, as political anxieties increased in Western Europe, Prokofiev escaped back to Russia. Though at first pampered by the totalitarian regime, Prokofiev soon suffered official correction and censorship. He wrote and revised his late ballets and operas to appease his bureaucratic overseers but, more often than not, his labors came to naught. Following his official condemnation in 1948, many of his compositions were withdrawn from performance. Physical illness and mental exhaustion characterized his last years. Housebound, he journeyed inward, creating a series of works on the theme of youth whose music sounds despondently optimistic. The reasons for Prokofievs return to Russia and the specifics of his dealings with the Stalinist regime have long been mysterious. Owing to their sensitive political and personal nature, over half of the Prokofiev documents at the Russian State Archive have been sealed since their deposit there in 1955, two years after Prokofievs premature death. The disintegration of the Soviet Union did not lead to the rescinding of this prohibition. Author Simon Morrison is the first scholar, non-Russian or Russian, to receive the privilege to study them. Alongside wholly or partly unknown score materials, Morrison has studied Prokofievs never-seen journals and diaries, the original, unexpurgated versions of his official speeches, and the bulk of his correspondence. This new information makes possible for the first time an accurate study of the tragic second phase of Prokofievs career. Moving chronologically, Morrison alternates biographical details with discussions of Prokofievs major works, furnishing dramatic new insights into Prokofievs engagement with the Stalinist regime and the consequences that it had for his family and his health.

A study in contrasts, the career of Sergey Prokofiev spanned the globe, leaving him witness to the most significant political and historical events of the first half of the twentieth century. In 1918, after completing a program of studies at the St. Petersburg conservatory, Prokofiev escaped Russia for the United States and later France where, like most émigré artists of the time, he made Paris his home. During these hectic years, he composed three ballets and three operas, fulfilled recording contracts, and played recitals of tempestuous music. Scores were stored in suitcases, scenarios and librettos drafted on hotel letterhead. The constant uprooting and transience fatigued him, but he regarded himself as a person of action who, personally and professionally, traveled against rather that with the current. Thus, in 1936, as political anxieties increased in Western Europe, Prokofiev escaped back to Russia. Though at first pampered by the totalitarian regime, Prokofiev soon suffered official correction and censorship. He wrote and revised his late ballets and operas to appease his bureaucratic overseers but, more often than not, his labors came to naught. Following his official condemnation in 1948, many of his compositions were withdrawn from performance. Physical illness and mental exhaustion characterized his last years. Housebound, he journeyed inward, creating a series of works on the theme of youth whose music sounds despondently optimistic. The reasons for Prokofiev's return to Russia and the specifics of his dealings with the Stalinist regime have long been mysterious. Owing to their sensitive political and personal nature, over half of the Prokofiev documents at the Russian State Archive have been sealed since their deposit there in 1955, two years after Prokofiev's premature death. The disintegration of the Soviet Union did not lead to the rescinding of this prohibition. Author Simon Morrison is the first scholar, non-Russian or Russian, to receive the privilege to study them. Alongside wholly or partly unknown score materials, Morrison has studied Prokofiev's never-seen journals and diaries, the original, unexpurgated versions of his official speeches, and the bulk of his correspondence. This new information makes possible for the first time an accurate study of the tragic second phase of Prokofiev's career. Moving chronologically, Morrison alternates biographical details with discussions of Prokofiev's major works, furnishing dramatic new insights into Prokofiev's engagement with the Stalinist regime and the consequences that it had for his family and his health.

Funeral Games in Honor of Arthur Vincent Lourié explores the varied aesthetic impulses and ever-evolving personal motivations of Russian composer Arthur Lourié. A St. Petersburg native allied with the Futurist movement and profoundly sympathetic to Silver Age decadence, Lourié was swept away by the Revolution; he surfaced as a Communist commissar of music before landing in Europe and America, where his career foundered. Making his way by serving others, he became Stravinsky's right-hand man, Serge Koussevitsky's ghostwriter, and philosopher Jacques Maritain's muse. Lourié left his mark on the poems of Anna Akhmatova, on the neoclassical aesthetics of Stravinsky, on Eurasianism, and on Maritain's NeoThomist musings about music. Lourié serves as a flawless lens through which aspects of Silver Age Russia, early Bolshevik rule, and the cultural space of exile come into sharper focus. But this interdisciplinary collection of essays, edited by musicologists Klára Móricz and Simon Morrison, also looks at Lourié himself as an artist and intellectual in his own right. Much of the aesthetic and technical discussion concerns his grandly eulogistic opera The Blackamoor of Peter the Great, understood as both a belated Symbolist work and as a NeoThomist exercise. Despite the importance Lourié attached to the opera as his masterwork, Blackamoor has never been performed, its fate thus serving as an emblem of Lourié's own. Yet even if Lourié seems to have been destined to be but a footnote in the pages of music history, he looms large in studies of emigration and cultural memory. Here Lourié's life, like his last opera, is presented as a meditation on the circumstances and psychology of exile. Ultimately, these essays recover a lost realm of musical and aesthetic possibilities-a Russia that Lourié, and the world, saw disappear.

A thrilling new biography of Pyotr Ilyich Tchaikovsky—composer of some of the world’s most popular orchestral and theatrical music“A lively, argumentative and thoughtful reflection on one of the 19th century’s most important musical figures.”—Michael O’Donnell, Wall Street JournalTchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire’s worth of music, and navigated the imperial Russian court to great advantage.In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky’s complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred.Morrison reexamines the relationship between Tchaikovsky’s music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky’s Empire unsettles everything we thought we knew—and gives us a vivid new appreciation of Russia’s most popular composer.

An aesthetic, historical, and theoretical study of four scores, Russian Opera and the Symbolist Movement is a groundbreaking and imaginative treatment of the important yet neglected topic of Russian opera in the Silver Age. Spanning the gap between the supernatural Russian music of the nineteenth century and the compositions of Prokofiev and Stravinsky, this exceptionally insightful and well-researched book explores how Russian symbolist poets interpreted opera and prompted operatic innovation. Simon Morrison shows how these works, though stylistically and technically different, reveal the extent to which the operatic representation of the miraculous can be translated into its enactment. Morrison treats these largely unstudied pieces by canonical composers: Tchaikovsky's Queen of Spades, Rimsky-Korsakov's Legend of the Invisible City of Kitezh and the Maiden Fevroniya, Scriabin's unfinished Mysterium, and Prokofiev's Fiery Angel.The chapters, revisionist studies of these composers and scores, address separate aspects of Symbolist poetics, discussing such topics as literary and musical decadence, pagan-Christian syncretism, theurgy, and life creation, or the portrayal of art in life. The appendix offers the first complete English-language translation of Scriabin's libretto for the Preparatory Act. Providing valuable insight into both the Symbolist enterprise and Russian musicology, this book casts new light on opera's evolving, ambiguous place in fin de siecle culture.

A stunning musical biography of Stevie Nicks that paints a portrait of an artist, not a caricature of a superstar.Reflective and expansive, Mirror in the Sky situates Stevie Nicks as one of the finest songwriters of the twentieth century.This biography from distinguished music historian Simon Morrison examines Nicks as a singer and songwriter before and beyond her career with Fleetwood Mac, from the Arizona landscape of her childhood to the strobe-lit Night of 1000 Stevies celebrations.The book uniquely: Analyzes Nicks's craft—the grain of her voice, the poetry of her lyrics, the melodic and harmonic syntax of her songs.Identifies the American folk and country influences on her musical imagination that place her within a distinctly American tradition of women songwriters.Draws from oral histories and surprising archival discoveries to connect Nicks's story to those of California's above- and underground music industries, innovations in recording technology, and gendered restrictions.

Acclaimed for treading new ground in operatic studies of the period, Simon Morrison’s influential and now-classic text explores music and the occult during the Russian Symbolist movement. Including previously unavailable archival materials about Prokofiev and Tchaikovsky, this wholly revised edition is both up to date and revelatory. Topics range from decadence to pantheism, musical devilry to narcotic-infused evocations of heaven, the influence of Wagner, and the significance of contemporaneous Russian literature. Symbolism tested boundaries and reached for extremes so as to imagine art uniting people, facilitating communion with nature, and ultimately transcending reality. Within this framework, Morrison examines four lesser-known works by canonical composers—Pyotr Tchaikovsky, Nikolay Rimsky-Korsakov, Alexander Scriabin, and Sergey Prokofiev—and in this new edition also considers Alexandre Gretchaninoff’s Sister Beatrice and Alexander Kastalsky’s Klara Milich, while also making the case for reviving Vladimir Rebikov’s The Christmas Tree.

A stunning musical biography of Stevie Nicks that paints a portrait of an artist, not a caricature of a superstar.Reflective and expansive, Mirror in the Sky situates Stevie Nicks as one of the finest songwriters of the twentieth century.This biography from distinguished music historian Simon Morrison examines Nicks as a singer and songwriter before and beyond her career with Fleetwood Mac, from the Arizona landscape of her childhood to the strobe-lit Night of 1000 Stevies celebrations.The book uniquely: Analyzes Nicks's craft—the grain of her voice, the poetry of her lyrics, the melodic and harmonic syntax of her songs.Identifies the American folk and country influences on her musical imagination that place her within a distinctly American tradition of women songwriters.Draws from oral histories and surprising archival discoveries to connect Nicks's story to those of California's above- and underground music industries, innovations in recording technology, and gendered restrictions.

An erudite and entertaining history of Moscow, a city defined by its survival and reinvention, and whose rich history offers crucial insight into contemporary global politicsThe city of Moscow stands at the center of a nation comprising eleven percent of the globe’s landmass, 11 time zones, and nearly 150 million people, some 13 million of whom live in the capital. In A Kingdom and a Village, acclaimed historian Simon Morrison offers a vividly rendered history of Russia’s heart and soul, tracing its transformation from a “big village”—the demeaning nickname the St. Peterburg nobility gave to its provincial neighbor—into a spectacular metropolis of vast geopolitical import.That arc is the stuff of dramatic, violent, stranger-than-fiction historical narrative: the last century alone has featured invasions and costly battles, the destruction (and reconstruction) of sacred cultural and religious landmarks, and the collapse of the Soviet republic—not to mention the rise of an authoritarian leader who is a keen student of Russian history. Morrison reaches back further still, to the founding of the place we now know as Moscow as a fortress on a river nearly a millennium ago. In the centuries that followed, any number of external forces—from Tatar Mongols and Swedes to Napoleon and Hitler—set their sights on Moscow, reinforcing its self-conception as both a glittering prize and a site of perpetual defense and resurrection.Drawing on a rich array of archival materials, from the birchbark scrawls that record the oldest layer of Russian civilization to the articles in European newspapers heralding the opening of the magnificent Bolshoi Theater, Morrison brings to life the bloody power struggles; cultural marvels; excruciating famines, droughts, storms, and fires that have shaped and reshaped the city and reinforced its essential character.With A Kingdom and a Village, Morrison makes a persuasive, even impassioned case that to understand Moscow is not only to unlock the spellbinding mysteries of Russia’s past but also, critically, to grasp the grim logic of its present. It is a magisterial biography of a place—and an essential guide to a people and a nation.

Sergey Prokofiev (1891-1953), arguably the most popular composer of the twentieth century, led a life of triumph and tragedy. The story of his prodigious childhood in tsarist Russia, maturation in the West, and rise and fall as a Stalinist-era composer is filled with unresolved questions. Sergey Prokofiev and His World probes beneath the surface of his career and contextualizes his contributions to music on both sides of the nascent Cold War divide. The book contains previously unknown documents from the Russian State Archive of Literature and Art in Moscow and the Prokofiev Estate in Paris. The literary notebook of the composer's mother, Mariya Grigoryevna, illuminates her involvement in his education and is translated in full, as are ninety-eight letters between the composer and his business partner, Levon Atovmyan. The collection also includes a translation of Sigizmund Krzhizhanovsky's unperformed stage adaptation of Eugene Onegin, for which Prokofiev composed incidental music in 1936. The essays in the book range in focus from musical sketches to Kremlin decrees.The contributors explore Prokofiev's time in America; evaluate his working methods in the mid-1930s; document the creation of his score for the film Lieutenant Kizhe; tackle how and why Prokofiev rewrote his 1930 Fourth Symphony in 1947; detail his immortalization by Soviet bureaucrats, composers, and scholars; and examine Prokofiev's interest in Christian Science and the paths it opened for his music. The contributors are Mark Aranovsky, Kevin Bartig, Elizabeth Bergman, Leon Botstein, Pamela Davidson, Caryl Emerson, Marina Frolova-Walker, Nelly Kravetz, Leonid Maximenkov, Stephen Press, and Peter Schmelz.

Examining theatrical performance under Stalinist cultural mandatesTalk of Joseph Stalin's 'show trials,' the public prosecutions in Moscow's Hall of Columns in the late 1930s, is so familiar as to obscure the relationship between actual shows - in the Soviet Union's major theaters - and politics. Travesty Actors: Self and Theater in Stalinist Culture examines theatrical performance within the context of the Soviet cultural establishment's fashioning of a 'genuine Soviet person.' Boris Wolfson focuses on prominent and controversial plays by artists including Aleksandr Afinogenov, Mikhail Bulgakov, Yuri Olesha, and Natalia Sats and the efforts of theater companies, like the Moscow Arts Theater, the Meyerhold Theater, and the Central Children's Theater, to adhere to this cultural mandate while grappling with repression, censorship, and conflicting interpretations of its aims. Drawing on archival materials, diaries and memoirs and eyewitness accounts, Wolfson greatly illuminates the achievements of Soviet theater during this harsh period and the cultural significance of artistic theories and practices for articulating and enacting ideological programs.

A critical triumph, Simon Morrison’s “sweeping and authoritative” (Guardian) work, Bolshoi Confidential, details the Bolshoi Ballet’s magnificent history from its earliest tumults to recent scandals. On January 17, 2013, a hooded assailant hurled acid into the face of the artistic director, making international headlines. A lead soloist, enraged by institutional power struggles, later confessed to masterminding the crime. Morrison gives the shocking violence context, describing the ballet as a crucible of art and politics beginning with the disreputable inception of the theater in 1776, through the era of imperial rule, the chaos of revolution, the oppressive Soviet years, and the Bolshoi’s recent $680 million renovation. With vibrant detail including “sex scandals, double-suicide pacts, bribery, arson, executions, prostitution rings, embezzlement, starving orphans, [and] dead cats in lieu of flowers” (New Republic), Morrison makes clear that the history of the Bolshoi Ballet mirrors that of Russia itself.