Composing for the Red Screen: Prokofiev and Soviet Film (Oxford Music/Media Series)

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9780199967599: Composing for the Red Screen: Prokofiev and Soviet Film (Oxford Music/Media Series)
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"A long-awaited, much-needed contribution to Prokofiev studies and Soviet cinema history. In Kevin Bartig's account, Alexander Nevsky, a showcase score of enduring appeal, becomes utterly fresh, and Ivan the Terrible even more compellingly bizarre. Highlights include a meticulous chronicle of the unfinished film The Queen of Spades, one of the great might-have-beens in the Soviet canon. Bartig also makes the case for the commercial (or at least educational) release of Tonya, a propagandistic film of modest musical appeal, while also filling in details of Prokofiev's service to Soviet power during the Second World War." --Simon Morrison, author of The People's Artist: Prokofiev's Soviet Years"Bartig's book is essential reading for all Russian film scholars. He makes the technical musicology of Prokofiev's film scores accessible, and he integrates his profound understanding of the composer's work into deeply researched historical studies of each of the films, giving us a world of new insights into a critical facet of film making that is rarely discussed." --Joan Neuberger, author of Ivan the Terrible: The Film Companion"Bartig is the world's leading authority on Prokofiev's film music. Not only is his knowledge compendious, but he is able to look at even the best known scores with fresh eyes, and uncovers some fascinating stories in dark and dusty corners. The book is brimming with insights into Prokofiev's unique gifts and helps us situate the composer better in the Soviet cultural landscape." --Marina Frolova-Walker, author of Music and Soviet Power, 1917-32

From the Publisher:

Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines—for the first time—the full extent of this prodigious cinematic career.

Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole—with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects—reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility.

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Bartig, Kevin
Editorial: Oxford University Press Inc, United States (2013)
ISBN 10: 0199967598 ISBN 13: 9780199967599
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Descripción Oxford University Press Inc, United States, 2013. Hardback. Estado de conservación: New. 236 x 157 mm. Language: English . Brand New Book. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines-for the first time-the full extent of this prodigious cinematic career. Bartig examines how Prokofiev s film music derived from a self-imposed challenge: to compose serious music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues ideologically expedient film songs. Looking at Prokofiev s film music as a whole-with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects-reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility. Nº de ref. de la librería AOP9780199967599

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Bartig, Kevin
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Descripción Oxford University Press Inc, United States, 2013. Hardback. Estado de conservación: New. 236 x 157 mm. Language: English . Brand New Book. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines-for the first time-the full extent of this prodigious cinematic career. Bartig examines how Prokofiev s film music derived from a self-imposed challenge: to compose serious music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues ideologically expedient film songs. Looking at Prokofiev s film music as a whole-with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects-reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility. Nº de ref. de la librería AOP9780199967599

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Descripción Oxford University Press Inc. Hardback. Estado de conservación: new. BRAND NEW, Composing for the Red Screen: Prokofiev and Soviet Film, Kevin Bartig, Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines-for the first time-the full extent of this prodigious cinematic career. Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole-with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects-reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility. Nº de ref. de la librería B9780199967599

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Descripción Oxford University Press, 2013. Estado de conservación: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Nº de ref. de la librería ABE_book_new_0199967598

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Descripción 2013. Hardcover. Estado de conservación: New. 155mm x 23mm x 236mm. Hardcover. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet pro.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 228 pages. 0.476. Nº de ref. de la librería 9780199967599

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Descripción 2013. Hardcover. Estado de conservación: New. 155mm x 23mm x 236mm. Hardcover. Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, a.Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. 228 pages. 0.476. Nº de ref. de la librería 9780199967599

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