{"id":2882,"date":"2024-01-28T22:54:12","date_gmt":"2024-01-29T03:54:12","guid":{"rendered":"https:\/\/www.artsjournal.com\/uq\/?p=2882"},"modified":"2024-01-28T22:54:15","modified_gmt":"2024-01-29T03:54:15","slug":"rachmaninoff-in-exile-implacable-poise-and-sovereign-humanity","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2024\/01\/rachmaninoff-in-exile-implacable-poise-and-sovereign-humanity.html","title":{"rendered":"Rachmaninoff in Exile: \u201cImplacable Poise and Sovereign Humanity\u201d"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><a href=\"https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2024\/01\/image.png\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"538\" src=\"https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2024\/01\/image-1024x538.png\" alt=\"\" class=\"wp-image-2883\" style=\"width:718px;height:auto\" srcset=\"https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2024\/01\/image-1024x538.png 1024w, https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2024\/01\/image-300x158.png 300w, https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2024\/01\/image-768x403.png 768w, https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2024\/01\/image.png 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p>Reviewing Fiona Maddocks\u2019 beautiful <a href=\"https:\/\/www.amazon.com\/Goodbye-Russia-Rachmaninoff-Fiona-Maddocks-ebook\/dp\/B0C7RPZCP7?ref_=ast_author_mpb\">new book<\/a> on Sergei Rachmaninoff in exile for\u00a0<em>The American<\/em>\u00a0<em>Scholar<\/em>, I write:\u00a0<\/p>\n\n\n\n<p>\u201cWith the waning of modernism, Rachmaninoff\u2019s stock began to rise; for the first time, he became an object of serious scholarly inquiry. Today, he ranks with Igor Stravinsky, Dmitri Shostakovich, and Serge Prokofiev as one of four great Russian composers populating the interwar period and after. . . .<\/p>\n\n\n\n<p>\u201cIn this company, Rachmaninoff is the one who left Russia yet stayed Russian. At first, he seemed creatively stranded. . . . Then, miraculously, came two late masterpieces. The first, the&nbsp;<em>Rhapsody on a Theme by<\/em>&nbsp;<em>Paganini<\/em>, is concise and ingenious, witty and warm. It also somewhat feeds on the smart syncopations and wicked virtuosity of Harlem piano. The second is the&nbsp;<em>Symphonic Dances<\/em>&nbsp;. . .&nbsp;Summoning his waning energies, he fashioned a musical testament. . . .<\/p>\n\n\n\n<p>\u201cWe are drawing a new musical map. Looking back, the twentieth no longer seems the century of Stravinsky. Prokofiev once eclipsed Shostakovich \u2013 but no longer. And Sergei Rachmaninoff stands apart from the turmoil that enveloped him, a pillar of implacable poise and sovereign humanity.\u201d<\/p>\n\n\n\n<p>To read the review, click&nbsp;<strong><a href=\"https:\/\/theamericanscholar.org\/the-homesick-composer\/\">here<\/a><\/strong>.<\/p>\n\n\n\n<p>For a related Rachmaninoff blog, clock&nbsp;<strong><a href=\"https:\/\/www.artsjournal.com\/uq\/2018\/09\/rachmaninoff-uncorked.html\">here<\/a><\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Reviewing Fiona Maddocks\u2019 beautiful new book on Sergei Rachmaninoff in exile for\u00a0The American\u00a0Scholar, I write:\u00a0 \u201cWith the waning of modernism, Rachmaninoff\u2019s stock began to rise; for the first time, he became an object of serious scholarly inquiry. Today, he ranks with Igor Stravinsky, Dmitri Shostakovich, and Serge Prokofiev as one of four great Russian composers [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-2882","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry","8":"has-post-thumbnail"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QLHN-Ku","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2882","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/comments?post=2882"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2882\/revisions"}],"predecessor-version":[{"id":2888,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/2882\/revisions\/2888"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/media?parent=2882"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/categories?post=2882"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/tags?post=2882"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}