Throughout his career as composer, conductor, and pianist, Sergei Rachmaninoff (1873-1943) was an intensely private individual. When Bertensson and Leyda’s 1956 biography appeared, it lifted the veil of secrecy from several areas of Rachmaninoff’s life, especially concerning the genesis of his compositions and how their critical reception affected him. The authors consulted a number of people who knew Rachmaninoff, who worked with him, and who corresponded with him. Even with the availability of such sources and full access to the Rachmaninoff Archive at the Library of Congress, Bertensson and Leyda were tireless in their pursuit of privately held documents, particularly correspondence. The wonderfully engaging product of their labors masterfully incorporates primary materials into the narrative. Almost half a century after it first appeared, this volume remains essential reading. Sergei Bertensson, who knew Rachmaninoff, published other works on music and film, often with a documentary emphasis.
Sergei Prokofiev: A Biography traces the career of one of the most significant — and most popular — composers of the twentieth century. Using materials from previously closed archives in the USSR, from archives in Paris and London, and interviews with family members and musicians who knew and worked with Prokofiev, the biography illuminates the life and music of the prolific creator of such classics as Peter and the Wolf, Romeo and Juliet, Cinderella, the “Classical” Symphony, the Alexander NevskyCantata, and the Lieutenant Kizhe Suite. Prokofiev (1891-1953) lived a life complicated and enriched by the momentous political and social transformation of his homeland in the aftermath of the 1917 Bolshevik Revolution. Born to a middle-class family in rural Ukraine, he demonstrated amazing music talent at a very early age. In 1904, he began serious musical study at St. Petersburg Conservatory. For graduation, he composed (and performed) his audacious Piano Concerto No.1, which helped to make his name as the “Bad Boy of Russian Music.” As one of the most accomplished pianists of his time, Prokofiev composed many works for the instrument which remain today an important fixture of the concert repertory. Prokofiev fled the chaos following the 1917 Bolshevik Revolution for the United States, where he lived and worked for several years, producing his comic opera The Love for Three Oranges and his very popular Third Piano Concerto. But he found American taste too underdeveloped, and moved to Paris in 1923 where he collaborated on ballets with Sergei Diaghilev’s Ballets Russes (including Prodigal Son) and wrote several more operas (The Gambler, The Fiery Angel). Prokofiev also toured widely as a concert pianist, reaching nearly all major European capitals and returning several times to the United States, where his music was promoted by Serge Koussevitsky, conductor of the Boston Symphony Orchestra. During his Paris years, he began returning regularly on tours to the USSR, greeted with ecstatic enthusiasm. Dissatisfied with his music’s reception in Paris, and homesick for Russia, Prokofiev in 1936 made the controversial decision to move with his wife and two sons to Moscow, just as Josef Stalin’s purges were intensifying. Until 1938 he continued to tour abroad. In Moscow and Leningrad, Prokofiev worked with brilliant artists, including film director Sergei Eisenstein (for whom he wrote the scores toAlexander Nevsky and Ivan the Terrible), pianist Sviatoslav Richter, cellist Mstislav Rostropovich and ballerina Galina Ulanova (who danced the role of Juliet in Romeo and Juliet). But life was difficult: during World War II, Prokofiev and his second wife were evacuated to Central Asia. Even so, he managed to compose his gigantic opera War and Peace, his epic Fifth Symphony and many other seminal works of Soviet and world music. After suffering a stroke in 1945, Prokofiev’s health worsened. At the same time, his music was attacked as “formalist” by Stalin’s cultural officials in 1948, when his first wife was arrested and sent to a labor camp. Ironically, Prokofiev died on the very same day as Stalin, March 5, 1953. “One is grateful for Harlow Robinson’s Sergei Prokofiev: A Biography... which is about as good as a musical biography gets: Robinson illuminates the artist’s character, penetrates the human significance of the music, demonstrates an easy command of Russian political and cultural history, and writes with clarity and vigor. Anyone thinking about Prokofiev is deeply in his debt.” — Algis Valiunas, The Weekly Standard “Harlow Robinson’s biography of the composer is the fullest account to date, a thoughtful study of a puzzling personality in and out of music and a comprehensive history of the East-West cultural curtain as it constrained the life and work of the one major artist who had been active on both of its sides... The biographer is fair-minded, generous to Prokofiev but by no means an apologist... the best-written biography of a modern composer.” — Robert Craft, The Washington Post “An indefatigably productive composer who achieved considerable success during his lifetime, Prokofiev seldom seemed satisfied, as he restlessly sought ever-greater recognition. Mr. Robinson explores the darkest corners of this labyrinthine life and brings clarity to some of its more puzzling twists and turns... [he] skillfully relates Prokofiev’s life to greater political and cultural currents.” — Carol J. Oja, The New York Times “[Robinson] tells us more than anyone hitherto about the composer’s life as well as much about the origins and qualities of the music... The first full biography published in English to avoid the pitfalls of cold-war politics... [A] book of many virtues. [Robinson] gives us more facts about Prokofiev’s life than any previous biographer, and he weaves them into a story of politics, art, and romance that marvelously gathers momentum... Robinson writes with the skill of a novelist; but the story, in this instance, is true.” — George Martin, The Opera Quarterly “A splendid life, by a Slavic-studies specialist who is also a musician, of one of our century’s most popular composers... Mr. Robinson’s account of the musical development of his monomaniacal hero is first-rate.” — The New Yorker “[A] well-written, scholarly, and very detailed book...” — April FitzLyon, The Times Literary Supplement “Certainly, there is nothing in English to rival Robinson’s book in scope and detail...” — Richard Dyer, The Boston Globe “[Prokofiev] has long been in need of the full, impressively researched, congenially written study that Robinson gives us.” — Gary Schmidgall, Opera News “[A] fluent, readable and detailed biography of Prokofiev from the perspective of a musically informed cultural historian... Robinson has made a complicated and contradictory life accessible to the western reader... Robinson has performed the important first step of chronicling for the general reader one of the twentieth century’s major musical personalities – and his biography will stitch music into the Russian cultural scene for many professional Slavists as well.” — Caryl Emerson, The Russian Review “The manner in which [Stravinsky and Prokofiev] pursued their careers in tandem for a while is one of the subjects generously described by Harlow Robinson with his flair for interesting and relevant information in his absorbing new biography of Prokofiev.” — Arthur Berger, The New York Review of Books “More detailed and comprehensive, and less politically partisan, than previous biographies, this readable account... deals objectively but compassionately with the life and work of a major Russian composer.” — Publishers Weekly “This is the best biography in English to date on Prokofiev... Robinson candidly exposes Prokofiev’s flaws, from his musical capriciousness and opportunism to his unpardonable social tactlessness... Throughout, the writing is intended for the lay reader — crisp, fast-paced, and unencumbered by technical jargon. Highly recommended.” — Library Journal
Valeria Z. Nollan’s biography of perhaps the finest pianist of the twentieth century plunges readers into Rachmaninoff’s complex inner world. Sergei Rachmaninoff: Cross Rhythms of the Soul is the first biography of Rachmaninoff in English that presents him in the fullness of his Russian identity. As someone whose own life in Russian emigration ran in parallel ways to Rachmaninoff’s own—and whose meetings with the composer’s grandson in Switzerland informed her work—Nollan brings important cultural insights into her observations of the activities of this generation of creative artists. She also traces the intricacies of Rachmaninoff’s relations with the women closest to him—whose imprints are palpable in his compositions—and introduces a mystery woman whose existence challenges our established narrative of his life.
The Olympic gold medalist offers a poignant, loving account of her life with her long-time partner and beloved husband, Sergei Grinkov, from their first introduction and successive world pairs skating championships, to their storybook romance and marriage, to the fatal heart attack that took Sergei's life.
Sergei Rachmaninoff was a renowned composer, pianist, and conductor. Because he was a member of the Russian aristocracy, he fled the country after the tsar's abdication, and eventually relocated in the United States. Many of his compositions are for piano, yet he also composed orchestral and symphony works, three operas, choral and liturgical works, some chamber works, and numerous songs. This guide catalogues his numerous works and performances, provides a detailed bibliography, and includes a discography of recordings released within the last half-century. Cross-referenced throughout, this volume should appeal to music and Rachmaninoff scholars who are looking for a comprehensive guide to further research.
Math is perfect; people are not. The year is 2100 and the chaos of the early Internet era is long behind us. Mathematical proof ensures that neural implants can’t be hacked, and the Board of Reality Overseers blocks false information from spreading. When undergraduate Sergei Kraev, who dreams of becoming a professor, is accepted into a prestigious graduate program in computer science, he is thrilled, and throws himself into his assigned research project—one important enough that if he succeeds, he’ll earn the academic appointment of his choice. But Sergei, plagued by insecurity, falls under the influence of Sunny Kim, the beautiful and charismatic leader of a K-pop cult. Sergei then makes a decision that leads him into a terrifying trap and places the lives of billions at risk. With the clock ticking towards catastrophe, can Sergei escape and save the world? Weaving together compelling characters and exotic locales, The Insecure Mind of Sergei Kraev is a classic tale of love, ambition, and self-interest building to a shattering finish. Praise “Where do we go from the global disinformation and pandemic of 2020? A history told from multiple voices, an evocative projection of the world we may invent to protect us—and the ways in which humans being human can game any system—this is a fantastic read that I couldn't put down.” —Cindy Alvarez “I’ve read thousands of sci-fi stories, and the thing that stands out for me here is the originality—it doesn’t quickly fall into some typical genre or pay tribute to some other great novel. This made it especially enjoyable…it deserves to be read and enjoyed widely!” —Bryan Gaensler, PhD “An absolutely riveting read—a can’t-put-down look at a world very much like our own, but with all our trends fast-forwarded.” —Drew Hansen “Sci-fi isn’t the genre that I usually gravitate towards but I’m honestly glad I stepped a bit out of my comfort zone. It kept me hooked and I gobbled it down. The tension was real and palpable. The characters spoke with honest emotion and I cared about them. Sergei is everyman without society’s required hard, masculine shell. I loved him.” —Roxanna Sue O’Connor Review by Jeffrey Liss In so many ways, the world Eric Silberstein shows in this debut novel is the one we all want—the world we just know is coming. It is a world of nice things, where humans are online from birth, not merely masters of our technology but, finally, universally enhanced and empowered by it. Neural interfaces connect us to each other while protecting our privacy and gently compensating for our deficiencies. Inside every utopia there’s an unwelcome guest: human nature. What happens when a perfect world is inextricably linked to the minds of its imperfect creators? Are we the reason we can’t have nice things after all? Has it always been this way? Silberstein’s answer is both an incisive critique and jarring for its feeling of inevitability. I loved and pitied Sergei for his innocence, his brilliance, and his ability to get lost in a crowd of his own thoughts. For all his talents, he suffers for want of what we all need: to love and to be loved, to feel a part of something lasting; to make things better than they are. Who am I to judge his mistakes? Would I have done any better? Like all great Sci-Fi authors, Silberstein entices us with a good story, but holds up a mirror. In the end, I reached the conclusion I hope many other readers will enjoy reaching: I am Sergei, and I am why humanity can’t have nice things.
Sergei Witte served as finance minister and later prime minister of Russia during the reigns of Alexander III and Nicholas II, and was in large part responsible for the development policies which saw Russia transformed from a peasant economy into an industrial nation. This is the first biography of Witte in English.
Sergei Parajanov (1924–90) flouted the rules of both filmmaking and society in the Soviet Union and paid a heavy personal price. An ethnic Armenian in the multicultural atmosphere of Tbilisi, Georgia, he was one of the most innovative directors of postwar Soviet cinema. Parajanov succeeded in creating a small but marvelous body of work whose style embraces such diverse influences as folk art, medieval miniature painting, early cinema, Russian and European art films, surrealism, and Armenian, Georgian, and Ukrainian cultural motifs. The Cinema of Sergei Parajanov is the first English-language book on the director's films and the most comprehensive study of his work. James Steffen provides a detailed overview of Parajanov's artistic career: his identity as an Armenian in Georgia and its impact on his aesthetics; his early films in Ukraine; his international breakthrough in 1964 with Shadows of Forgotten Ancestors; his challenging 1969 masterpiece, The Color of Pomegranates, which was reedited against his wishes; his unrealized projects in the 1970s; and his eventual return to international prominence in the mid-to-late 1980s with The Legend of the Surami Fortress and Ashik-Kerib. Steffen also provides a rare, behind-the-scenes view of the Soviet film censorship process and tells the dramatic story of Parajanov's conflicts with the authorities, culminating in his 1973–77 arrest and imprisonment on charges related to homosexuality. Ultimately, the figure of Parajanov offers a fascinating case study in the complicated dynamics of power, nationality, politics, ethnicity, sexuality, and culture in the republics of the former Soviet Union. Outstanding Academic Title, Choice Magazine
New York's bedazzled night hides a brutal underbelly—one my brother fell straight into. Now charming Stevie belongs to Sergei Larov, the city’s diamond-eyed mafia monster who collects souls like lesser men do fine art. But defiance is my personal brand; enough to sway Larov’s granite fixer when mercy failed. The promised sit-down rings hollow victory, though, as I withstand the Czar’s arctic glare promising naught but contempt from his gilded throne a hundred miles above my lowly life. Something in that glittering serpent gaze refuses to release me, however. Bored fascination? Or does some slithering menace shifts unseen beneath the brazen opulence wrapping this notorious crime lord like a second skin? They say all saints who dare Larov’s lair divine their secret sins in his eyes. Now delicious shivers threaten my resolve with whispers of dangerous allure. But survival sparks hotter than temptation’s threats in my blood. And I know serpents better than most. Topics: bwwm romance, bwwm, interracial romance, interracial, suspense, multicultural romance, dark romance, africanamericanwomen'sfiction, Mob Romance, Mafia Romance, dark romance, possessive, alpha male romance, Mob Romance, thriller, suspense, bwwm bad boy romance, organized crime thrillers, crime thrillers, romantic suspense, anti-hero, contemporary romance, women's psychological fiction, villain, happily ever after, standalone, kidnapping thriller, suspense thriller, organized crime romance, Gothic romance, kidnapping thrillers romance, women's crime fiction, organized crime romance mafia, dark suspense thriller romance Readers of Natasha Knight: Charmaine Pauls, Annika Martin, Heather West, Bella Jacobs, ViVi page, Nora Ash, Abbi Cook, Kaye Blue, Coco Miller,W. Winters, Shandi Boyes, Zoey Parker,Tressie Lockwood, Lola Lace, NanaMalone, Lana Sky, Viola Black, Gwyn McNamee, Nicole Fox,Mia Aleatha Romig, Kwana Jackson, DelaneyDiamond,Susan Stocker,LenaSkye.Renee Rose, Abbi Cook, Faith Summers, Zoe Black, J.L. Beck, Natasha Knight, Jane Henry, Rina Kent, Vanessa Vale, Lee Savino, Anna Zaires, A. Zavarelli, Clarissa Wild, Stasia Black, Alta Hensley, CD Reiss, Julia Sykes, Skye Warren, Pepper Winters, Penelope Sky, Amelia Wilde, Willow Winters.
In tribute to the memory of Sergei Akhmanov, a pioneer in the field, Frontiers in Nonlinear Optics presents an overview of quantum electronics and nonlinear optics. The contributors, world leaders in this field, provide up-to-date surveys and current trends to ensure comprehensive coverage in all aspects of nonlinear optics. This fascinating collection is necessary reading both for researchers entering the field and for established researchers in nonlinear optics.
