Simon Morrison

A deeply learned yet highly readable and entertaining history of Moscow, a city defined by its survival and reinvention, and whose rich history offers crucial insight into contemporary global politics The 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 re-shaped the city and reinforced its essential character. Having first visited Moscow in 1990 and made some thirty trips since, he excavates the city's truths from its fictions--while celebrating both--in a style that's at once deeply learned and deeply personal. 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 country that, for many readers, might have remained impenetrable.

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 Journal Tchaikovsky 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.

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.

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 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.

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 Russiaâ??s most illustrious institutions into scandal.

On a freezing night in January 2013, a hooded assailant hurled acid in the face of the artistic director of the Bolshoi Ballet. The crime, organized by a lead soloist, dragged one of Russia's most illustrious institutions into scandal. The Bolshoi Theater had been a crown jewel during the reign of the tsars and an emblem of Soviet power throughout the twentieth century. Under Putin in the twenty-first century, it has been called on to preserve a priceless artistic legacy and mirror Russia's neo-imperial ambitions. The attack and its torrid aftermath underscored the importance of the Bolshoi to the art of ballet, to Russia, and to the world.The acid attack resonated far beyond the world of ballet, both into Russia's political infrastructure and, as renowned musicologist Simon Morrison shows in his tour-de-force account, the very core of the Bolshoi's unparalleled history. With exclusive access to state archives and private sources, Morrison sweeps us through the history of the storied ballet, describing the careers of those onstage as well as off, tracing the political ties that bind the institution to the varying Russian regimes, and detailing the birth of some of the best-loved ballets in the repertoire.From its disreputable beginnings in 1776 at the hand of a Faustian charlatan, the Bolshoi became a point of pride for the tsarist empire after the defeat of Napoleon in 1812. After the revolution, Moscow was transformed from a merchant town to a global capital, its theater becoming a key site of power. Meetings of the Communist Party were hosted at the Bolshoi, and the Soviet Union was signed into existence on its stage. During the Soviet years, artists struggled with corrosive censorship, while ballet joined chess tournaments and space exploration as points of national pride and Cold War contest. Recently, a $680 million restoration has restored the Bolshoi to its former glory, even as prized talent has departed.As Morrison reveals in lush and insightful prose, the theater has been bombed, rigged with explosives, and reinforced with cement. Its dancers have suffered unimaginable physical torment to climb the ranks, sometimes for so little money that they kept cows at home whose milk they could sell for food. But 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. In this sweeping, definitive account, Morrison demonstrates once and for all that, as Russia goes, so goes the Bolshoi Ballet.

First enraptured by the young pianist and rising star, Serge Prokofiev, during a courtship in Brooklyn, then abandoned by him in Moscow, Lina survived one of the darkest periods in Soviet history â?? enduring eight years in the Gulag after she received that fateful telephone call.

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.