Passion Week, Opus 13 by Maximilian Steinberg
- Submitting institution
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City, University of London
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 497
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Multi-component output comprising CD of recorded music plus scholarly edition and related research essay in accompanying publication.
- Open access status
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- Month
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- Year
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The two components of this output (scholarly edition and recording) represent a single research effort to bring to light the last major sacred work composed in Russia prior to the Soviet ban on new religious choral music: Passion Week, Op. 13 by Maximillian Steinberg (1883–1946). I accomplished this through archival research in St Petersburg, the creation of a new edition with a detailed historical introduction, and the use of this edition with the vocal group I direct, Cappella Romana, to present Passion Week's 2014 world première performance and 2015 recording. I undertook the critical work for the 2015 edition of Passion Week through close examination of Steinberg's manuscripts in St Petersburg. This enabled me not only to establish a chronology for the work's composition, but also to confirm and clarify Steinberg's involvement in the multi-lingual edition of it published by the émigré firm Bessel in Paris ca. 1927. Having provided a secure textual basis for a new edition, I incorporated this research into my scholarly study that appears as an Introduction to the same volume. Providing the first comprehensive account of Passion Week's creation and reception, it begins by placing Steinberg in the cultural context of early Soviet Petrograd/Leningrad. I then follow the work’s creation for the choir formerly known as the Imperial Cappella, its government suppression, and its long odyssey through the Russian diaspora to a premiere under my direction in Oregon. Situating Passion Week as the final indigenous expression of the 'New Direction' in Russian church music (which also produced Rachmaninov's famous All-Night Vigil, Op. 37) guided my historically-informed approaches to performances and recordings with Cappella Romana, particularly with respect to the programming of complementary music (earlier settings of several of the same chants by Steinberg's father-in-law, Nikolay Rimsky-Korsakov), and stylistically appropriate interpretation and performance practice.
- Author contribution statement
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- Non-English
- No
- English abstract
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