RGALI, the Russian State Archive of Literature and Art. Particular thanks to A. Shashkova, Galina Zlobina, Yekaterina Gunashvili and Svetlana Popova.
RGASPI, the Russian State Archive of Social-Political History and to Anna Kochetova.
RGB, the Russian State Library and its helpful archivists.
RNMM, the Glinka State Central Museum of Musical Culture. My thanks to its director Mikhail Bryzgalov Kira Ivanova and Yekaterina Kalinina.
Outside Russia
My deepest gratitude is due to the Oleg Prokofiev Trust for a generous grant, which made possible a five-week research trip to Moscow and St Petersburg in September–October 2019.
I warmly thank Dr Rosamund Bartlett for her consistent interest and for sharing her contacts. She has been behind me from the start, encouraging me throughout my long – sometimes painful – journey. She and her husband Dan Driscoll have read chapters, made critical and appreciative comments, and asked thought-provoking questions, so necessary to an author. Furthermore she read through the typescript at proof stage and made particularly useful corrections regarding transliteration and Russian spellings, for which I am most grateful.
An enormous thank you to Pauline Fairclough for her warm and generous support, and for setting me on the road to publication. I have tried to incorporate her helpful comments and useful suggestions into my text, and thank her for the resulting improvements.
My warmest gratitude to Gerard McBurney who has patiently answered queries, read excerpts of the book, passed on contacts, offered wise advice, comfort and good cheer – and provided a good laugh or two to lighten up some sad and dismal times over the last couple of years. I unfailingly learn from him, and hope the process is at least sometimes reciprocal.
My thanks also to Dmitri Alekseev and his wife Tatiana Sarkisova who have allowed me to consult them on various pianistic and specifically Russian issues. I am most grateful to my friend Nadine Dubourvieux for making available her recorded interviews on Yudina – we share a long-standing mutual interest in the great pianist! I am no less grateful to Vyacheslav Poprugin for transferring these recordings from reel-to-reel to a digital format.
My thanks to Gabriel Prokofiev, Frances Prokofiev, David Nice, Boris Berman, Anthony Phillips, Hermione Lee, the late Mark Lubotsky, Marina Frolova-Walker, Martin Anderson, Clem Cecil, Brian Elias, Niel Immelman, Vadim Sakharov Kathron Sturrock, Andrew Ball, Caroline Weichert and Ann Wilson for their sustained interest and support.
My sister Catherine has encouraged and advised me all the way – my thanks to her, not least for suggesting the book’s title.
I am most grateful to Brother Adalberto Mainardi for patiently instructing me in the convoluted history of the Russian Orthodox Church during the 1910s and 1920s, and to the Monastic Community of Bose (near Biella, Italy) for use of their library.
A particularly warm thank you to Jean-Pierre Collot for all his help and for giving me permission to refer my readers to his updated and complete Yudina discography on his own website. He recently discovered an important cache of Yudina letters to Suvchinsky at the Bibliothèque Nationale de France, which he put together and edited as their complete correspondence covering the last decade of her life – a fascinating read.* It has been a delight to discover in him a new ‘Yudina’ colleague and friend.
I wish to thank the Society of Authors for invaluable advice and for being there when needed.
Not to be forgotten, the oasis of the British Library where I did much research when in London – thank you.
At Yale University Press, a heartfelt thank you to the commissioning editor, Julian Loose, who decided to take on my book, an act of courage and curiosity which I hope will be justified by the result. He has been there quietly encouraging me from the start, giving advice exactly at the point it is most needed. The whole Yale University Press team has been wonderful to work with and has guided me with great tact and sensitivity through all thorny issues. My warmest thanks to Katie Urquhart, Rachael Lonsdale, Lucy Buchan, Felicity Maunder and Percie Edgeler.
Last but not least, an enormous debt of gratitude to Richard Mason, my copy-editor, who has patiently and painstakingly gone through the text, identifying large and small errors, and pulling me up on any sloppy writing or thinking. More than anybody, he has been responsible for putting order into all sections of this book.
At home in Italy, my husband Francesco has supported me when I got discouraged, and he has sustained me in body and soul with his fantastic cooking throughout this time. Our daughter Sasha and her partner Mohamed have produced the best distraction in the world in my two wonderful grandsons, Elias and Rayan.
My sincere thanks to all the above mentioned and to any others whom I may have inadvertently overlooked.
Elizabeth Wilson,
Cumiana, August 2021
* Maria Youdina–Pierre Souvtchinsky, Correspondance et Documents (1959–1970), Paris: Contrechamps, 2020.
INDEX
Achron, Iosif, (i)
Acmeist movement, (i)
Akhmatova, Anna, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Akhmeteli, Sandro, (i)
Akimova, Sofia, (i)
Alikhanov, Abram, (i)
All-Union Radio Orchestra, (i)n, (ii), (iii), (iv)
Alpatov, Mikhail, (i), (ii)
Andreyev, Father Fyodor, (i), (ii), (iii)
Andreyeva, Anna and Maria (Masha), (i), (ii), (iii)
Andreyeva, Natalia Nikolayevna, (i), (ii), (iii), (iv)
Andreyevsky, Ivan Mikhailovich, (i), (ii)
Andrukhovich, Tamara, (i)
Anosov, Nikolai Pavlovich, (i), (ii)
Ansermet, Ernest, (i)
‘anti-cosmopolitanism’ (anti-Semitic repressions), (i), (ii), (iii)
anti-religious campaigns, (i)
Antsiferov, Nikolai, (i), (ii), (iii), (iv), (v), (vi)
Apostolov, Pavel, (i)
Appolonov, Grigori, (i)
Apresov, Vladimir, (i), (ii)
Aranovich, Yuri, (i), (ii)
Artobolevskaya, Anna, (i), (ii), (iii), (iv), (v), (vi)
Artobolevsky, Georgi, (i), (ii)
Asafiev, Boris, (i), (ii), (iii), (iv)
Aslanishvili, Shalvo (Shaliko), (i)
ASM (Association of Contemporary Music), (i)
Asmus, Valentin, (i)
Athonite ‘heretics’, (i)
Auer, Leopold, (i)
Bacewicz, Grażyna, (i)
Bach, Johann Sebastian: bicentenary celebrations, (i); music performed in Soviet Russia, (i); MVY’s interpretations of, (i), (ii), (iii), (iv), (v), (vi)
‘Bach Circle’, (i)
Bakhtin, Mikhaiclass="underline" friendship with MVY, (i), (ii), (iii), (iv); and the Bakhtin Circle, (i), (ii); in Nevel’, (i), (ii), (iii); arrested and exiled, (i); on Faddei Zelinsky, (i); examination of thesis, (i); in exile, (i), (ii); lectures at the Gnesins’ Institute, (i); on Pasternak, (i); on religion, (i)
Bakhtin, Vsevolod, (i), (ii), (iii)
Bakhtin Circle, (i), (ii), (iii), (iv)
Balanchine, Georges, (i), (ii)
Barrault, Jean-Louis, (i)
Barshai, Rudolf, (i), (ii)
Barth, Karl, (i)
Bartók, Béla, (i)
Bashkirov, Dmitri, (i)
Beethoven, Ludwig van: 125th anniversary, (i); MVY’s interpretations of, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Beethoven String Quartet, (i), (ii), (iii), (iv), (v), (vi)
Bekman-Shcherbina, Yelena, (i)
Belavin, Metropolitan Tikhon, see Tikhon, Patriarch
Belov, Vladimir, (i)
Bely, Andrei, (i), (ii), (iii)
Bely, Viktor, (i)
Bentzon, Niels Viggo, (i)
Berberova, Nina, (i)
Berchenko, Roman, (i)
Berdyaev, Nikolai, (i), (ii), (iii), (iv), (v)
Berg, Alban, (i)
Beria, Lavrenti, (i)
Bernstein, Leonard, (i)
Bespalov, Nikolai, (i)
Bezrodny, Igor, (i)
Biek, Hermann, (i), (ii)
Birmak, Adriana, (i)
Birman, Serafima Germanovna, (i)
Bitov, Boris, (i)
Blazhkov, Igor, (i), (ii), (iii), (iv), (v)
Blok, Alexander, (i), (ii), (iii), (iv), (v)