Arte Nova's Russian Futurism, Vol. 4: Mikhail F. Gnesin errs on the same basis that Vol. 2 in this same series, devoted to Alexander Gedike, does; the composer featured does not represent in any way the Russian Futurist movement, nor does his work share anything in common with it. In this case such careless miscategorization might tend to discourage a good part of a potential audience that could stand to gain a lot from it, as Gnesin was not a futurist but one of the greatest exponents of the Jewish Folk Art Society. This ...
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Arte Nova's Russian Futurism, Vol. 4: Mikhail F. Gnesin errs on the same basis that Vol. 2 in this same series, devoted to Alexander Gedike, does; the composer featured does not represent in any way the Russian Futurist movement, nor does his work share anything in common with it. In this case such careless miscategorization might tend to discourage a good part of a potential audience that could stand to gain a lot from it, as Gnesin was not a futurist but one of the greatest exponents of the Jewish Folk Art Society. This group of Russian-Jewish composers gathered under composer and Rimsky-Korsakov alumnus Joel Engel in 1908, only to be outlawed as counter-revolutionary in Russia by 1921. Nevertheless, their work was one of the first specifically defined artistic statements in the whole culture of Judaism and its impact is felt more strongly from the late twentieth century forward than forward from their own time. Gnesin's earlier compositions, such as the symphonic fragment D'aprés Shelley shows that...
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