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Arthur Vincent Louriť
Arthur Vincent Louriť
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Arthur Vincent Louriť was born to a Jewish family which, centuries before, had been expelled from medieval Spain. Louriť was completely self-taught as a musician. His earliest known works, dating from 1908, are late Romantic in style; however, within a year or two Louriť had absorbed full knowledge of the most advanced music of his day, in particular the work of Scriabin. By 1910, he had composed a String Quartet in microtones, and a distinctly French element, derived from Debussy, began to displace the Scriabinian influence around 1912.
The years 1914 - 1915 produced some amazing results from Louriť: the five pieces in Synthesis (1914) are built around chromatic "complexes" that superficially resemble Schoenberg's early twelve-tone experiments. In the Suite japonaise for voice and piano (1915) Louriť emerges as a miniaturist, growing his material out of tiny cells. For much of the piano part, the right hand plays on the white keys and the left on the black. Louriť's most radical departure from established genres occurs in Formes en l'air (Forms in the Air, dedicated to Picasso, 1914) where the score itself is broken up into fragmented, non-linear aggregates. While the music itself is so styled that it could've been organized on conventional staves, the graphic element is clearly designed to "open up" the music, so that it appears "suspended."
Louriť also shows considerable invention in vocal works setting texts of modern Russian poets, such as his friends Alexander Blok and Anna Akhmatova. By 1917, Louriť's reputation as a young Russian musician in the front rank of "Futurism" was such that with the establishment of the Soviet State, Anatoly Lunacharsky, Lenin's personally appointed Commissar of Public Education, named Louriť Commissar of its Music Division. Louriť worked in this capacity for five years, setting up the Association of Contemporary Music and fostering a climate of encouragement for modernist tendencies. Louriť used his position to establish ties with powerful figures in Western avant-garde circles, including Stravinsky and Busoni. It was on a 1922 trip to visit Busoni in Berlin that Louriť elected not to return to Russia. This would prove fatal to his reputation among the Soviets, who aggressively sought to expunge Louriť from memory through their declaration of him as an "un-person."
Afterwards, Louriť settled in Paris and enjoyed the 1920s cultural scene. Louriť's personality was well suited to such an environment; he was nattily dressed, aristocratic, cynical, and perpetually bored. His musical style settled into a primarily modal, neo-classical vein reminiscent of Stravinsky's. While in Europe, Louriť enjoyed some fame and continued to compose prolifically, his most significant work from this period being the huge Concerto spirituale for voices and ensemble (1929). But without the prestige of his former political status, Louriť's relevance as a figure within the international scene began to fade. In 1931, Louriť had written a book on Sergey Koussevitzky, and a decade later Koussevitzky returned the favor by clearing the way for Louriť to emigrate to the safety of the United States. But from that point on, Louriť was viewed as a relic of modernism that was dead and gone.
With Louriť's death at age 84 in 1966, his extensive personal library of manuscripts was donated to the New York Public Library. Many of his works, including some of the important early pieces, are apparently no longer extant. The few pieces that have been revived since Louriť's death are highly original, attractive, and skillfully crafted, and suggests that the greater body of Louriť's large output deserves closer examination.
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