Between Revolutions:
Human Triumph over Tragedy in the Soviet Experiment
Classical Underground is extremely excited and honored to be invited by a very unique, growing and prestigious museum in Culver City - The Wende Museum - the institution preserving the Cold War artifacts and cultural history - to curate our program at their popular Music at the Wende Series!
Friday, December 6, 2019
7 p.m.: Museum tour and reception
8 p.m.: Concert
Address: The Wende Museum. 10808 Culver Boulevard, Culver City, CA 90230
The event is now at capacity. To join the waitlist, please email info@wendemuseum.org
GREAT NEWS: if you are not able to attend, you can still watch it! The performance will be live-streamed via Museum's Facebook page, starting at 8 p.m. on Friday evening at: https://www.facebook.com/wendemuseum/
Classical Undergrounds presents a performance of Soviet-period instrumental and vocal music, including works by Dmitri Shostakovich, Matvey Blanter, Vadim Kozin, Alexander Vertinsky, Alfred Schnittke, Sofia Gubaidulina, and Rodion Shchedrin.
Featured Musicians:
The Hollywood Piano Trio: Inna Faliks, piano; Roberto Cani, violin; Eric Byers, cello
Evgeny Tonkha, cello
Inna Faliks, piano
Timur, tenor
Jane Lin, piano
Space is limited. For more information on the event please go to: http://wendemuseum.org/programs/music-wende-classical-underground-presents-between-revolutions-human-triumph-over-tragedy-s
Supported by the Music at the Wende Donor Group and the Steinway Piano Gallery Los Angeles.
CLASSICAL UNDERGROUND SHOWCASE:
the 1958 masterpiece of Soviet Art by Leonid Steele
Leonid M. Steele "Boiler Revetting Worker: The Wood Grouse",
1958 oil on canvas, 53 x 39 ins
My father Leonid Steele was an important master
of the Socialist Realism period in Russian art, a 1953 graduate of the famed
Repin Academy in Leningrad, one of the pioneers of the “severe style” and a
great embodiment of Russia's venerable cultural tradition of “going to the
people." Like his cultural forebears, “peopolists”(“narodniki”) and the
artists of the "peredvizhnik" movement, he believed that the people
from the far reaches of society, far away villages and factories, are the best
and most important source for the serious Art. He also believed that these very
same people also are the ones who need the exposure to Art the most. He
believed the vitality and necessity of Art shows itself in the clearest way in
such context.
A child of the devastating Civil War being born
in the middle of it in 1921 in Ukraine, the survivor of infamous
“golodomor” of 1933 in Ukraine, the survivor of peritonitis while in the Red
Army in 1939 and then after barely recovering, survivor of the severe air bomb
concussion during the First Siege of Kharkov in 1941 he saw the unfathomable
suffering, like many in his great generation. Yet, despite it and perhaps
because of it, he was the insuppressible believer in humanity. He believed that
his art was there to help others to survive and to overcome the same way he was
able to. He believed it was his duty as an artist to stand witness to and for
his work to be an evidence of human dignity and noble value in midst of
dehumanizing world of never ending tragedy.
This belief resulted in my dad's continuous
journeys away from big cities in his quest for true characters and subjects.
This quest fueled his remarkable oeuvre with humanistic representations of
his era, and became a foundation for his iconic masterpieces of epic
multi-figure paintings.
Dad’s 1958 painting “Wood Grouse. Boiler
Riveting Worker (Gluhar)” is depicting a worker with the heavy rivet gun in a
deafening noise inside enclosed iron boiler without any ear protection with the
expression at once vulnerable, determined and condemned. It is one of his
most powerful visual testimonies to the insuppressible strength of his people
who persevered over anything the brutal system threw their way the testimony to
the triumph of the people and of their art.
Between Revolutions: Human
Triumph over Tragedy in Soviet Experiment
When we look at the historic
artforms and expressions, it is important to understand their context for deeper
appreciation of their experience and meaning. The unique academic environment
of the Wende Museum of Cold War offers a rare opportunity to examine and
experience the art of the former USSR while surrounded by the rare presentation
of authentic artifacts which witnessed history that produced this art.
The Experiment
There were a lot of
tragedies throughout long human history marked by human greed for power that
spares no cost and knows no limits.
The Soviet
experiment driven by genuine idealism of the entire generation of the
intelligencia in the Russian empire coupled with catastrophic corruption of its
failed system, that would rather die than break its habit of usurping power,
led to a collapse that no-one saw coming with the human cost no-one could have
fathom.
Jubilation of
the revolution was quickly followed by the horrors of waves of terror
surpassing anything in French Revolution which inspired its instigators and
eventually swallowing most of them.
The Tragedy
The cost to
society turned staggering.
Red Terror September 1918 - February 1922 Including political campaign of “decossakization” approximately 150 000 victims
based not on any perceived offense but solely based on belonging to the unwanted
social class - members of old nobility, lawyers, professors - summarily
executed, mass atrocities, starvation and first political concentration camps.
- Civil War 1918 - 1922 - 8 million perished.
- Famine of
1932-1933 including Golodomor in
Ukraine, starvation on Don River and Kazakhstan, part of “liquidation of kulak as class” political
campaign - class targeted genocide and forced collectivization - 7 million.
- Great Purge 1936 - 1938 – the mass repressions within rank and file of the Communist
Party and Red Army, continuous political campaigns of “Kulak liquidation as class” and Militant
Godless League campaign of state atheism - 1.2 million executed and died in
the Gulag system of political concentration
camps.
- Great Patriotic War (Eastern Front of the WWII) - 35 million dead, compare to 5.1
million for Germany.
51 million 350
thousand people - this is the extent of human tragedy after Russian Revolution
until the next revolution of 1991.
The culture and the entire
civilization were shaped and defined by this scale of tragedy. Hyperinflations,
starvations, redenominations of currencies, abandonment of any concept of
individual guilt or responsibility for either persecuted or persecuting had become
the norm for decades.
For the
persecuted it was irrelevant whether any wrong was committed against the soviet
state, it was decided for them by the persecutors for whom in tern it was not
an individual choice, but rather the duty to a state to enforce the current
political campaign. Participating in persecuting of someone was perceived by
many as the best rout not to be persecuted themselves in midst of dreadful
anticipation who is to be declared “an enemy of the people” next.
As the old Soviet galley humor joke would say: “a question at the NKVD (KGB predecessor) interrogation - what did you
do in the years of party line wiggling? The answer – I was duly wiggling along
with the party line.” People became survivors. It is very difficult to ever
judge people who are forced to face survival.
The life for
those who did not die or escape became the life among KGB snitches and rats
eagerly willing to betray their neighbor on the also unseen scale.
Those were the
conditions in which life had to somehow persist and the humanity proved itself
more resilient than the unfathomable terror. In a world of double talk and
double think the opportunity for people to cry and to laugh genuinely had
become the force of resistance. The affirmation of human dignity became the
essence of survival.
This was the
meaning and the role of art within the contextual conditions of Soviet
Experiment.
Do
not look in the file of incriminating evidence to see whether or not the
accused rose up against the Soviets with arms or words. Ask him instead to
which class he belongs, what is his background, his education, his profession.
These are the questions that will determine the fate of the accused. That is
the meaning and essence of the Red Terror.
—Martin Latsis, Red Terror
Magazine, 1918
To
overcome our enemies we must have our own socialist militarism. We must carry
along with us 90 million out of the 100 million of Soviet Russia's population.
As for the rest, we have nothing to say to them. They must be annihilated.
- Grigory Zinoviev, 1918
Essential to organise a reinforced
guard of selected and reliable people, to carry out a campaign of ruthless mass
terror against the kulaks, priests and whiteguards; suspects to be shut up in a
detention camp outside the city." Lenin, August 1918
The
Triumph
The Classical Underground program and Showcase at the
Wende Museum are dedicated to the triumph of those who perished innocently and
survived with dignity.