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Funeral Games in Honor of Arthur Vincent Lourié$
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Klára Móricz and Simon Morrison

Print publication date: 2014

Print ISBN-13: 9780199829446

Published to Oxford Scholarship Online: August 2014

DOI: 10.1093/acprof:oso/9780199829446.001.0001

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Jacques Maritain and the Catholic Muse in Lourié’s Post-Petersburg Worlds

Jacques Maritain and the Catholic Muse in Lourié’s Post-Petersburg Worlds

Chapter:
(p.196) 5 Jacques Maritain and the Catholic Muse in Lourié’s Post-Petersburg Worlds
Source:
Funeral Games in Honor of Arthur Vincent Lourié
Author(s):

Caryl Emerson

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199829446.003.0006

This chapter provides a general introduction to the Maritain-inspired NeoThomist resonances in Lourié’s writings on music and in the opera The Blackamoor of Peter the Great, balancing Lourié’s Eurasianist eastward look with his immersion in Western intellectual traditions via Jacques Maritain. The chapter seeks to supplement the interpretations of Lourié as Futurist, Acmeist, Symbolist, and neoclassical composer with a consideration of his Catholicism. The chapter probes and parses the extant correspondence between Lourié and Maritain and their like-minded writings on musical aesthetics (specifically their theories of melody) before moving to Lourié’s ill-fated final opera and the inspiration provided by Mozart’s Don Giovanni—as interpreted by the Danish philosopher Søren Kierkegaard in his magnum opus Either/Or. Emerson also considers how and why Lourié’s companion and librettist Irina Graham downplayed the Maritain dimension of Lourié’s aesthetics.

Keywords:   NeoThomism, Catholicism, Jacques Maritain, Kierkegaard, Don Giovanni, melody, Mozart, Kolbsheim, Irina Graham, Princeton

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