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Simon Morrison
| position: |
Slavic Associate Faculty; Professor, Department of Music |
| location: |
210 Woolworth |
| office hours: |
Mondays/Wednesdays 1:30PM-2:20PM |
| telephone: |
609-258-4231 |
| e-mail: |
simonm@princeton.edu |
| education: |
PhD in Music History (Princeton University, 1997);
MFA in Music History (Princeton University 1994);
MA in Music History (McGill University, 1993);
Language Diploma (Moscow Pedagogical Institute, 1992);
B. Mus cum laude in Music History and Literature (University of Toronto, 1987) |
| website: |
http://www.princeton.edu/~simonm/ |
| download cv: |
CV |
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profile:
My research interests include Russian music, French modernism, and dance-music relationships. I have written two books, Russian Opera and the Symbolist Movement (University of California Press, 2002) and The People’s Artist: Prokofiev’s Soviet Years (Oxford University Press, 2008), and I have edited a collection of essays, Prokofiev and His World (Princeton University Press, 2008). I have written journal articles on Prokofiev, Ravel, Rimsky-Korsakov, and Scriabin, and several reviews.
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current project: Romeo and Juliet (2008): I recently restored the scenario and score of the original (1935) version of this ballet for the Mark Morris Dance Group. The project involved orchestrating act IV (featuring a happy ending) from Prokofiev's annotations and rearranging the order and adjusting the content of acts I-III. This version of the ballet was premiered in July 2008.
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courses:
Undergraduate courses taught:
Music and Film
Introduction to Music
Romantic Music
Modern Music
Russian Music
Chaikovsky
The Artistry of Ballet
Graduate courses taught:
The Ballets Russes and the Ballets Suedois
Music and Film
Prokofiev and Shostakovich
The Ontology of Music and Dance
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"The Cantata for the Twentieth Anniversary of October, or How the Specter of Communism Haunted Prokofiev."
in Journal of Musicology Vol. 23, No. 2 (2006): 227-262. (with Nelli Kravetz)
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"Russia's Lament."
in Word, Music, History: A Festschrift for Caryl Emerson. Eds. Lazar Fleishman, Gabriella Safran, and Michael Wachtel. Stanford Slavic Studies, 2005. 657-81.
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"Shostakovich as Industrial Saboteur: Observations on The Bolt."
in Shostakovich and His World. Ed. Laurel Fay. Princeton: Princeton University Press, 2004. 117-61.
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"The Origins of Daphnis et Chloé (1912)."
in 19th-Century Music Vol. 28, No. 1 (Summer 2004): 50-76.
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"Prokofiev's Le Pas d'Acier (1925): How the Steel was Tempered."
in Soviet Music and Society under Lenin and Stalin: The Baton and Sickle. Ed. Neil Edmunds. London: Routledge, 2004. 81-104. (with Lesley-Anne Sayers)
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"The Semiotics of Symmetry, or Rimsky-Korsakovis Operatic History Lesson."
in Cambridge Opera Journal Vol. 13, No. 3 (November 2001): 261-93.
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"Ognennyi angel: tret'ya versiya".
in Muzykal'naya akademiya. Vol. 2 (2000): 221-28.
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"Skryabin and the Impossible."
in Journal of the American Musicological Society. Vol. 51, No. 2 (Summer 1998): 283-330; reprinted in Journal of the Scriabin Society of America. Vol. 7, No. 1 (Winter 2002-03): 29-66.
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"Sergei Prokofiev's Semyon Kotko as a Representative Example of Socialist Realism."
in Musik als Text: Bericht über den Internationalen Musikwissenschaftlichen Kongreß der Gesellschaft für Musikforschung. Eds. Hermann Danuser and Tobias Plebuch. Kassel: Bärenreiter, 1998. Vol. 2: 494-97.
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"Boris Godunov" (2007)
From April 12-14, 2007 at the Berlind Theater, Princeton University, Alexander Pushkin’s 1825 drama was staged for the first time using Prokofiev’s incidental music and Meyerhold’s directorial plans. (Prokofiev and Meyerhold worked together on an unrealized production in 1936 in Moscow.) The staging, which I co-managed with Caryl Emerson, is described in detail here.
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"Le Pas d’Acier" (2005)
Conceived in 1925 and premiered in 1927 by the Ballets Russes, the ballet was performed at the Berlind Theatre, Princeton University, from April 7-9, 2005. The staging, which I directed in collaboration with Lesley-Anne Sayers and Millicent Hodson, re-imagined Le Pas d’Acier using the source diagrams and sketches for the music, décor, and dance. The entire project is described in detail here; a 2-DVD set including a performance and a documentary is available through here.
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