founded a Russian folk choir. Originally consisting of peasant and amateur performers, both became well-known professional ensembles, providing folk music as entertainment for urban audiences.
During the Soviet era folk music had important symbolic importance as a form genuinely “of the people.” During the 1930s, state support for socialist realism encouraged study and performance of folk music. Composers and amateur performers developed a new “Soviet folk song” that wedded traditional forms and styles with lyrics praising socialism and the Soviet state. Official support was demonstrated in the establishment of the Pyatnit-sky choir and the Russian folk orchestra directed by Nikolai Osipov (1901-1945) as State ensembles. Russian folk music became a state-sanctioned performance genre characterized by organized amateur activities, notated music, academic study, and large professional performing ensembles that toured internationally. During the 1970s, Dmitry Pokrovsky (d. 1996) began a new effort to collect and perform Russian folk songs and tunes in authentic peasant village style, with local variations. This revival of Russian folk music received international attention as part of the world music movement. See also: BALALAIKA; FOLKLORE; GLINKA, MIKHAIL; MUSIC; RIMSKY-KORSAKOV, NIKOLAI ANDREYEVICH terial. During the nineteenth century, German philosopher Johann Herder’s ideas of romantic nationalism and the importance of the folk in determining national culture inspired interest in and appreciation of native Russian musical sources, especially as they reflected notions of national pride. Mikhail Glinka, for his purposeful use of Russian folk themes in his 1836 opera A Life for the Tsar, is considered the founder of the “national” school of Russian music composition, most famously embraced by Mili Balakirev, Alexander Borodin, C? sar Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov. This designation had more political than musical significance, as composers not associated with the national school, such as Peter Tchaikovsky and Igor Stravinsky, also made use of folk music in their compositions.
Russian ethnographers of the late nineteenth and early twentieth centuries made efforts to record
BIBLIOGRAPHY
Brown, Malcolm Hamrick. (1983). “Native Song and National Consciousness in Nineteenth-Century Russian Music.” In Art and Culture in Nineteenth-Century Russia, ed. Theofanis George Stavrou. Bloomington: Indiana University Press. Miller, Frank J. (1990). Folklore for Stalin: Russian Folklore and Pseudofolklore in the Stalin Era. Armonk, NY: M.E. Sharpe. Rothstein, Robert A. (1994). “Death of the Folk Song?” In Cultures in Flux: Lower-Class Values, Practices, and Resistance in Late Imperial Russia, ed. Stephen P. Frank and Mark D. Steinberg. Princeton, NJ: Princeton University Press. Taruskin, Richard. (1997). Defining Russia Musically. Princeton, NJ: Princeton University Press.
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Literal translation: “fund holders.”
In the Soviet economy, various organizations were holders and managers of inputs (fondo-derzhateli). The principal fund holders were ministries and regional and local governments. In some instances, the state executive committees that directed construction organizations and local industry had fund-holding authority as well. Only fund holders were legally entitled to allocate funded resources, the most important of which were allocated by the State Planning Committee (Gosplan) and the State Committee for Material Technical Supply (Gossnab). Fund holders had to estimate input needs and their distribution among subordinate enterprises. They were obliged to allocate funds among direct consumers, such as enterprises, plants, and construction organizations within their jurisdiction. Fund holders also monitored the use of allocated funds. Funding (fondirovanie) was the typical form of centralized distribution of resources for important and highly “deficit” products. Such centrally allocated materials were called “funded” (fondiruyumye) commodities and were typically distributed among the enterprises by ministries. Enterprises were not allowed to exchange funded inputs legally. Material balances and distribution plans among fund holders were developed by Gosplan and then approved by the Council of Ministries. The ministries had their own supply departments that worked with central supply organizations. The enterprises related input requirements to their superiors through orders (za-yavki), which were aggregated by the fund holder. At each stage of economic planning, requested inputs were compared to estimated input needs, and imbalances were corrected administratively without the use of prices. The process of allocating funded resources was characterized by constant bargaining between fund holders and consumers, where the latter were required to “defend” their needs. See also: FUNDED COMMODITIES
PAUL R. GREGORY
(1744-1792), dramatist.
Denis Fonvizin, the first truly original Russian dramatist in the eighteenth century, is best known for two satirical plays written in prose: The Brigadier-General (Brigadir) and The Minor (Nedorosl). Brigadir, written in 1766, was not published until 1786. Ne-dorosl was first staged in 1783 and published the following year. Both are considered masterpieces combining Russian and French comedy.
Like all writers at the time, Fonvizin was born into a well-to-do family. His father, a strict disciplinarian, trained him to become a real “gentleman,” and became the model for one of the characters- the father of Mr. Oldwise (Starodum)-in Fonvizin’s play The Minor. Although thoroughly Russianized, the family’s ancestor was a German or Swedish prisoner captured in the Livonian campaigns of Ivan the Terrible. At Moscow University Fonvizin participated actively in theatrical productions. Upon graduation in 1762 (when Catherine II became empress), Fonvizin entered the civil service. In St. Petersburg, he befriended Ivan Dmitrievsky, a prominent actor, and began to translate and adapt foreign plays for him. He wrote minor works, such as Alzire, or the Americans (1762) and Korion (1764), but tasted his first real success when Catherine summoned him to the Hermitage to read his comedy The Brigadier to her. In 1769 she then appointed him secretary to Vice-Chancellor Nikita Panin, Catherine’s top diplomatic advisor.
Although faithful to the French genre in writing The Brigadier, Fonvizin was less inspired by Moli?re than by the Danish playwright Barin Lud-vig Holberg, from whose play Jean de France Fon-vizin’s play was derived. A salon comedy, The Brigadier attacks the nobility’s corruption and ignorance. After reading the play, Panin wrote to Fonvizin: “I see that you know our customs well, because the wife of your general is completely familiar to us. No one among us can deny having a grandmother or an aunt of the sort. You have written our first comedy of manners.” The play also mocks the Russian gentry’s “gallomania”; without French rules for behavior “we wouldn’t know how to dance, how to enter a room, how to bow, how to perfume ourselves, how to put a hat on, and, when excited, how to express our passions and the state of our heart.”
In 1782 Fonvizin finished The Minor. Since it was unthinkable that these lines could be read aloud to Catherine, he arranged a performance at Kniper’s Theater in St. Petersburg with Dmitrievsky as the character, Mr. Oldwise. The audience, recognizing the play as original and uniquely Russian, signaled its appreciation by flinging purses onto the stage. The play condemns domestic tyranny and false
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education, while touching also on larger social questions, such as serfdom. The play concerns the stupid son in a noble family, the Prostakovs (a play on the word prostoi or “simple”), who refuses to study properly but still expects to receive privileges. The lad’s name-Mitrofan (or Mitrofanushka in the diminutive)-is now a synonym in Russia for a dolt or fool. The composition of the family is telling. The mother, a bully, is obsessed with her son (that he get enough to eat and marry an heiress). Her brother resembles a pig more than a man (as his name, Skotina, suggests). Her husband acts sheepishly; the nurse spoils the boy; and the boy-wildly selfish and stupid-beats her. The play’s basic action revolves around the conflict between the Prostakovs on the one hand and Starodum and his associates on the other. The formers’ “coarse bestiality” (as Gogol termed it) contrasts sharply with the lofty morality that Starodum and his friends exhibit.
In 1782 Fonvizin’s boss, Count Panin, had a stroke and summoned Fonvizin to write his Political Testament. He instructed the dramatist to deliver the testament, containing a blunt denunciation of absolute power, to Catherine after Panin’s death. However, when Panin died the next year, Catherine impounded all his papers (not to
