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Chapter:

CHAPTER 3 Aristocratic Maximalism

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

And so it became, thanks to Diaghilev. Beginning in 1906, at first with heavy financial backing from the Russian crown, Diaghilev embarked on an epoch-making “export campaign,” as Benois rather drily called it, a yearly “Russian season” in Paris, the artistic capital of the world and the political capital of what was, since the accession of Tsar Nikolai II in 1894, Russia’s most strategic diplomatic and military ally. Diaghilev’s first Parisian presentation was an exhibition of Russian painting from medieval icons to the work of the Mir iskusstva circle itself.

Citation (MLA):

Richard Taruskin. "Chapter 3 Aristocratic Maximalism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003006.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 3 Aristocratic Maximalism. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003006.xml

Citation (Chicago):

Richard Taruskin. "Chapter 3 Aristocratic Maximalism." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003006.xml