wildweasel105's review against another edition
5.0
This is a beautifully written and amazing biography about a person whose unlikely background left a seminal effect on foreign relations between America and the Soviet Union. Nigel Cliff’s “Moscow Nights” tells the story of Van Cliburn, the prodigy pianist from East Texas, who, in the late 1940’s through the 1950’s captured the essence of Russian Romantic classical composers such as Tchaikovsky, and Rachmaninoff in his style of playing.
His mother was a classical piano teacher, and from the age of three, Van practiced and perfected his interpretation of the classical composers such as Chopin, Brahms and Schubert. But his talent on the keyboard expressed the very soul of the Russian Romantic composers.
After introducing us to Van Cliburn’s early life in the oil-rich fields of Kilgore, Texas, Cliff describes the origins of the Romantic period of classical music from the mid 1800’s through the turn of the century, and the influence Russia had on this music. From early childhood, Van had always had a fascination with the Romantic composers. At seventeen, Cliburn entered the Juilliard School in New York City and studied under the great Rosina Lhevinne, herself an accomplished pianist who studied at the Moscow Imperial Conservatory, and who had even greater influence on Cliburn’s love of Tchaikovsky.
But, no story is complete without an antagonist-in this case, the political struggle between capitalism and Communism known as the Cold War. Cliff describes the stark reality of post- World War II Soviet Russia, whose expansionist tactics were suddenly interrupted by the death of Josef Stalin in March of 1953. Nikita Khruschev took over and promptly launched an anti-Stalinist revisionist regime, which ultimately lead to a concentrated effort in technology and re-building of the Soviet empire. It also signaled the Soviets’ desire for supremacy in everything possible, including culture, against the “decadent capitalist West”.
When Soviet Russia held the First International Tchaikovsky Competition for Violin and Piano in April of 1958, Van Cliburn “turned heads” from the judges and fellow Russian competitors in the first three rounds. But, in the final competition, Cliburn took the competition, and ultimately, the entire Soviet Union by storm by flawlessly performing Tchaikovsky’s Piano Concerto Number One and Rachmaninoff’s Piano Concerto Number Three. Cliburn’s modest demeanor and ultra-politeness endeared him to the throngs of Russian music lovers young and old alike.
He was an instant sensation, and immediately put the Soviets into a quandary: if they gave Cliburn the Gold Medal, the Party members would give their adoring masses a “Western idol” to worship…one who represented freedom. If, on the other hand, the Party members denied Cliburn the coveted first prize, they realized the competition’s future chances of ever being respected by the world as objective were nil. Khruschev ordered the prize be given to Cliburn, and a fascinating, if uneasy friendship was struck between them.
Cliff effortlessly combines the historical facts of Cliburn’s success with behind the scenes political intrigue and drama. The Cold War embroiled American and Soviet ideology at a time when the most fearful game of brinkmanship took place. But perhaps it took the talent and humble personality of Van Cliburn to prove in William Congreve’s words, “Music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.”
This book is a must read for both music and history lovers alike.
His mother was a classical piano teacher, and from the age of three, Van practiced and perfected his interpretation of the classical composers such as Chopin, Brahms and Schubert. But his talent on the keyboard expressed the very soul of the Russian Romantic composers.
After introducing us to Van Cliburn’s early life in the oil-rich fields of Kilgore, Texas, Cliff describes the origins of the Romantic period of classical music from the mid 1800’s through the turn of the century, and the influence Russia had on this music. From early childhood, Van had always had a fascination with the Romantic composers. At seventeen, Cliburn entered the Juilliard School in New York City and studied under the great Rosina Lhevinne, herself an accomplished pianist who studied at the Moscow Imperial Conservatory, and who had even greater influence on Cliburn’s love of Tchaikovsky.
But, no story is complete without an antagonist-in this case, the political struggle between capitalism and Communism known as the Cold War. Cliff describes the stark reality of post- World War II Soviet Russia, whose expansionist tactics were suddenly interrupted by the death of Josef Stalin in March of 1953. Nikita Khruschev took over and promptly launched an anti-Stalinist revisionist regime, which ultimately lead to a concentrated effort in technology and re-building of the Soviet empire. It also signaled the Soviets’ desire for supremacy in everything possible, including culture, against the “decadent capitalist West”.
When Soviet Russia held the First International Tchaikovsky Competition for Violin and Piano in April of 1958, Van Cliburn “turned heads” from the judges and fellow Russian competitors in the first three rounds. But, in the final competition, Cliburn took the competition, and ultimately, the entire Soviet Union by storm by flawlessly performing Tchaikovsky’s Piano Concerto Number One and Rachmaninoff’s Piano Concerto Number Three. Cliburn’s modest demeanor and ultra-politeness endeared him to the throngs of Russian music lovers young and old alike.
He was an instant sensation, and immediately put the Soviets into a quandary: if they gave Cliburn the Gold Medal, the Party members would give their adoring masses a “Western idol” to worship…one who represented freedom. If, on the other hand, the Party members denied Cliburn the coveted first prize, they realized the competition’s future chances of ever being respected by the world as objective were nil. Khruschev ordered the prize be given to Cliburn, and a fascinating, if uneasy friendship was struck between them.
Cliff effortlessly combines the historical facts of Cliburn’s success with behind the scenes political intrigue and drama. The Cold War embroiled American and Soviet ideology at a time when the most fearful game of brinkmanship took place. But perhaps it took the talent and humble personality of Van Cliburn to prove in William Congreve’s words, “Music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.”
This book is a must read for both music and history lovers alike.
wildweasel105's review against another edition
5.0
Moscow Nights: The Van Cliburn Story-How One Man and his Piano Transformed the Cold War
By Nigel Cliff
This is a beautifully written and amazing biography about a person whose unlikely background left a seminal effect on foreign relations between America and the Soviet Union. Nigel Cliff’s “Moscow Nights” tells the story of Van Cliburn, the prodigy pianist from East Texas, who, in the late 1940’s through the 1950’s captured the essence of Russian Romantic classical composers such as Tchaikovsky, and Rachmaninoff in his style of playing.
His mother was a classical piano teacher, and from the age of three, Van practiced and perfected his interpretation of the classical composers such as Chopin, Brahms and Schubert. But his talent on the keyboard expressed the very soul of the Russian Romantic composers.
After introducing us to Van Cliburn’s early life in the oil-rich fields of Kilgore, Texas, Cliff describes the origins of the Romantic period of classical music from the mid 1800’s through the turn of the century, and the influence Russia had on this music. From early childhood, Van had always had a fascination with the Romantic composers. At seventeen, Cliburn entered the Juilliard School in New York City and studied under the great Rosina Lhevinne, herself an accomplished pianist who studied at the Moscow Imperial Conservatory, and who had even greater influence on Cliburn’s love of Tchaikovsky.
But, no story is complete without an antagonist-in this case, the political struggle between capitalism and Communism known as the Cold War. Cliff describes the stark reality of post- World War II Soviet Russia, whose expansionist tactics were suddenly interrupted by the death of Josef Stalin in March of 1953. Nikita Khruschev took over and promptly launched an anti-Stalinist revisionist regime, which ultimately lead to a concentrated effort in technology and re-building of the Soviet empire. It also signaled the Soviets’ desire for supremacy in everything possible, including culture, against the “decadent capitalist West”.
When Soviet Russia held the First International Tchaikovsky Competition for Violin and Piano in April of 1958, Van Cliburn “turned heads” from the judges and fellow Russian competitors in the first three rounds. But, in the final competition, Cliburn took the competition, and ultimately, the entire Soviet Union by storm by flawlessly performing Tchaikovsky’s Piano Concerto Number One and Rachmaninoff’s Piano Concerto Number Three. Cliburn’s modest demeanor and ultra-politeness endeared him to the throngs of Russian music lovers young and old alike.
He was an instant sensation, and immediately put the Soviets into a quandary: if they gave Cliburn the Gold Medal, the Party members would give their adoring masses a “Western idol” to worship…one who represented freedom. If, on the other hand, the Party members denied Cliburn the coveted first prize, they realized the competition’s future chances of ever being respected by the world as objective were nil. Khruschev ordered the prize be given to Cliburn, and a fascinating, if uneasy friendship was struck between them.
Cliff effortlessly combines the historical facts of Cliburn’s success with behind the scenes political intrigue and drama. The Cold War embroiled American and Soviet ideology at a time when the most fearful game of brinkmanship took place. But perhaps it took the talent and humble personality of Van Cliburn to prove in William Congreve’s words, “Music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.”
This book is a must read for both music and history lovers alike.
By Nigel Cliff
This is a beautifully written and amazing biography about a person whose unlikely background left a seminal effect on foreign relations between America and the Soviet Union. Nigel Cliff’s “Moscow Nights” tells the story of Van Cliburn, the prodigy pianist from East Texas, who, in the late 1940’s through the 1950’s captured the essence of Russian Romantic classical composers such as Tchaikovsky, and Rachmaninoff in his style of playing.
His mother was a classical piano teacher, and from the age of three, Van practiced and perfected his interpretation of the classical composers such as Chopin, Brahms and Schubert. But his talent on the keyboard expressed the very soul of the Russian Romantic composers.
After introducing us to Van Cliburn’s early life in the oil-rich fields of Kilgore, Texas, Cliff describes the origins of the Romantic period of classical music from the mid 1800’s through the turn of the century, and the influence Russia had on this music. From early childhood, Van had always had a fascination with the Romantic composers. At seventeen, Cliburn entered the Juilliard School in New York City and studied under the great Rosina Lhevinne, herself an accomplished pianist who studied at the Moscow Imperial Conservatory, and who had even greater influence on Cliburn’s love of Tchaikovsky.
But, no story is complete without an antagonist-in this case, the political struggle between capitalism and Communism known as the Cold War. Cliff describes the stark reality of post- World War II Soviet Russia, whose expansionist tactics were suddenly interrupted by the death of Josef Stalin in March of 1953. Nikita Khruschev took over and promptly launched an anti-Stalinist revisionist regime, which ultimately lead to a concentrated effort in technology and re-building of the Soviet empire. It also signaled the Soviets’ desire for supremacy in everything possible, including culture, against the “decadent capitalist West”.
When Soviet Russia held the First International Tchaikovsky Competition for Violin and Piano in April of 1958, Van Cliburn “turned heads” from the judges and fellow Russian competitors in the first three rounds. But, in the final competition, Cliburn took the competition, and ultimately, the entire Soviet Union by storm by flawlessly performing Tchaikovsky’s Piano Concerto Number One and Rachmaninoff’s Piano Concerto Number Three. Cliburn’s modest demeanor and ultra-politeness endeared him to the throngs of Russian music lovers young and old alike.
He was an instant sensation, and immediately put the Soviets into a quandary: if they gave Cliburn the Gold Medal, the Party members would give their adoring masses a “Western idol” to worship…one who represented freedom. If, on the other hand, the Party members denied Cliburn the coveted first prize, they realized the competition’s future chances of ever being respected by the world as objective were nil. Khruschev ordered the prize be given to Cliburn, and a fascinating, if uneasy friendship was struck between them.
Cliff effortlessly combines the historical facts of Cliburn’s success with behind the scenes political intrigue and drama. The Cold War embroiled American and Soviet ideology at a time when the most fearful game of brinkmanship took place. But perhaps it took the talent and humble personality of Van Cliburn to prove in William Congreve’s words, “Music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.”
This book is a must read for both music and history lovers alike.
sophronisba's review against another edition
4.0
A really fascinating account of the pianist Van Cliburn and his attachment to Russia, and how that attachment affected his own life and Cold War politics. I knew nothing about this story at all when I picked up the book -- I knew nothing about Van Cliburn except that he was a pianist -- so I learned quite a bit. I think the author does a good job of describing the atmosphere of the Cold War and, later, the Cuban Missile Crisis, and also making it clear why the American intelligence community viewed Van Cliburn with some suspicion after his competition win in Russia.
Cliburn himself comes across as shockingly naive and more than a bit full of himself (at one point he arrives in Washington for a concert, realizes he doesn't have his tuxedo, and calls President Lyndon Johnson to see if he could borrow one -- Johnson obliged). It's believable, given his sheltered upbringing in a small Texas town and the behavior of his ever-present mother, who took helicopter parenting to a whole new level. But by the time the book reached the Sixties I was getting frustrated with him myself, so I can only imagine how exasperating he must have been to deal with.
And one of the few frustrations of the book is that you don't really get a sense of how the people around Cliburn dealt with him. I wouldn't call this a bio; its hyper-focus on Cliburn and Russia means that you don't get a full understanding of what he was like as a person, what his relationship with his mother was like, how he dealt with conflicts between his sexuality (he was gay) and his deep religious beliefs, or really anything else other than his attachment to Russia. That's not really a shortcoming of the book -- the subtitle makes it pretty clear what Cliff wants to focus on in this book -- but it did leave me wanting to know more.
Cliburn himself comes across as shockingly naive and more than a bit full of himself (at one point he arrives in Washington for a concert, realizes he doesn't have his tuxedo, and calls President Lyndon Johnson to see if he could borrow one -- Johnson obliged). It's believable, given his sheltered upbringing in a small Texas town and the behavior of his ever-present mother, who took helicopter parenting to a whole new level. But by the time the book reached the Sixties I was getting frustrated with him myself, so I can only imagine how exasperating he must have been to deal with.
And one of the few frustrations of the book is that you don't really get a sense of how the people around Cliburn dealt with him. I wouldn't call this a bio; its hyper-focus on Cliburn and Russia means that you don't get a full understanding of what he was like as a person, what his relationship with his mother was like, how he dealt with conflicts between his sexuality (he was gay) and his deep religious beliefs, or really anything else other than his attachment to Russia. That's not really a shortcoming of the book -- the subtitle makes it pretty clear what Cliff wants to focus on in this book -- but it did leave me wanting to know more.
ckporier's review against another edition
2.0
Interesting to read about Cliburn's life, but the writing style left me somewhat cold.
cbking's review against another edition
4.0
Captivating. Really enjoyed the frame of seeing Cliburn's career juxtaposed against the history of the Cold War.
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