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Arthur-Vincent Lourié, born Naum Izrailevich Luria (Russian: Наум Израилевич Лурья), later changed his name to Artur Sergeyevich Luriye (Russian: Артур Серге́евич Лурье) (14 May 1892 – 12 October 1966) was a Russian composer, writer, administrator, and musical agent. Lourié played an important role in the earliest stages of the organization of Soviet music after the 1917 Revolution but later went into exile. His music reflects his close connections with contemporary writers and artists, and also his close relationship with Igor Stravinsky.

Russian career

Born into a prosperous Jewish family in Propoysk, he converted to Catholicism while still in Russia. An admirer of van Gogh, from whom he derived the name 'Vincent', Lourié was partly self-taught, but also studied piano with Maria Barinova and composition with Glazunov at the Saint Petersburg Conservatory, graduating in 1913. He became friendly with the Futurist poets and particularly Anna Akhmatova, whose poetry he was among the first to set. He was also acquainted with Vladimir Mayakovsky, Nikolai Kulbin, Fyodor Sologub and Alexander Blok; and was deeply influenced by contemporary art. His early piano pieces, from 1908 onward, take on from the late works of Scriabin but evolve new kinds of discourse, arriving in 1914 at an early form of dodecaphony (the Synthèses) and in 1915 at the Formes en l'air, dedicated to Picasso, a rather Cubist conception using an innovative form of notation in which different systems are placed spatially on the page in independent blocks, with blanks instead of bars' rest. At this stage of his career he seems a parallel figure to Nikolai Roslavets, though Lourié's aesthetic appears more 'decadent'. Essentially he was the first Russian Futurist in music, and in 1914 was the co-signatory, with the painter Georgy Yakulov and the poet Benedikt Livshits, of the Petersburg Futurist Manifesto, 'We and the West', proclaiming principles common to all three arts.

Revolutionary Russia

After the October Revolution of 1917 Lourié served under Anatoly Lunacharsky as head of the music division (Muzo) of the Commissariat of Popular Enlightenment (Narkompros). For a while he shared a house with Serge Sudeikin and his wife Vera Sudeikina. His tenure proved to be contentious. When he suggested renaming his music department "The People's Tribune for Civil Music", and to style himself the "People's Tribune", Lunacharsky allegedly replied: "No, Artur Sergeevich, this does not suit us." Alexander Goldenweiser and Mikhail Ippolitov-Ivanov complained to Lenin himself about him. Though his sympathies were Leftist, he became increasingly disenchanted with the Bolshevik order in Russia.

Into exile

In 1921 he went on an official visit to Berlin, where he befriended Ferruccio Busoni, and from which he failed to return. His works were thereafter proscribed in the USSR. In 1922 he settled in Paris, where he became friends with the philosopher Jacques Maritain and was introduced to Igor Stravinsky by Vera Sudeykina. Maritain championed his work early on, viewing the young Lourié not only as an important composer, but as a composer with an important capacity to express Catholic theology and philosophy in music. Lourié dedicated a number of his works to Maritain, including the Gigue from 4 Pièces Pour Piano (1928). From 1924 to 1931 he was one of Stravinsky's most important champions, often becoming part of the Stravinsky household as he wrote articles about his fellow composer and preparing piano reductions of his works. He and the Stravinskys eventually parted company over a feud with Vera, and Stravinsky seldom afterwards mentioned his existence. In his works of the Paris years Lourié's early radicalism turns to an astringent form of neoclassicism and Russophile nostalgia; a dialogue with Stravinsky's works of the same period is evident, even to the extent that Stravinsky may have taken ideas from the younger composer: Lourié's A Little Chamber Music (1924) seems to prophesy Stravinsky's Apollon musagète (1927), his Concerto spirituale for chorus, piano and orchestra (1929) the latter's Symphony of Psalms (1930). Certainly in his later works Stravinsky adopted Lourié's style of notation with blank space instead of empty bars. Lourié also composed two symphonies (No. 1 subtitled Sinfonia dialectica) and an opera, The Feast in a Time of Plague. A man of very wide culture, who cultivated the image of a dandy and aesthete, he set poems of Sappho, Pushkin, Heine, Verlaine, Blok, Mayakovsky, Dante, classical Latin and medieval French poets. He was also a talented painter.

American years

When the Germans occupied Paris in 1940, Lourié, with assistance from Serge Koussevitzky, emigrated to the United States. He settled in New York. In 1946, he became an American citizen and joined the staff of Voice of America's Russian division. He was recorded in the 1950 United States census as living in Manhattan with Elizabeth.

He wrote some film scores but gained almost no performances for his more serious works, though he continued to compose. He spent over ten years writing an opera after Pushkin's The Moor of Peter the Great called The Blackamoor of Peter the Great, so far unperformed, though an orchestral suite has been recorded. He also composed a setting of sections from T. S. Eliot's Little Gidding for tenor and instruments (1959).

Lourié died in Princeton, New Jersey.

Works

This list is based on that of the Arthur Lourié Society.

Selected recordings

• Arthur Lourié Songs & Choruses: The Rosary, Voice of the Muse, on poems of Anna Akhmatova. Cantata In the Sanctuary of a Golden Dream on collected texts of Alexander Blok, Natalia Gerassimova, Vladimir Skanavy et al., rec. 1994, reissued by Brilliant Classics (2010)
• Futurpiano: Synthèses (Op. 16), Formes en l'air (for Pablo Picasso). Daniele Lombardi, piano. Rec. 1995. Issued by LTM (2009)
• 12 Greek Songs to Texts from Sappho, translated by Viacheslav Ivanov (1914) on: Viacheslav Ivanov in Music of Miaskovsky, Lourié, Shebalin, Gretchaninov Ludmila Shkirtil (mezzo-soprano), Northern Flowers (2010)
• Solo Piano Works, plus Der Irrtum der Frau Tod/Death's Mistake for speaker and piano; 3-CD set, Moritz Ernst (piano), Oskar Ansull (speaker), Capriccio (2016)
• Complete Piano Works, Giorgio Koukl (piano), Naxos ( 2016)

References

1. Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. University of Chicago Press, 1998.
2. "Человек дня: Артур Лурье" [Man of the Day: Arthur Lurié]. polit.ru. Retrieved 16 June 2021.
3. Shadle, Douglas (2010). "Messiaen's Relationship to Jacques Maritain's Musical Circle and Neo-Thomism". In Andrew Shenton (ed.). Messiaen the Theologian. Routledge. pp. 83–99. doi:10.4324/9781315091228-8. ISBN 9781315091228.
4. 4 Pièces pour piano: 4. Gigue (Lourié): Scores at the International Music Score Library Project
5. Igor Stravinsky, Selected Correspondence, ed. with commentaries by Robert Craft, 3 vols (London: Faber and Faber, 1982–85), vol. 1, 217n.
6. "Arthur Lourie, Was Composer: Penned Many Articles on Musical Topics". Hackensack Record. UPI. October 15, 1966. Retrieved July 15, 2023 – via Newspapers.com.
7. https://1950census.archives.gov/api/manifest?ed=31-1407&state=NY
8. Arthur Lourié Society – Works.

External links

• Free scores by Arthur Lourié at the International Music Score Library Project (IMSLP)
• Arthur Lourié Gesellschaft, Basel

• Biography
• Classical music

• 1892 births
• 1966 deaths
• People from Slawharad District
• People from Bykhovsky Uyezd
• Russian Jews
• Jews from the Russian Empire
• Russian Roman Catholics
• Converts to Roman Catholicism from Judaism
• Soviet emigrants to the United States
• American people of Belarusian-Jewish descent
• 20th-century classical composers
• 20th-century Russian composers
• Composers from the Russian Empire
• 20th-century Russian male musicians
• Jewish classical composers
• Russian male classical composers
• Saint Petersburg Conservatory alumni
• Voice of America people