What does it mean for the city to be a symphony? True, city symphonies are a silent film genre best represented by Dziga Vertov and Walter Ruttmann. These early silent films tried to capture the “sound” of the city by editing images symphonically–to give the viewer a sense of the urban soundscape. But, as Daniel Schwartz explains, early 20th century avant-garde artists broadened the city symphony beyond the “silent” and into a full-fledged multimedia experiment. Some, like Luigi Russolo, pushed the boundaries between music and noise by incorporating new technology into music performance. Others, like Arseny Avraamov, reimagined the city as a giant living orchestra where its inhabitants were both producers and consumers of sound. While others, like Vertov, valorized the city into the natural habitat of a New Soviet Person and their labor. But what did a city symphony sound like? Especially when its composers left so few written instructions for conductors to recreate them? How does the city symphony speak to modernity itself? Intrigued, the Eurasian Knot talked to Daniel Schwartz about his book City Symphonies: Sound and the Composition of Urban Modernity, 1913–1931 published by McGill University Press.
Guest:
Daniel Schwartz is an associate professor in Russian and German Cinemas at McGill University. He’s the author of City Symphonies: Sound and the Composition of Urban Modernity, 1913-1931 published by McGill-Queen’s University Press.
Featured clips in order of appearance:
Luigi Russolo, “Reesveyo di una cheetà,” 1913.
Arseny Avraamov, “Symphony of Sirens,”1922.
Walter Ruttmann, “Weekend,” 1930.
Vziga Vertov, “Enthusiasm: Symphony of the Donbas,” 1931.