Chris Addison

And it is amazing because he's essentially gone, right, how would a Russian composer do this?

It's an amazing, amazing score, that score.

If you listen to it, you go, it just sounds like it was written in the 50s in Russia.

It's amazing.

there's like a sort of sharks and the jets thing there's a kind of there's two sort of organizations the association contemporary music and the russian association of proletarian music and one of them is going i think music should be like this and the proletarians are going you fascists this is basically a shit fight there's a sort of musical shit fight people are throwing violins setting fire to harps using bassoons as sort of rocket launchers i guess the tuba would be quite a

You'd have like a... Essentially, you can breach the walls of a conservatoire using an armed tuber.

And then after that, you work hand to hand, piccolos and what have you.

Sort of.

So what happened was people did their atonal thing around the same time as everybody was doing it.

Schoenberg and all those people in the West were doing it.

But basically, it got to kind of the early 30s and the authorities went, that is some bullshit.

That is just bullshit.

Pure intellectual wankery.

Get it off.

Get off.

Go and write something based on folk music for the people.

And it basically got closed down.

And there are composers who essentially got sent to the gulag off the back.

Mosolov got sent to the gulag.

He was one of those people.