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Why did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that Kiril Tomoff seeks to answer in Creative Union, the first book about any of the professional unions that dominated Soviet cultural life at the time. Drawing on hitherto untapped archives, he shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to Tomoff's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres.

Most accounts of Soviet musical life focus on famous individuals or the campaign against Shostakovich's Lady Macbeth and Zhdanov's postwar attack on musical formalism. Tomoff's approach, while not downplaying these notorious events, shows that the Union was able to develop and direct a musical profession that enjoyed enormous social prestige. The Union's leadership was able to use its expertise to determine the criteria of musical value with a degree of independence. Tomoff's book reveals the complex and mutable interaction of creative intelligentsia and political elite in a period hitherto characterized as one of totalitarian control.

Kiril Tomoff is Professor of History at the University of California, Riverside. He is the author of Virtuosi Abroad: Soviet Music and Imperial Competition during the Early Cold War, 1945-1958 and Creative Union: The Professional Organization of Soviet Composers, 1939-1953, both from Cornell.

The Professional Organization of Soviet Composers
11
The Formation of the Composers Union 193241
13
Administering the Creative Process
37
Composers on the March 194145
63
Profession and Power 194653
95
Zhdanovshchina and the Ogolevets Affair
97
Brouhaha Party Intervention and Professional Consolidation 1948
122
Anticosmopolitanism and the Music Profession 194953
152
The Results of Party Intervention
189
Professionals and the Stalinist Cultural Elite
215
Muzfond Royalties and Popularity
217
Elite Hierarchies
235
Most Respected Comrade Informal Networks in the Stalinist Music World
268
Conclusion
300
Bibliography
305
Index
313
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