Book contents
- Frontmatter
- Dedication
- Frontispiece
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Abbreviations
- Note on Transliteration and Sources
- 1 Earliest and Lifelong Russophilia
- 2 Britten and Shostakovich, 1934–63
- 3 Britten and Prokofiev
- 4 Britten and Stravinsky
- 5 Hospitality and Politics
- 6 Pushkin and Performance
- 7 Britten and Shostakovich Again: Dialogues of War and Death, 1963–76
- Conclusion
- Appendices
- 1 Letter from Lord Armstrong of Ilminster
- 2 Interview with Alan Brooke Turner
- 3 Interview with Keith Grant
- 4 Interview with Lord Harewood
- 5 Interview with Victor Hochhauser
- 6 Interview with Lilian Hochhauser
- 7 Letter from Sir Charles Mackerras
- 8 Interview with Donald Mitchell
- 9 Interview with Sir John Morgan
- 10 Interview with Gennady Rozhdestvensky
- 11 Interview with Irina Shostakovich
- 12 Letter from Boris Tishchenko
- 13 Interview with Oleg Vinogradov
- 14 Interview with Galina Vishnevskaya
- 15 Letters from Dmitri Smirnov and Elena Firsova
- 16 Letter from Vladislav Chernushenko
- 17 Britten's Volumes of Tchaikovsky's Complete Works
- Bibliography and Sources
9 - Interview with Sir John Morgan
from Appendices
Published online by Cambridge University Press: 25 October 2017
- Frontmatter
- Dedication
- Frontispiece
- Contents
- List of Illustrations
- Preface
- Acknowledgements
- Abbreviations
- Note on Transliteration and Sources
- 1 Earliest and Lifelong Russophilia
- 2 Britten and Shostakovich, 1934–63
- 3 Britten and Prokofiev
- 4 Britten and Stravinsky
- 5 Hospitality and Politics
- 6 Pushkin and Performance
- 7 Britten and Shostakovich Again: Dialogues of War and Death, 1963–76
- Conclusion
- Appendices
- 1 Letter from Lord Armstrong of Ilminster
- 2 Interview with Alan Brooke Turner
- 3 Interview with Keith Grant
- 4 Interview with Lord Harewood
- 5 Interview with Victor Hochhauser
- 6 Interview with Lilian Hochhauser
- 7 Letter from Sir Charles Mackerras
- 8 Interview with Donald Mitchell
- 9 Interview with Sir John Morgan
- 10 Interview with Gennady Rozhdestvensky
- 11 Interview with Irina Shostakovich
- 12 Letter from Boris Tishchenko
- 13 Interview with Oleg Vinogradov
- 14 Interview with Galina Vishnevskaya
- 15 Letters from Dmitri Smirnov and Elena Firsova
- 16 Letter from Vladislav Chernushenko
- 17 Britten's Volumes of Tchaikovsky's Complete Works
- Bibliography and Sources
Summary
London, 16 March 2012
The diplomat Sir John Morgan kcmg (1929–2012) was British Cultural Attache in Moscow, 1962–5.
How did you first encounter Britten in the Soviet Union?
I was first in the Soviet Union as Private Secretary to the Ambassador in 1953: Stalin had died in March and I arrived in October. I subsequently became friends with a number of people prominent in the thaw such as Ilya Erenburg. That word – ottepel [thaw] – became engraved on everybody's hearts. By the time of my second posting to Russia in 1965, the cultural side was generally relaxed. There were some cultural figures who had been told to shut up, but the thaw wasn't just a slogan: it really meant something. It was a very happy two years. In December 1965 I was giving a party for the British students in Moscow in my small flat on Kutuzovskiĭ Prospekt. At that time the British Council had students all over the Soviet Union. It was blowing a blizzard outside. Benjamin Britten was due to arrive with Peter Pears and I thought it would be nice to welcome them, so I battled through the blizzard with a nice lady from the Ministry of Culture [probably Toya Sokolova] who acted as a sort of go-between. Madame Furtseva was more difficult: I'd taken her to see Moses and Aron at Covent Garden earlier in the year and she'd hated every minute of it.
How was Britten regarded in the Soviet Union at this time?
Britten and Pears were universally liked in Moscow. Britten fitted into the Soviet scene with no difficulty at all. His homosexuality was not talked about – that would have been a very un-Russian thing to do. Peter Pears – and you can't talk of Britten in Russia without Pears – was very much the spokesman and the more social of the two. The Russians loved him: they admired his cultural sensibility, intelligence and warmth.
How would you explain Britten's interest in Russia?
As far as I know there was nothing faintly political about it. It was purely cultural. I wasn't aware that Britten admired Tchaikovsky, but he was very fond of Shostakovich and they got on extremely well.
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- Information
- Benjamin Britten and Russia , pp. 307 - 308Publisher: Boydell & BrewerPrint publication year: 2016