By Ed Shanapy
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Additional resources for 500 Piano Intros for the Great Standards (The Steinway Library of Piano Music)
23 As the booklet ended, Entelis brought the reader's attention once again to the Quartet's 'insufficiencies ', especially the 'startling in its sharpness' melodic style in the second and third movements. He concluded, however, that in the other movements, the composer had 'put an end to his aimless "discussion with melody"' and demonstrated his intention to learn from the 'friendly, but amicably sharp and just criticism that exposed his mistakes' . 24 Yuly Kremlyov was more severe in the Sovetskaya muzi"/ca article published about a year after the First Quartet's premiere.
He had, by 193 8, begun teaching at the Leningrad Conservatory, and the Glazunov Quartet, also on staff there, began pestering Shostakovich to write a work for their ensemble. , Symphonic Movement (1 945) , Polish National Symphony Orchestra, cond. 572 1 3 8, 2009). 4 Manashir Yakubov, Proizvedeniya dlya strunnogo kvarteta [Works for string quartet] , programme notes for the Shostakovich International Quartet Competition (St Petersburg, 1 99 1 ), unpaginated. 5 Ibid. 6 Fay, Shostakovich: A Life, pp.
28 He heard intonations of Russian folk song in the second-movement Moderato, and an 'almost fantastical effect' in the scherzo (Allegro molto ). In the finale, 'in place of modest intimacy, appears sociability and gladness, fragmenting and disappearing into a bubbling stream of collective fun' . 29 At the close of the Soviet era in 1 99 1 , the Shostakovich family's curator, Manashir Yakubov continued the Soviet practice of describing the Quartet as a multi-movement narrative that followed 'the unfolding of emotions from the morning freshness ofthe opening Moderato to the finale, sparkling with sunshine' .
500 Piano Intros for the Great Standards (The Steinway Library of Piano Music) by Ed Shanapy