New PDF release: A Shostakovich Companion

By Michael Mishra

ISBN-10: 031330503X

ISBN-13: 9780313305030

Adopting a two-books-in-one structure. The Shostakovich Companion combines a full-length, single-author exam of the lifestyles and compositional evolution of the Soviet Union's most famed composer; and a symposium within which various analytical concepts is utilized to chose Shostakovich works and genres. this is often the 1st accomplished English-language publication in twenty-five years during which the first emphasis is on musical concerns, and the secondary emphasis is at the biographical and much-debated political issues.

The The Shostakovich Companion is split into 4 components. half I considers the hermeneutic ideas which were utilized to Shostakovich's song, in addition to some of the controversies surrounding his lifestyles and his courting to Soviet politics. half II contains the book's principal life-and-works dialogue, uniting a accomplished exam of Shostakovich's compositional evolution with a whole account of his lifestyles. Coming from a number of authors, the chapters partially III exhibit a cross-section of analytical ideas that can usefully be dropped at undergo upon Shostakovich's song. those diversity from literary and cinematically-based ways to the extra conventional different types of musical research. half IV considers 3 autonomous yet an important facets of Shostakovich's lifestyles: his contributions to the Soviet movie undefined, his profession as a pianist, and his legacy and effect as a teacher.

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Additional info for A Shostakovich Companion

Example text

Today I had the enormous pleasure of attending the closing session of the Congress of Stakhanovites. On the podium I saw Comrade Stalin and Comrades Molotov, Kaganovich, Voroshilov, Ordzhonikidze, Kalinin, Kosior, Mikoyan, Posryshev, Chubar, Andreyev, and Zhdanov. I heard speeches from Comrades Stalin, Voroshilov, and Shvernik. I was utterly captivated by Voroshilov, but when I heard Stalin speak I completely lost all sense of proportion, joined the entire hall full of people shouting "hurrah," and could not stop applauding him .

Coda-in performance, anywhere between quarter 76 and 2 1 6. " Now given that in this particular case, the anecdotal evidence would suggest that Shostakovich intended the slower tempo-the autograph score is lost-the question might seem moot. " One such assumption is that musical decisions in Shostakovich performance must necessarily be read as the result of political intention. Lebrecht, in the second of his two articles (above) , referred to the "official Soviet method" of conducting Shostakovich, involving "much oom-pah and precious little rubato, " versus the "dissident" school, which "underscore[ed] every other phrase with political intent.

But recently, it has been sug­ gested that the Fifth Symphony, a work that like the Tenth has come to be viewed for its lofty combination of high symphonism and political/philosophical state­ ment, may also, like the Tenth, have had a female muse lurking in its background. In 1 967, the musicologist Lev Mazel found a connection between the first move­ ment's second subject and the refrain ("Lamour! ") of the Habanera from Bizet's Carmen. 1 1 5 In 2000, Alexander Beneditsky reported a more extensive net­ work of Carmen references in the Fifth Symphony, and connected this to Yelena Konstantinovskaya, the student translator with whom Shostakovich had been hav­ ing an affair in the mid- 1 930s.

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A Shostakovich Companion by Michael Mishra


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