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Bespreking van de verschillende symphonieën van de Russische componist (1906-1975).
(DSCH). Includes: Suite from the Opera Lady Macbeth of the Mtsensk District, Op. 29a; Five Interludes from the Opera Lady Macbeth of the Mtsensk District (Katerina Izmailova) Op. 29/114 (a); Interlude between Scenes 6 and 7 from the Opera Katerina Izmailova, Op. 114 (b) Full Score. These volumes are the first releases of an ambitious series started in 1999 by DSCH, the exclusive publisher of the works of Dmitri Shostakovich. Each volume contains new engravings; articles regarding the history of the compositions; facsimile pages of Shostakovich's manuscripts, outlines, and rough drafts; as well as interpretations of the manuscripts. In total, 150 volumes are planned for publication.
With the composer's consent, the manuscript was smuggled out of Soviet Russia - but Shostakovich, fearing reprisals, stipulated that the book should not appear until after his death. Ever since its publication in 1979 it has been the subject of controversy, some suggesting that Volkov invented parts of it, but most affirming that it revealed a profoundly ambivalent Shostakovich which the world had never seen before - his life at once triumphant and tragic. Either way, it remains indispensable to an understanding of Shostakovich's life and work. Testimony is intense and fiercely ironic, both plain-spoken and outspoken.
Originally published: Somerville, Massachusetts: Candlewick Press, 2015.
Shostakovich's music is often described as being dynamic, energetic. But what is meant by 'energy' in music? After setting out a broad conceptual framework for approaching this question, Michael Rofe proposes various potential sources of the perceived energy in Shostakovich's symphonies, describing also the historical significance of energeticist thought in Soviet Russia during the composer's formative years. The book is in two parts. In Part I, examples are drawn from across the symphonies in order to demonstrate energy streams within various musical dimensions. Three broad approaches are adopted: first, the theories of Boleslav Yavorsky are used to consider melodic-harmonic motion; second, Boris Asafiev's work, with its echoes of Ernst Kurth, is used to describe form as a dynamic process; and third, proportional analysis reveals numerous symmetries and golden sections within local and large-scale temporal structures. In Part II, the multi-dimensionality of musical energy is considered through case studies of individual movements from the symphonies. This in turn gives rise to broader contextualised perspectives on Shostakovich's work. The book ends with a detailed examination of why a piece of music might contain golden sections.
“Music illuminates a person and provides him with his last hope; even Stalin, a butcher, knew that.” So said the Russian composer Dmitri Shostakovich, whose first compositions in the 1920s identified him as an avant-garde wunderkind. But that same singularity became a liability a decade later under the totalitarian rule of Stalin, with his unpredictable grounds for the persecution of artists. Solomon Volkov—who cowrote Shostakovich’s controversial 1979 memoir, Testimony—describes how this lethal uncertainty affected the composer’s life and work. Volkov, an authority on Soviet Russian culture, shows us the “holy fool” in Shostakovich: the truth speaker who dared to challenge the supreme powers. We see how Shostakovich struggled to remain faithful to himself in his music and how Stalin fueled that struggle: one minute banning his work, the next encouraging it. We see how some of Shostakovich’s contemporaries—Mandelstam, Bulgakov, and Pasternak among them—fell victim to Stalin’s manipulations and how Shostakovich barely avoided the same fate. And we see the psychological price he paid for what some perceived as self-serving aloofness and others saw as rightfully defended individuality. This is a revelatory account of the relationship between one of the twentieth century’s greatest composers and one of its most infamous tyrants.
with an air of alterity--sensed, exploited, bemoaned, reveled in, traded on, and defended against both from within and from without." The author's goal is to explore this assumption of otherness in an all-encompassing work that re-creates the cultural contexts of the folksong anthologies of the 1700s, the operas, symphonies, and ballets of the 1800s, the modernist masterpieces of the 1900s, and the hugely fraught but ambiguous products of the Soviet period. Taruskin begins by showing how enlightened aristocrats, reactionary romantics, and the theorists and victims of totalitarianism have variously fashioned their vision of Russian society in musical terms. He then examines how Russia as a whole shaped its identity in contrast to an "East" during the age of its imperialist expansion, and in contrast to two different musical "Wests," Germany and Italy, during the formative years of its national consciousness.
For this biography the author has used many primary documents; Shostakovich's many letters, concert programmes, newspaper articles and diaries of his contemporaries. Showing his life as an example of the paradoxes of living as an artist in Russia.
Dmitri Shostakovich (1906-75) was one of the greatest composers of the 20th century, as well as the first major Soviet composer. In the fourth edition of Dmitri Shostakovich Catalogue: The First Hundred Years and Beyond, Derek C. Hulme names and describes all known musical compositions of the Russian composer. More than 175 major works are annotated and discussed, including such comprehensive details as titles and subtitles, dates of composition, instrumentation, and duration; information on dedications and premieres; arrangements by the composer and others; publication details; notes on bibliographical references and the location of the autograph score; and comprehensive chronological lists of vinyl, compact disc, and visual recordings. The entries are presented chronologically and by opus number, while indexes of names and compositions provide full accessibility. Several appendixes supplement the volume, guiding readers to further information in published sources and providing information on the composer's film, radio, television, and theatre productions; his abandoned projects and obscure works; and his recordings, including box sets and special USSR recordings. An appendix also discusses the monogram DSCH, a musical motif based on his name that permeates his compositions. This new edition also includes a comprehensive chronological chart of Shostakovich's works and historical events and several plates of memorabilia.