A Shostakovich Companion by Michael Mishra

By Michael Mishra

Adopting a two-books-in-one layout. 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 numerous analytical thoughts is utilized to chose Shostakovich works and genres. this can be the 1st entire English-language e-book in twenty-five years within which the first emphasis is on musical matters, 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 concepts which have been utilized to Shostakovich's tune, in addition to many of the controversies surrounding his lifestyles and his courting to Soviet politics. half II contains the book's vital life-and-works dialogue, uniting a accomplished exam of Shostakovich's compositional evolution with an entire account of his lifestyles. Coming from a number of authors, the chapters partly III show a cross-section of analytical ideas that can usefully be delivered to undergo upon Shostakovich's song. those variety from literary and cinematically-based ways to the extra conventional forms of musical research. half IV considers 3 self sustaining 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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94 *** Although the terms "orthodox" and "dissident" have been part of the Shostako­ vich reception landscape for nearly three decades, defining what they actually mean in performance terms has proven more problematic. Something of a bell­ wether in this regard has been the controversy surrounding the tempo of the Fifth Symphony's . 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.

All around can he seen beaming smiles on radiantly happy Russian, Ukrainian, and Jewish faces. I. I. Ye. G. I. P. V. I. A. A. A. S. M. A. A. E. P. N. T. P. G. T. S. Korochenko. Everywhere one hears the accents of Russian and Ukrainian speech, as well as from time to time the foreign tongues of those progressive representatives of mankind who have come to Odessa to salute Odessans on their great holiday. I myself walked the streets until, no longer able to contain my joy, I returned home and resolved to describe to you, as best I might, Odessa's National Day of Celebration.

One factor here is our natural tendency to reject, some­ times unthinkingly, older scholarship as it becomes apparently supplanted by the new. And "Elmira'' satisfies to an even greater extent than Das Lied our yearning for specificity, our fascination with codes, not to mention the potential for a "romantic" . linkage with Shostakovich's DSCH monogram, also present in this movement. Of course, this says more about us, the audience, than it does about Shostakovich or about the act of composition, for we will never be privy to the precise nature of the "eruption" that created this particular musical moment.

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