Download e-book for iPad: A Shostakovich Companion by Michael Mishra

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 existence and compositional evolution of the Soviet Union's most famed composer; and a symposium during which numerous analytical thoughts is utilized to chose Shostakovich works and genres. this is often the 1st entire English-language booklet in twenty-five years within 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 elements. half I considers the hermeneutic thoughts which were utilized to Shostakovich's tune, in addition to a number of the controversies surrounding his existence and his courting to Soviet politics. half II includes the book's significant life-and-works dialogue, uniting a finished exam of Shostakovich's compositional evolution with a whole account of his lifestyles. Coming from various authors, the chapters partly III reveal a cross-section of analytical concepts which could usefully be dropped at endure upon Shostakovich's tune. those variety from literary and cinematically-based the right way to the extra conventional different types of musical research. half IV considers 3 self reliant 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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But it was quickly abandoned, replaced by a much smaller-scale and decidedly anti-heroic Ninth Symphony the following summer. Testimony explains: Everyone praised Stalin, and now I was supposed to join in this unholy affair. There was an appropriate excuse. We had ended the war victoriously; no matter the cost, the important thing was that we won, the empire had expanded. And they demanded that Shostakovich use quadruple winds, choir, and soloists to hail the leader. All the more because Stalin found the number auspicious: the Ninth Symphony....

D. sat in the remotest and darkest corner and kept silent. His speech "was being created by the government"! Later on, I sat at the typewriter. . I made various haphazard additions from memory until three o'clock in the morning . "4 5 Although most commentators in the West understood that Shostakovich, like any figure in Soviet public life, had to watch his words, there had, prior to Testi­ mony, been little overt acknowledgment of the sheer extent to which his verbal output had been managed.

66 Taruskin goes on to reject the idea of Shostakovich-as-dissident on the grounds that "though mercilessly threatened [he] never suffered a dissident's tri­ als," unlike, say, Sakharov and Solzhenitsyn. 67 For Taruskin, dissidence is necessar­ ily a post-Stalinist phenomenon; since open dissent was simply not possible during the Stalin years, at least if one wished to survive, to claim Shostakovich as a dissident is to express a historical impossibility, however well intentioned. " 6 8 If we agree with Taruskin that "dissidence" has a meaning that is precise and limited-the open expression of dissent-and that the popularly promoted idea of "secret" dissidence is, by definition, oxymoronic, we may instead prefer, as David Fanning does, Mark Aranovsky's characterization of Shostakovich as inakomyslyash­ chii, 69 which Fanning describes as "literally 'the otherwise-thinker', which implies something rather stronger than the Western 'non-conformist' but not so strong as 'dissident' in the narrow sense.

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A Shostakovich Companion by Michael Mishra

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