Dmitri Shoshtakovich (1906–1975) is recognized as one of the greatest composers of the twentieth century yet few people know that he was also an outstanding concert pianist who maintained a hectic performing schedule. In Dmitri Shostakovich, Pianist Sofia Moshevich offers the first detailed examination of Shoshtakovich the pianist within the context of his life and work as a composer. She traces his musical roots, piano studies, repertoire, and concert career through his correspondence with family and friends and his own and his contemporaries' memoirs, using material never before available in English. This biographical narrative is interwoven with analyses of Shoshtakovich's piano and chamber works, demonstrating how he interpreted his own music. For the first time, Shoshtakovich's own recordings are used as primary sources to discover what made his playing unique and to dispel commonly held myths about his style of interpretation. His recorded performances are analysed in detail, specifically his tempos, phrasing, dynamics, pedal, and tonal production. Some unpublished variants of musical texts are included and examples of his interpretations are provided and compared to various editions of his published scores.
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.
In The Pianist's Craft, Richard Anderson collects from his fellow pianist-scholars 18 articles on the teaching, preparation, and performance of works by the greatest composers in the standard piano repertoire. The contributors—all recognized nationally and internationally for their contributions as performing artists, teachers, recording artists, and clinicians—write thoughtfully about the composers whose work they have studied and played for years, examining questions of phrasing, tempo, articulation, dynamics, rhythm, color, gesture, lyricism, instrumentation, and genre. The Pianist's Craft is intended for teachers and students of the intermediate and advanced levels of piano, instructors and performers at the university level, and those who love piano and piano music generally.
The piano works of Dmitri Shostakovich (1906–1975) are among the most treasured musical compositions of the 20th century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich's piano solos.
As the Soviet Union's foremost composer, Shostakovich's status in the West has always been problematic. Regarded by some as a collaborator, and by others as a symbol of moral resistance, both he and his music met with approval and condemnation in equal measure. The demise of the Communist state has, if anything, been accompanied by a bolstering of his reputation, but critical engagement with his multi-faceted achievements has been patchy. This Companion offers a starting point and a guide for readers who seek a fuller understanding of Shostakovich's place in the history of music. Bringing together an international team of scholars, the book brings research to bear on the full range of Shostakovich's musical output, addressing scholars, students and all those interested in this complex, iconic figure.
Dmitry Shostakovich was one of the most successful composers of the twentieth century—a musician who adapted as no other to the unique pressures of his age. By turns vilified and feted by Stalin during the Great Purge, Shostakovich twice came close to succumbing to the whirlwind of political repression of his times and remained under political surveillance all his life, despite the many privileges and awards heaped upon him in old age. Through it all, Shostakovich showed a remarkable ability to work with, rather than against, prevailing ideological demands, and it was this quality that ensured both his survival and his musical posterity. Pauline Fairclough’s absorbing new biography offers a vivid portrait of Shostakovich. Featuring quotations from previously unpublished letters as well as rarely seen photographs, Fairclough’s book provides fresh insight into the music and life of a composer whose legacy, above all, was to have written some of the greatest and most cherished music of the last century.
Shostakovich: A Life Remembered is a unique study of the great composer, drawn from the reminiscences and reflections of his contemporaries. Elizabeth Wilson sheds light on the composer's creative process and his working life in music, and examines the enormous and enduring influence that Shostakovich has had on Soviet musical life. 'The one indispensable book about the composer.' New York Times
This second edition of Historical Dictionary of Modern and Contemporary Classical Music contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the most important composers, musicians, methods, styles, and media in modernist and postmodern classical music.
Historical Dictionary of Russian Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries for each of Russia’s major performing organizations and performance venues, and on specific genres such as ballet, film music, symphony and church music.
"An outstanding piece of work---illuminating, attractively written, and stimulating. It is a book that will be welcomed by scholars of Russian music, readers interested in the cultural life of the Soviet Union, and interested listeners to a remarkable body of repertory." Michael Steinberg --Book Jacket.
Composed in 1935-36 and intended to be his artistic 'credo', Shostakovich's Fourth Symphony was not performed publicly until 1961. Here, Dr Pauline Fairclough tackles head-on one of the most significant and least understood of Shostakovich's major works. She argues that the Fourth Symphony was radically different from its Soviet contemporaries in terms of its structure, dramaturgy, tone and even language, and therefore challenged the norms of Soviet symphonism at a crucial stage of its development. With the backing of prominent musicologists such as Ivan Sollertinsky, the composer could realistically have expected the premiere to have taken place, and may even have intended the symphony to be a model for a new kind of 'democratic' Soviet symphonism. Fairclough meticulously examines the score to inform a discussion of tonal and thematic processes, allusion, paraphrase and reference to musical types, or intonations. Such analysis is set deeply in the context of Soviet musical culture during the period 1932-36, involving Shostakovich's contemporaries Shebalin, Myaskovsky, Kabalevsky and Popov. A new method of analysis is also advanced here, where a range of Soviet and Western analytical methods are informed by the theoretical work of Shostakovich's contemporaries Viktor Shklovsky, Boris Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, together with Theodor Adorno's late study of Mahler. In this way, the book will significantly increase an understanding of the symphony and its context.
This book, on Jimi Hendrix’s life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix’s relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant “Gypsy” and “Voodoo child” whose racialized “freak” visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix’s transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music’s global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix’s place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.