Shostakovich A Life Remembered

'The one indispensable book about the composer.' New York Times

Author: Elizabeth Wilson

Publisher: Faber & Faber

ISBN: 0571261159

Category: Music

Page: 550

View: 650

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

Shostakovich

"This new edition, produced to coincide with the centenary of Shostakovich's birth, draws on many new writings on the composer.

Author: Elizabeth Wilson

Publisher: Princeton University Press

ISBN: 0691128863

Category: Biography & Autobiography

Page: 672

View: 126

"This new edition, produced to coincide with the centenary of Shostakovich's birth, draws on many new writings on the composer. In doing so, it provides both a more detailed and focused image of Shostakovich's life, and a wider view of his cultural background."--P. [4] of cover.

Contemplating Shostakovich Life Music and Film

2 Solomon Volkov, Testimony: The Memoirs of Dmitrii Shostakovich (New York: Harper and Row, 1979). 3 Both commented on in Laurel E. Fay, ... 7 Shostakovich: A Life Remembered (Princeton, NJ: Princeton University Press, 1994.

Author: Andrew Kirkman

Publisher: Routledge

ISBN: 1317161017

Category: Music

Page: 314

View: 282

Contemplating Shostakovich marks an important new stage in the understanding of Shostakovich and his working environment. Each chapter covers aspects of the composer's output in the context of his life and cultural milieu. The contributions uncover 'outside' stimuli behind Shostakovich's works, allowing the reader to perceive the motivations behind his artistic choices; at the same time, the nature of those choices offers insights into the workings of the larger world - cultural, social, political - that he inhabited. Thus his often ostensibly quirky choices are revealed as responses - by turns sentimental, moving, sardonic and angry - to the particular conditions, with all their absurdities and contradictions, that he had to negotiate. Here we see the composer emerging from the role of tortured loner of older narratives into that of the gregarious and engaged member of his society that, for better and worse, characterized the everyday reality of his life. This invaluable collection offers remarkable new insight, in both depth and range, into the nature of Shostakovich's working circumstances and of his response to them. The collection contains the seeds for a wide range of new directions in the study of Shostakovich's works and the larger contexts of their creation and reception.

A Shostakovich Casebook

Wilson, Shostakovich: A Life Remembered, p. 430. 23. Solzhenitsyn never bothered to ask for Shostakovich's signature on a pe tition denouncing the 1968 Warsaw Pact invasion of Czechoslovakia, since he knew that the composer, ...

Author: Malcolm Hamrick Brown

Publisher: Indiana University Press

ISBN: 025305625X

Category: Music

Page: 392

View: 665

A collection of writings analyzing the controversial 1979 posthumous memoirs of the great Russian composer at their significance. In 1979, the alleged memoirs of legendary composer Dmitry Shostakovich (1906–1975) were published as Testimony: The Memoirs of Dmitry Shostakovich As Related to and Edited by Solomon Volkov. Since its appearance, however, Testimony has been the focus of controversy in Shostakovich studies as doubts were raised concerning its authenticity and the role of its editor, Volkov, in creating the book. A Shostakovich Casebook presents twenty-five essays, interviews, newspaper articles, and reviews—many newly available since the collapse of the Soviet Union—that review the “case” of Shostakovich. In addition to authoritatively reassessing Testimony’s genesis and reception, the authors in this book address issues of political influence on musical creativity and the role of the artist within a totalitarian society. Internationally known contributors include Richard Taruskin, Laurel E. Fay, and Irina Antonovna Shostakovich, the composer’s widow. This volume combines a balanced reconsideration of the Testimony controversy with an examination of what the controversy signifies for all music historians, performers, and thoughtful listeners. Praise for A Shostakovich Casebook “A major event . . . This Casebook is not only about Volkov’s Testimony, it is about music old and new in the 20th century, about the cultural legacy of one of that century’s most extravagant social experiments, and what we have to learn from them, not only what they ought to learn from us.” —Caryl Emerson, Princeton University

Shostakovich

E. Wilson , Shostakovich : A Life Remembered ( London , 1994 ) , 6 . 21. Mariya Shostakovich in Khentova , V mire Shostakovicha , 51 . 22. Seroff , Shostakovich , 73 . 23. Losskiy , Minuvsheye 12:28 . 24.

Author: Laurel E. Fay

Publisher: Oxford University Press, USA

ISBN: 9780195182514

Category: Biography & Autobiography

Page: 494

View: 284

"Shostakovich's life is a fascinating example of the paradoxes of living as an artist under totalitarian rule. Alone among his artistic peers, he survived successive Stalinist cultural purges and won the Stalin Prize five times, yet in 1948 he was dismissed from his conservatory teaching positions, and many of his works were banned from performance. He prudently censored himself, in one case putting aside a work based on Jewish folk poems. Under later regimes he balanced a career as a model Soviet - holding government positions and acting as an international ambassador - with his unflagging artistic ambitions."--Jacket.

Shostakovich Studies 2

See Mstislav Rostropovich's contradictory recollections of being Shostakovich's student in the 1960s in Wilson, Shostakovich: A Life Remembered, p. 216. It is likely that Shostakovich reserved his most honest comments for the students ...

Author: Pauline Fairclough

Publisher: Cambridge University Press

ISBN: 0521111188

Category: Music

Page: 323

View: 662

A collection of authoritative and up-to-date scholarship on one of the twentieth century's most important and enigmatic composers.

Shostakovich s Preludes and Fugues

Wilson, Shostakovich, 405. Chapter 2. Placing the Preludes and Fugues 1. See Elizabeth Wilson, Shostakovich: A Life Remembered, second ed. (Princeton and Oxford: Princeton University Press, 2006), 234–235. . Ibid., 250.

Author: Mark Mazullo

Publisher: Yale University Press

ISBN: 0300149433

Category: Music

Page: 286

View: 686

"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.

Shostakovich in Dialogue

46 Khentova, V mire Shostakovicha, p. 206. 47 Rostislav Dubinsky, Stormy Applause: Making Music in a Worker's State (New York: Hill and Wang, 1989), pp. 278-279. 48 As quoted in Elizabeth Wilson, Shostakovich: A Life Remembered, p. 281.

Author: Judith Kuhn

Publisher: Routledge

ISBN: 1351548670

Category: Music

Page: 314

View: 909

A thorough examination of Shostakovich's string quartets is long overdue. Although they can justifiably lay claim to being the most significant and frequently performed twentieth-century oeuvre for that ensemble, there has been no systematic English-language study of the entire cycle. Judith Kuhn's book begins such a study, undertaken with the belief that, despite a growing awareness of the universality of Shostakovich's music, much remains to be learned from the historical context and an examination of the music's language. Much of the controversy about Shostakovich's music has been related to questions of meaning. The conflicting interpretations put forth by scholars during the musicological 'Shostakovich wars' have shown the impossibility of fixing a single meaning in the composer's music. Commentators have often heard the quartets as political in nature, although there have been contradictory views as to whether Shostakovich was a loyal communist or a dissident. The works are also often described as vivid narratives, perhaps a confessional autobiography or a chronicle of the composer's times. The cycle has also been heard to examine major philosophical issues posed by the composer's life and times, including war, death, love, the conflict of good and evil, the nature of subjectivity, the power of creativity and the place of the individual - and particularly the artist - in society. Soviet commentaries on the quartets typically describe the works through the lens of Socialist-Realist mythological master narratives. Recent Western commentaries see Shostakovich's quartets as expressions of broader twentieth-century subjectivity, filled with ruptures and uncertainty. What musical features enable these diverse interpretations? Kuhn examines each quartet in turn, looking first at its historical and biographical context, with special attention to the cultural questions being discussed at the time of its writing. She then surveys the work's reception history, and

Sport Music Identities

Wilson, Shostakovich: A Life Remembered, 182. References Bateman, Anthony. '“Ludus Tonalis”: Sport and Musical Modernisms 1910–1938'. In Sporting Sounds: Relationships Between Sport and Music, ed. Anthony Bateman and John Bale, 145–63.

Author: Anthony Bateman

Publisher: Routledge

ISBN: 1317650409

Category: Music

Page: 176

View: 244

Despite the close and longstanding links between sport and music, the relationships between these two significant cultural forms have been relatively neglected. This book addresses the oversight with a series of highly original essays written by authors from a range of academic disciplines including history, psychology, musicology and cultural studies. It deals with themes including sport in music; music in sport; the use of music in mass sporting events; and sport, music and protest. In so doing, the book raises a range of important themes such as personal and collective identity, cultural value, ideology, globalisation and the commercialisation of sport. As well as considering the sport/music nexus in Great Britain, the collection examines sport and music in Ireland, the United States, Germany and the former Soviet Union, as well as in the Olympic movement. Musical styles and genres discussed are diverse and include classical, rock, music hall and football-terrace chants. For anybody with an interest in sport, music or both, this collection will prove an enjoyable and stimulating read. This book was previously published as a Special Issue of Sport in Society.

Shostakovich and His World

Tat'iana Vecheslava , O tom , shto dorogo ( Leningrad : Sovetskii kompozitor , 1989 ) ; quoted in Wilson , Shostakovich : A Life Remembered , p . 93 . 41. Russkii gosudarstvennyi arkhiv literatury i iskusstva Sankt - Peterburg ( RGALI ...

Author: Laurel E. Fay

Publisher: Princeton University Press

ISBN: 0691232199

Category: Music

Page: 432

View: 174

Dmitri Shostakovich (1906-1975) has a reputation as one of the leading composers of the twentieth century. But the story of his controversial role in history is still being told, and his full measure as a musician still being taken. This collection of essays goes far in expanding the traditional purview of Shostakovich's world, exploring the composer's creativity and art in terms of the expectations--historical, cultural, and political--that forged them. The collection contains documents that appear for the first time in English. Letters that young "Miti" wrote to his mother offer a glimpse into his dreams and ambitions at the outset of his career. Shostakovich's answers to a 1927 questionnaire reveal much about his formative tastes in the arts and the way he experienced the creative process. His previously unknown letters to Stalin shed new light on Shostakovich's position within the Soviet artistic elite. The essays delve into neglected aspects of Shostakovich's formidable legacy. Simon Morrison provides an in-depth examination of the choreography, costumes, décor, and music of his ballet The Bolt and Gerard McBurney of the musical references, parodies, and quotations in his operetta Moscow, Cheryomushki. David Fanning looks at Shostakovich's activities as a pedagogue and the mark they left on his students' and his own music. Peter J. Schmelz explores the composer's late-period adoption of twelve-tone writing in the context of the distinctively "Soviet" practice of serialism. Other contributors include Caryl Emerson, Christopher H. Gibbs, Levon Hakobian, Leonid Maximenkov, and Rosa Sadykhova. In a provocative concluding essay, Leon Botstein reflects on the different ways listeners approach the music of Shostakovich.