A Shostakovich Companion by Michael Mishra

By Michael Mishra

Adopting a two-books-in-one structure. 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 during which quite a few analytical ideas is utilized to chose Shostakovich works and genres. this is often the 1st finished English-language booklet 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 elements. half I considers the hermeneutic options which were utilized to Shostakovich's track, in addition to a few of the controversies surrounding his lifestyles and his dating to Soviet politics. half II contains the book's significant life-and-works dialogue, uniting a finished exam of Shostakovich's compositional evolution with a whole account of his existence. Coming from various authors, the chapters partly III display a cross-section of analytical innovations which can usefully be dropped at endure upon Shostakovich's track. those variety from literary and cinematically-based tips on how to the extra conventional varieties of musical research. half IV considers 3 self reliant yet an important points of Shostakovich's lifestyles: his contributions to the Soviet movie undefined, his occupation as a pianist, and his legacy and impression as a teacher.

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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. Do not, I beg you, judge me too harshly. I kiss you warmly, D.

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.

Marina Sabinina, for example, recalls him in 1 9 5 0 sitting in the Conservatory from which he had been dismissed two years previously. "98 And the deflation of bureaucratic self-importance through musical parody would form the very essence of works like The Nose or Rayok. Yet, it is one thing to iden­ tify an essential characteristic of Shostakovich's musical persona, quite another to use it as a yardstick, the filter through which all works are analyzed and evaluated. ' In The New Shostakovich, works would frequently be judged according to their "ironic" or "dissident" credentials.

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