Download A Shostakovich Casebook by Malcolm Hamrick Brown PDF

By Malcolm Hamrick Brown

"A significant event.... This Casebook isn't just approximately Volkov’s Testimony, it truly is approximately song previous and new within the twentieth century, concerning the cultural legacy of 1 of that century’s such a lot extravagant social experiments, and what we need to study from them, not just what they must study from us." —Caryl Emerson, Princeton University

In 1979, the alleged memoirs of mythical composer Dmitry Shostakovich (1906–1975) have been released as Testimony: The Memoirs of Dmitry Shostakovich As with regards to and Edited via Solomon Volkov. because its visual appeal, besides the fact that, Testimony has been the focal point of controversy in Shostakovich stories as doubts have been raised relating its authenticity and the function of its editor, Volkov, in developing the book.

A Shostakovich Casebook offers 25 essays, interviews, newspaper articles, and reviews—many newly to be had because the cave in of the Soviet Union—that overview the "case" of Shostakovich. as well as authoritatively reassessing Testimony’s genesis and reception, the authors during this ebook deal with problems with political impression on musical creativity and the function of the artist inside a totalitarian society. across the world identified participants contain Richard Taruskin, Laurel E. Fay, and Irina Antonovna Shostakovich, the composer’s widow. This quantity combines a balanced reconsideration of the Testimony controversy with an exam of what the talk indicates for all tune historians, performers, and considerate listeners.

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1 34; Robert Craft, "Notes from the Composer," New York Review of Books, 24 January 1 980, pp. 9-1 2 ; Phillip Ramey, "The Shos­ takovich Memoirs: Do They Prove a Case? " Ovation 1, no. 1 (February 1 980): 2 2-24, 76; George Steiner, "Books . . Marche Funebre, " The New Yorker, 24 Shostakovich versus Volkov: Whose Testimony? ( 1980) I 21 March 1 980, pp. 1 2 9-3 2 ; Galina Vishnevskaya interview with Bella Ezerskaia, "Trepet i muki aktyora: interv'iu s Galinoi Vishnevskoi" [fhe trembling and tor­ ments of an actor: Interview with Vishnevskaya] , Vremia i my, no.

Then the true meaning of his words had to be guessed, extracted from a box with three false bottoms" (p. xvii). The only guarantee we are given that Volkov guessed correctly are the problematic inscriptions "Read. D . " Many other perplexing questions are raised by the book. Knowing without a doubt that it could not be published in the Soviet Union, an assumption which subsequent events have decisively corroborated, why then did Volkov bother to make "several attempts . . in that direction" (p.

I couldn't not write it. War was all around. I had to be with the people, I wanted to create the image of our country at war, capture it in music. From the first days of the war, I sat down at the piano and started work. I worked intensely. I wanted to write about our times, about my contemporar­ ies who spared neither strength nor life in the name of Victory Over the Enemy. to do as much as possible. "When I find out that a composer has made eleven ver­ sions of one symphony, I think invol­ untarily, how many new works might he have written in that time?

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