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Artykuły w czasopismach na temat „Shostakovich”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 29 lipca 2024

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1

Padgett, Andrew. "The Dialectic of Musical Socialist Realism: The Case of Dmitri Shostakovich". Transcultural Studies 9, nr 1 (2013): 103–11. http://dx.doi.org/10.1163/23751606-00901009.

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At the time of his death in 1975, Dmitri Shostakovich was widely recognised as the greatest composer of his generation, and the first master of the socialist realist symphony. However, Shostakovich’s successes were hard-won. They came on the back of denunciations in Pravda of two earlier ‘formalist’ works. In an effort to win the support of the Party leadership, Shostakovich subsequently transformed his compositional style to produce his popular Fifth Symphony. This paper examines what changed in Shostakovich’s style from his Fourth to his Fifth Symphonies, to establish precisely what musical socialist realism was, and how it was successfully composed, and the long term influence it had on the generation of Soviet composers who emerged after the thaw.

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2

Balshin, Vladimir Vladimirovich. "The string quartet in the works of Beethoven and Shostakovich: thematic and intonation links". PHILHARMONICA. International Music Journal, nr 5 (maj 2023): 9–20. http://dx.doi.org/10.7256/2453-613x.2023.5.68840.

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The article explores the genre of string quartet on the example of Beethoven and Shostakovich in the aspect of intonation and thematic connections, as well as the parallels of creativity of both composers. The author gives examples of thematic, interval, intonation and textural-melodic quoting of Beethoven's works in Shostakovich's quartets. Russian culture and Beethoven's influence is revealed, in particular, in relation to working with the material of Russian songs in quartets written by order of Count Razumovsky. The author reveals Shostakovich's attraction to Beethoven's work, the closeness of his compositional style and ideas in terms of conceptuality, architectonics, the use of musical and expressive means and a tendency to dynamic onslaught. The methodology of the research is based on the analysis of historical materials, musical articles, concepts of outstanding historians and music theorists. The main contribution of this study is the identification of thematic and semantic connections between the quartets of Beethoven and Shostakovich. The author concludes that Shostakovich often turned to Beethoven's work, used his methods and techniques of working with the material, the structure of the cycle, included allusions to themes, intonations in his quartets, and even used whole textured excerpts from Beethoven's music – and he made it through the prism of his creative style. The novelty of the article lies in the identification of the connection between Beethoven's work and Russian music, the composer's use of melodies of Russian songs in "Russian Quartets", as well as intonation-thematic parallels between the quartets of Beethoven and Shostakovich. In addition, the article reveals the special role of the performer in the work on the quartet of both Beethoven and Shostakovich.

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3

Johnson, Lee. "THE ‘HAUNTED’ SHOSTAKOVICH AND THE CO-PRESENCE OF BACH". Tempo 63, nr 249 (lipiec 2009): 41–50. http://dx.doi.org/10.1017/s0040298209000254.

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My theoretical purpose is to distinguish between musical allusions and musical co-presences. A musical allusion is usually a citation of a melody or phrase from a work by a predecessor. In Shostakovich's Fifteenth Symphony, for example, references to Rossini's William Tell and to Wagner's Ring have tantalized listeners and provoked speculation on what these allusions could mean. In general, Shostakovich's music is notable for containing numerous allusions, often ironic, to previous composers. By contrast, Shostakovich's 24 Preludes and Fugues and the Eighth String Quartet show more than mere allusions to Bach: the very methods and forms of the Baroque master are incorporated into the later composer's works, as if Bach were a co-creator with Shostakovich; and those methods and forms are not employed ironically. That is to say, the music of Bach has a special significance for Shostakovich, a presence that goes beyond any topical value.

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4

DIAMANTOULI, EIRINI. "‘There shall be no musical servitude’: Towards a Multitudinous Shostakovich in the West". Journal of the Royal Musical Association 145, nr 2 (listopad 2020): 495–505. http://dx.doi.org/10.1017/rma.2020.19.

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Ideologically motivated attempts to elucidate Shostakovich’s political views and to determine whether and how they may be coded into his compositions have come to characterize the Western reception of the composer’s works since his death in 1975. Fuelled by the political oppositions of the cold war, Shostakovich’s posthumous reputation in the West has been largely shaped by two conflicting perspectives. These have positioned him on the one hand as a secret dissident, bent and broken under the unbearable strain of totalitarianism, made heroic through his veiled musical resistance to Communism; and on the other hand as a composer compromised by his capitulation to the regime – represented in an anachronistic musical style. Both perspectives surrender Shostakovich and his music to a crude oversimplification driven by vested political interests. Western listeners thus conditioned are primed to hear either the coded dissidence of a tragic victim of Communist brutality or the sinister submission of a ‘loyal son of the Communist Party’.1 For those prepared to accept Shostakovich as a ‘tragic victim’, the publication of his purported memoirs in 1979, ‘as related to and edited by’ the author Solomon Volkov, presents a tantalizing conclusion: bitterly yet discreetly scornful of the Stalinist regime, Shostakovich was indeed a secret dissident and this dissidence was made tangible in his music.

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5

Moody, Ivan. "The Music of Alfred Schnittke". Tempo, nr 168 (marzec 1989): 4–11. http://dx.doi.org/10.1017/s0040298200024876.

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In recent years, Alfred Schnittke has seemed to provide a point of focus for interest in Russian music which has been absent since the death of Shostakovich in 1975: not least because he appears in some respects to be the latter's natural successor. Many of Shostakovich's aesthetic as well as technical preoccupations have played a significant part in Schnittke's work. Schnittke has developed these preoccupations, in fact, to a further extreme: his principal inheritance from Shostakovich, the sense of irony and alienation, has become the most obvious trait in the music of a composer who has consistently followed his own star quite independently of any stylistic clique.

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6

SCHMELZ, PETER J. "What Was ““Shostakovich,”” and What Came Next?" Journal of Musicology 24, nr 3 (2007): 297–338. http://dx.doi.org/10.1525/jm.2007.24.3.297.

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The title of this article is borrowed from anthropologist Katherine Verdery's 1996 study What Was Socialism, and What Comes Next? In her book Verdery surveyed the recent changes in Eastern Europe, and specifically Romania, from her vantage point in the uncertain period following the momentous events from 1989 to 1991 in the former Soviet bloc. Similarly, this article explores how Shostakovich, widely perceived in 1975 as the musical representative of socialism, influenced what came after him. It details how Soviet composers from the younger generations, including Edison Denisov, Mieczysłław Weinberg, Boris Tishchenko, Alfred Schnittke, and Valentin Sil'vestrov, dealt with Shostakovich's legacy in their compositions written in his memory, including Denisov's DSCH, Weinberg's Symphony no.12, Tishchenko's Symphony no. 5, Schnittke's Prelude In Memoriam Dmitri Shostakovich and Third String Quartet, and Sil'vestrov's Postludium DSCH. In their memorial works, as they wrestled with the legacy of Shostakovich and his overwhelming influence, these composers also grappled with the shifting nature of the Soviet state, changing musical styles both foreign and domestic, and fundamental issues of aesthetic representation and identity associated with the move from modernism to postmodernism then affecting all composers in the Western art music tradition. The 1970s came at the heels of a decade of remarkable change in Soviet music and society, but at the time of Shostakovich's death, change in Soviet life began to seem increasingly unlikely. Despite recent interpretations by scholars such as anthropologist Alexei Yurchak that emphasize the fundamental immutability of the 1970s, however, these memorial compositions show that audible and significant developments were indeed occurring in the musical styles of the 1970s and early 1980s. Examining Shostakovich's legacy therefore also reveals the larger changes of the Soviet 1970s and early 1980s, both musical and otherwise.

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7

Burlina, Elena Ya. "D.D. Shostakovich in Samara — university project". Aspirantskiy Vestnik Povolzhiya 20, nr 3-4 (26.12.2020): 48–54. http://dx.doi.org/10.17816/2072-2354.2020.20.2.48-54.

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Once of the largest event in the world culture of the twentieth century is premiere of the Seventh Symphony by D.D. Shostakovich in Kuibyshev. It took place on March 5, 1942 and is described in detail. The author of the article puts forward a hypothesis about the fixed image of Shostakovich in the citys homosphere, namely as the author of themilitary Symphony. Other works created by him in the reserve capital did not receive a philosophical and cultural understanding. The article also presents a projective idea: Shostakovichs music as a communication and University promoter. The article describes for the first time the internationalization of the almanac and the exhibition Samaras Hommage. The Samara project with this name was presented to Bonn, at The Russian Consulate General, on the anniversary of the end of World War II. Professors from Europa universities were also invited to the presentation. For the first time, describes how to participate in the intercultural project of the writer CH.T. Aitmatov. The author conclusion that the Kuibyshev period of D.D. Shostakovich is significantly shortened and read far from completely, including in a scientific and communicative way.

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8

Weitzman, Ronald. "Fleischmann, Shostakovich, and Chekhov's ‘Rothschild's Fiddle’". Tempo, nr 206 (październik 1998): 7–11. http://dx.doi.org/10.1017/s0040298200006677.

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Shostakovich harboured a special esteem for Chekhov's literary genius, and knew by heart many of the short stories. At the same time, the composer felt an extraordinary tangible identification with the Jewish spirit, as well as a recognition of the role and importance of the Jewish contribution in history. (When it comes to the references in the disputed biography, Testimony, to Shostakovich's fierce personal stance whenever he came across the slightest expression of anti-semitism, there is sufficient independent evidence to indicate that Solomon Volkov's reporting cannot seriously be challenged.)

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9

Хаздан, Евгения Владимировна. "Dmitri Shostakovich and Moisey Beregovski". Музыкальная академия, nr 2(778) (30.06.2022): 168–89. http://dx.doi.org/10.34690/242.

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. Во второй половине 1950-х годов Дмитрий Шостакович помог фольклористу, исследователю музыки восточноевропейских евреев Моисею Береговскому в получении реабилитации, а через несколько лет способствовал продвижению к печати сборника «Еврейские народные песни». Статья посвящена исследованию взаимоотношений двух ярких представителей советской музыкальной культуры. Мы ищем ответы на вопросы: было ли возможным их знакомство в годы учебы в Петроградской консерватории? в чем состояла помощь композитора? могли ли повлиять материалы, собранные Береговским, на творчество Шостаковича? В работе вводятся в научный оборот ранее неизвестные архивные документы. In the second half of the 1950s, Dmitri Shostakovich heLped the foLkLorist and the researcher of music of East European Jews Moisеy Beregovski to get rehabiLitation. A few years Later the composer made efforts to promote the coLLection of Jewish FoLk Songs for publication. The article explores the relationship between these two outstanding figures of Soviet musical culture. We try to get answers for some questions: couLd Shostakovich and Beregovski make the acquaintance whiLe studying at the Petrograd Conservatory? what was the heLp of the composer? couLd Shostakovich's music have been influenced by the foLk tunes coLLected by Beregovski? The work introduces previousLy unknown archivaL documents.

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10

Zinkevych, Olena. "Dmitriy Shostakovich in William Tanner Vollmann’s Novel “Europe Central”". Scientific herald of Tchaikovsky National Music Academy of Ukraine, nr 133 (21.03.2022): 134–44. http://dx.doi.org/10.31318/2522-4190.2022.133.257330.

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The relevance of the study. In the foreign reception of Dmitriy Shostakovich, its out-ofmusical-professional discourse is important. Along with the play by David Pounell “Master Class”, the novel by Julian Barnes “The Noise of Time” and others, the novel by the famous American writer William T. Vollmann (William T. Vollmann) “Europe Central” (“Europe nodal”) is quite significant, it received the 2005 US National Book Award. The almost 800-page epic, which foreign critics compare with the epic of L. Tolstoy and call “War and Peace of the 20th century”, covers the events of Russian and German history from 1914 till 1975, including the Holocaust, the era of great terror, Babi Yar. The panorama of the war between two totalitarian regimes is especially widespread. Among the characters are mainly representatives of creative professions and military leaders: Hitler and Stalin, Paulus and Vlasov, Kete Kolwitz and Anna Akhmatova, Tukhachevsky and Roman Carmen, etc. The destinies of all characters are intertwined, their stories unfold in parallel or in interaction. But the real hero of the book is Dmitriy Shostakovich. Main objective of the study is to acquaint with the work of William T. Vollmann and his novel “Europe Central”, the analysis of which makes it possible to understand the peculiarities of perception of D. Shostakovich’s music by the US intellectual elite. The main results and conclusions of the study. William T. Vollmann refers to Shostakovich as a hero and admits his passion for his personality. Mainly adhering to the facts, he conjectures a lot and frankly invents. Heightened metaphor, phantasmagorism, extravagance of his descriptions are quite consistent with the style of postmodernism or absurdity. The author does not hide his liberties and in the afterword apologizes for the distortions in the book. The mythogenic situation created by Vollmann clearly echoes the well-known — including Russian — fictionalization by Dmitriy Shostakovich. And, thus, Vollmann’s novel becomes another confirmation of Shostakovich’s acquisition of the status of a “cultural hero of the era”, because it is the mythogenic processes provoked by large-scale public reflection that are decisive in the formation of this sociocultural phenomenon.

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11

MacDonald, Hugh. "Shostakovich, Prokofiev". Musical Times 127, nr 1720 (lipiec 1986): 391. http://dx.doi.org/10.2307/965251.

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12

Sheinberg, Esti, Allan B. Ho i Dmitry Feofanov. "Shostakovich Reconsidered". Notes 56, nr 2 (grudzień 1999): 422. http://dx.doi.org/10.2307/900029.

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13

Heikinheimo, Seppo. "Tikhon Khrennikov in Interview". Tempo, nr 173 (czerwiec 1990): 18–20. http://dx.doi.org/10.1017/s0040298200019082.

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No-one in his right mind would want to be in Tikhon Khrennikov's shoes. He has the dubious distinction of being the number two villain of Shostakovich's memoirs Testimony, second only to Stalin. Shostakovich nicknamed him the ‘bloodhound’. But he is also a curious historical survival: the only dictator of an arts organization in the Soviet Union who was appointed by Stalin and, 42 years later, still occupies the same position, his head still on his shoulders.

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14

Medina-Rincón, Germán José, Sofía Martínez-Gil, Luis Octavio Tierradentro-García, Eduardo Esteban Orrego-González i Juan Sebastián Botero-Meneses. "Dmitri Shostakovich: a work of virtuosity or a profitable misfortune?" Arquivos de Neuro-Psiquiatria 79, nr 10 (październik 2021): 933–35. http://dx.doi.org/10.1590/0004-282x-anp-2020-0570.

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Abstract Dmitri Shostakovich was one of the greatest composers of 20th century, famous for his piano and violin compositions. One of the compositions, the 5th symphony, is arguably his greatest work, which brought him back to the grace of the Soviet authorities in a moment of a political crisis in Russia. Among the experts, there is a theory which supports that Shostakovich’s talent was due to a traumatic brain injury involving a shrapnel. Moreover, he might have suffered from a neurodegenerative process throughout his life. In this paper, we intend to discuss these viewpoints.

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15

Ritzarev, Marina, i Laurel E. Fay. "Shostakovich: A Life". Slavic and East European Journal 45, nr 3 (2001): 576. http://dx.doi.org/10.2307/3086392.

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16

Myers, Gregory, i Malcolm Hamrick Brown. "A Shostakovich Casebook". Slavic and East European Journal 49, nr 3 (1.10.2005): 532. http://dx.doi.org/10.2307/20058334.

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17

Brown, Malcolm Hamrick, i Ian MacDonald. "The New Shostakovich". Notes 49, nr 3 (marzec 1993): 956. http://dx.doi.org/10.2307/898931.

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18

Blanco, Jerome. "Shostakovich After Midnight". Cream City Review 46, nr 1 (marzec 2022): 63–71. http://dx.doi.org/10.1353/ccr.2022.0019.

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19

Volkov, Solomon. "Universal Messages: Reflections in Conversation with Günter Wolter". Tempo, nr 200 (kwiecień 1997): 14–20. http://dx.doi.org/10.1017/s0040298200048397.

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(This interview with the editor of Testimony took place in New York in 1995, in connexion with the twentieth anniversary of Dmitri Shostakovich's death, and is published here in English for the first time.)Günter Wolter: Mr Volkov, how would you describe the acceptance or importance of Shostakovich's music since 1979? Has there been any significant change as a reaction to the publishing of ‘Testimony’.Solomon Volkov: Generally speaking, there was a rather drastic increase in Shostakovich's position on the musical scene of the 20th century. But it is very difficult for me to assess the particular importance in this process of the publication of Testimony because, if you are realistic, you understand that no single book, and no single performance could change the fate of a composer. But it could be part of a much broader process, and this process of change certainly occurred in the case of Shostakovich.

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20

Tsaregradskaya, Tatiana V. "Topoi and musical narrative: D. Shostakovich. Prelude op.34 No.7". Contemporary Musicology, nr 2 (2019): 13–28. http://dx.doi.org/10.56620/2587-9731-2019-2-013-028.

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XXth century music analysis today seems to tend towards analytical methods taken from outside of traditional structural analysis. One of these methods is narrative analysis developed by L. Kerman, L. Kramer, B. Almen. According to Almen musical narrative should be analyzed through topoi – musical constructions with stable meaning expressed by rhythmic, melodic, texture and tempo elements. The article shows the possibilities of applying narrative analysis procedures to Shostakovitch`s Prelude in A major op.34. We discovered such topoi as “learned style”, “nocturne”, “march” and defined the aim of Prelude`s narrative as reaching “cognitive dissonance”. The analysis of the Prelude reveals the central kernel of Shostakovich phenomenon: “to add to the music the element of ambiguity, inner contradiction, emotional and psychological discomfort” (L. Hakobian)

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21

Ostrovskaya, G. "THEMATIC DEVELOPMENT AND EARLY DRAMATURGY BY D. D. SHOSTAKOVICH". National Association of Scientists 4, nr 73 (30.11.2021): 06–09. http://dx.doi.org/10.31618/nas.2413-5291.2021.4.73.507.

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The article is devoted to the analysis of the dramatic patterns in the early quartets of D. Shostakovich. The features of the content and form formation in the quartets are determined. The purpose of the study is to determine the specificity of thematic development, which determines the laws of musical drama. The scientific novelty of the research lies in the study of the peculiarities of the organization of the integral structure in quartets on the basis of the intonational unity of the parts, as a manifestation of the essence of D. Shostakovich's chamber style. As a result, it was revealed that the figurative and emotional structure of music in quartets is aimed at embodying a multifaceted image in its development, reflecting the wealth and unity of its internal opposites.

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22

Huband, J. Daniel. "Shostakovich's Fifth Symphony: A Soviet Artist's Reply…?" Tempo, nr 173 (czerwiec 1990): 11–16. http://dx.doi.org/10.1017/s0040298200019070.

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The attempt to relate a nonmusical event to a musical phenomenon creates problems for the musicologist. Compelled to search beyond the mere notes on the printed page, one may try to gain more penetrating insights into a particular work by scrutinizing historical circumstances concurrent with the genesis of the music. In the case of Dmitri Shostakovich's Fifth Symphony, the social and political background to this piece has been greatly emphasized. Yet could the efforts to relate the composer's compositional style to his troubles with the Soviet regime obscure musical issues? The Fifth Symphony, frequently viewed by many music historians as an apologetic musical response to the Pravda attack on the opera Lady Macbeth of the Mtsensk District, does not present as drastic a change in musical style as is commonly believed. An analysis of the four earlier symphonies reveals that they function importantly in the composer's evolution as a symphonist; Shostakovich refines several compositional techniques employed in these works and incorporates them in the Fifth Symphony, his first fully mature piece. The most salient features of the composer's early works that most clearly relate to his development as a symphonist shall be discussed in this essay. This process aims to reassess the hypothesis which suggests Shostakovich suddenly mended his ways in light of official criticism.

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23

Kondakov, Igor Vadimovich. "Principles of Musical Allegories in D. D. Shostakovich’s Creative Work: Speculation in Sound VS Musical Intertext". Pan-Art 3, nr 2 (30.03.2023): 139–44. http://dx.doi.org/10.30853/pa20230017.

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The aim of this research is to define the principles of political and philosophical musical allegories in the creative work of D. D. Shostakovich. In this article the assessment of the composer’s symphonic works has been given. The extent of the philosophical issues of D. D. Shostakovich’s symphonic works has been characterized. The composer’s forms of politization of his creative work have been identified. The scientific novelty of this research consists in the characteristic of D. D. Shostakovich’s creative method being new for that time. This method was based on using collage made of the citations and pseudo-quotation notes of Shostakovich’s and other composers’ works. The citations and pseudo-quotation notes played the roles of non-music subtext and hidden allegory which had the philosophical conception of the artistic whole for creating the deep structure of his own works. As a result, it is concluded that D. D. Shostakovich’s works including his symphonies reconstruct the chronicle of the current events of the soviet and Russian history of the XX century and have a unique historical content. These works comprise the composers’ ideas and philosophical interpretation of that historical period.

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24

Swartz, Anne, i Elizabeth Wilson. "Shostakovich: A Life Remembered." American Historical Review 101, nr 1 (luty 1996): 213. http://dx.doi.org/10.2307/2169323.

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25

Oldani, Robert W., i Elizabeth Wilson. "Shostakovich: A Life Remembered". Russian Review 54, nr 4 (październik 1995): 620. http://dx.doi.org/10.2307/131625.

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26

Graeme, R. "Moskva, Cheremushki. Dmitri Shostakovich". Opera Quarterly 15, nr 4 (1.01.1999): 788–89. http://dx.doi.org/10.1093/oq/15.4.788.

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27

Jellinek, G. "Two by Dmitri Shostakovich". Opera Quarterly 16, nr 4 (1.01.2000): 680–82. http://dx.doi.org/10.1093/oq/16.4.680.

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28

Brown, Malcolm Hamrick, i Elizabeth Wilson. "Shostakovich: A Life Remembered". Slavic and East European Journal 40, nr 1 (1996): 192. http://dx.doi.org/10.2307/308529.

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29

Whittall, Arnold. "Review: Shostakovich in Context". Music and Letters 83, nr 4 (1.11.2002): 653–55. http://dx.doi.org/10.1093/ml/83.4.653.

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30

Frolova-Walker, Marina. "Shostakovich: A Life (review)". Notes 57, nr 2 (2000): 347–50. http://dx.doi.org/10.1353/not.2000.0071.

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31

Sheinberg, Esti. "Shostakovich in Context (review)". Notes 57, nr 4 (2001): 910–12. http://dx.doi.org/10.1353/not.2001.0115.

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32

Mazullo, Mark. "Dmitri Shostakovich, Pianist (review)". Notes 61, nr 3 (2005): 766–69. http://dx.doi.org/10.1353/not.2005.0025.

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33

Kovnatskaya, Ludmila. "Shostakovich and the LASM". Tempo, nr 206 (październik 1998): 2–6. http://dx.doi.org/10.1017/s0040298200006665.

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In the 1920s there were plenty of new opportunities for young composers to meet colleagues of all ages in the many circles, societies and associations which were then in existence. The most interesting, though short-lived of them was the Leningrad Association of Contemporary Music (LASM), which declared itself to be ‘a gathering of everyone connected with music today’. The Association was planned as a local branch of the International Society of Contemporary Music (ISCM) and of the central Moscow association. But in fact the LASM acted quite independently. Its founders were people who were already well-placed and even high-ranking in the country's musical life: the musicologists and critics Boris Asafyev (Igor Glebov), Vyacheslav Karatigin, Alexander Ossovsky and Andrey Rimsky-Korsakov, the composers Yuliya Weysberg, Alexander Zhitomirsky, Andrey Paschenko, Yuriy Tyulin, Maximilian Shteinberg, Lyubov Shtreikher-Bikhter and Vladimir Shcherbachev. Their first meeting took place on 15 April 1925 at the home of Rimsky-Korsakov and Weysberg.

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Sarajlić, Igor, i Jelena Trakilović. "THE INFLUENCE OF MUSICAL COMPONENTS ON THE OPENNESS OF THE FORM". SCIENCE International Journal 3, nr 1 (14.03.2024): 175–81. http://dx.doi.org/10.35120/sciencej0301175s.

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The paper discusses the influence of musical components on the openness of the form on the example of the String Quartet no. 8 op. 110 by Dmitri Shostakovich. Different collaborations and interweaving of musical components create various solutions for both the macro and micro structure of a work. This kind of cooperation will be analyzed in this paper on the example of the analysis of the work String Quartet No. 8 op. 110 by Dmitri Shostakovich. This quartet mostly belongs to the field of tonality. Without losing sight of the integrity of the musical flow, the analysis of individual components is carried out with the aim of indicating how they are activated and participate in the construction of the musical flow. The analysis is focused, first of all, on one of the most significant means of expression of this work - the thematic content. The reason for this is certainly its leading role, of course in cooperation with other components and musical plans, in the education of the openness of the form of this musical work. The focus of attention are also compositional techniques and the way Dmitri Shostakovich uses them in this string quartet, as well as quotes from composers such as J. S. Bach, P. I. Tchaikovsky and autoquotes of his own compositions from different periods of his creation. It was concluded that by passing other composer’s material through his own stylistic prism, Shostakovich builds a specific sonority, moving airy harmony and chordal texture into the dark, ghostly realm of Shostakovich. The method of analysis and synthesis was used in the paper.

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MORRISON, SIMON. "What Next? Shostakovich's Sixth Symphony as Sequel and Prequel". Twentieth-Century Music 16, nr 2 (30.04.2019): 231–57. http://dx.doi.org/10.1017/s1478572218000130.

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AbstractFor Dmitri Shostakovich, reaching the heights of the Soviet musical establishment proved easier than staying there. He triumphed with his Fifth Symphony of 1937, which marked the composer's return to official favour after the denunciation of his second opera and third ballet. Following that success, Shostakovich faced the problem of the sequel: whether or not, in the Sixth Symphony, to repeat, refute, or re-inscribe. I propose Shostakovich first thought about going big with his new project, composing a grand text-based score about Lenin, and then considered going small, grounding the first movement in folk fare and mixing light genres in the others. But in the end, he chose a more experimental approach. The Sixth Symphony collapses boundaries, both semantic and syntactic, pulling them back from a fixed state into a play of possibilities.

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Dolgov, K. M. "Shostakovich: Sketch for a Portrait". Concept: philosophy, religion, culture, nr 1 (7.07.2020): 209–12. http://dx.doi.org/10.24833/2541-8831-2020-1-13-209-212.

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Edwards, Paul. "“Lost children”: Shostakovich andlady Macbeth". Text and Performance Quarterly 18, nr 3 (lipiec 1998): 157–98. http://dx.doi.org/10.1080/10462939809366223.

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Macdonald, Ian. "Fay versus Shostakovich: Whose stupidity?∗". East European Jewish Affairs 26, nr 2 (grudzień 1996): 5–26. http://dx.doi.org/10.1080/13501679608577827.

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Han, Zhang. "Viola Sonata by Dmitri Shostakovich in the Art Space of Performance Interpretation". ARTISTIC CULTURE. TOPICAL ISSUES, nr 18(2) (29.11.2022): 125–30. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269802.

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The paper discusses the Sonata for Viola and Piano op. 147 (1975) by Dmitri Shostakovich in order to generalize the aspects of its instrumental chamber stylistics. The performance version by Fyodor Druzhynin (viola) and Mikhail Muntyan (piano), who were the first performers of this musical piece, was analyzed. Their interpretation may be considered the golden standard, as precise as possible to the author’s idea. Shostakovich dedicated his opus to F. Druzhinin, who often participated in the premieres of the composer’s works and was familiar with the performing style of his music. The factors that form the musical stage image of Shostakovich’s chamber style include the conceptual intention to demonstrate the conflict, the scale of the concept, and conceptuality in interpreting its components during the implementation of the idea of symphonizing the genre. The importance of the Sonata for Viola in the history of this genre and in the history of 20th-century music can hardly be overestimated. The composer expanded the imagery and emotional sphere of the viola performance and used the sound range of the viola to the extreme: all registers of the instrument were involved. The viola part is rich in original effects: cantilena on flageolets, a large number of double notes, and a complex polyphonic fabric with double counterpoints (especially in the Cadences), it requires considerable effort from the performer. The analyzed performance version of the work is quite complete in terms of the performance of the specified characteristics of the author’sidea. It can be considered a benchmark in instrumental chamber performance of the 20th century.

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Petrov, Vladislav Olegovich. "The History of the Creation, Premiere and Prohibition of the Thirteenth Symphony by Dmitry Shostakovich". PHILHARMONICA. International Music Journal, nr 1 (styczeń 2023): 26–36. http://dx.doi.org/10.7256/2453-613x.2023.1.39945.

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The subject of research in this article is the Thirteenth Symphony by Dmitry Shostakovich – one of the most monumental symphonic canvases of the twentieth century, reflecting in its essence the chronicle of historical vicissitudes that took place in the Soviet Union. After a number of compromise compositions of the late 40s - 50s, forcibly written ("Songs about Forests", the Eleventh Symphony, numerous miniatures), the Thirteenth Symphony made a splash in musical and near–musical circles, since many perceived it from the angle of polemic with the Stalinist regime. The reader's attention is focused on the fact that in it the composer resorts to a veiled polemic with the current government, and the figurative world of the symphony is a direct reaction of Shostakovich not only to the events to which the opus is dedicated ("Babi Yar", the words of E. Yevtushenko), but also on the reality surrounding him. The semantic contexts of the work are examined through the prism of biographical data about the composer, as a result of which a wide documentary and historical apparatus is involved - the memoirs of Shostakovich's colleagues and contemporaries, his own statements addressed both to the symphony in question and to the broad historical and cultural context of the era. It is in the broad contextual approach that the scientific novelty of the article is seen. In addition, the article presents analytical material that allows a deeper understanding of the essence of the work as a whole and the reasons why the symphony was banned at the time.

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Raya, Neam Sahiqa, Asep Hidayat i Ayub Prasetyo. "Eksperimentasi Permasalahan Teknik-teknik pada Cello Concerto No.1 Bagian Pertama “Allegretto” Karya Dmitri Shostakovich". INVENSI 6, nr 2 (16.12.2021): 133–42. http://dx.doi.org/10.24821/invensi.v6i2.5462.

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ABSTRAK Penguasaan teknik bagi seorang resitalis merupakan suatu keharusan, sesuai dengan tingkat kesulitan teknis yang ingin dicapai. Penulis mengacu pada penandaan teknis oleh pemain cello Mstislav Rostropovich untuk fingering dan bowing dalam repertoar pertama Cello Concerto No. 1 karya Dmitri Shostakovich yang kemudian ditemukan ketidakcocokan dalam preferensi pertimbangan teknis dan membuat penulis ingin mencoba bereksperimen untuk memecahkan masalah kesulitan teknis dalam repertoar tersebut. Technical Problems Experimentation in The Cello Concerto No.1, First Movement "Allegretto" by Dmitri Shostakovich ABSTRACT A recitalist's mastery of technique is a must, according to the level of desired achievements of technical difficulties. The author refers to the technical markings by cellist Mstislav Rostropovich for fingerings and bowings in the first cello concerto No.1 by Dmitri Shostakovich, which later was found discrepancies in the preferences of technical considerations, thus have made the author want to try to solve technical problems in the repertoire in a more personal way.

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Burlina, Elena Y. "«Grad Petrov» and its modern representations: from Kagan to Shostakovich". Yaroslavl Pedagogical Bulletin 2, nr 125 (2022): 196–205. http://dx.doi.org/10.20323/1813-145x-2022-2-125-196-205.

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The subject of consideration is two outstanding cultural studies devoted to one city — St. Petersburg. Both works have become an event of modern humanitarianism, which makes it possible to understand what different problems urban studies are opening up today. The first book belongs to Professor M. S. Kagan: the monumental volume «The City of Petrov in Russian Culture» was republished in 2019 and supplemented with a special university textbook. Kagan's book is one of the business cards of the modern St. Petersburg University. Monograph of M. S. Kagan was awarded the Antsifer Prize, awarded for the best contemporary works dedicated to St. Petersburg. The mission and functions of the city in the development of Russian culture are at the center of the study. According to Kagan, the city on the Neva played a solo aesthetic and ideological role in the development of the entire national culture. The proposed article also examines another powerful humanitarian study, although unknown so widely, but also associated with new interpretations of urban culture. 3-volume «Shostakovich at the Leningrad Conservatory: 1913 1930», author of the project and compiler Professor L. G. Kovnatskaya intersects with the concepts of Professor Kagan. In the professional musicological environment, a giant archival database detailing the image of a young genius was appreciated. However, the hero of the study is not only composer Shostakovich, but also the city on the Neva. Often it appears not as elegant and aesthetic as in the book «The City of Petrov in the History of Russian culture». Kovnadskaya's three-volume collection examines the local period on the basis of the richest archival materials: the life of the city and the preservation of unique cultural institutions between the First and Second World War. Petersburg as «the place of Shostakovich» appears different from Petersburg in the book by M. S. Kagan. Another chronotope and heroes, another image of the city and the concept. If the illustrations for Kagan's book are famous paintings or artistic texts, then the book about Shostakovich's city is supplemented with authentic photographs that have not been published before. The purpose of the comparison of these scientific publications undertaken in this article was the problem of the multiplicity of representations of the city in modern humanities. Thus, the article compares two dissimilar and close worlds of St. Petersburg culture.

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Mula Pérez, Ana María. "Referencias hispanas en obras de Shostakovich de la década de los años 50". Cuadernos de Investigación Musical, nr 3 (28.04.2018): 20–49. http://dx.doi.org/10.18239/invesmusic.v0i3.1697.

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A pesar del interés biográfico y compositivo del autor soviético Dmitri Shostakovich, el presente artículo se centrará exclusivamente en algunas de las obras del compositor que presentan ciertas referencias hispanas. A lo largo de toda su carrera Shostakovich incluyó en varias de sus creaciones elementos musicales que podrían vincularse con la sonoridad prototípica de España. Sin embargo, en este trabajo llevaremos a cabo una investigación sobre aquéllas pertenecientes a la década de los años cincuenta, muy relevantes desde el prisma político por coincidir con el fallecimiento de Joseph Stalin.

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Blois, Louis. "Shostakovich and the Ustvolskaya Connexion: a textual investigation". Tempo, nr 182 (wrzesień 1992): 10–18. http://dx.doi.org/10.1017/s0040298200016673.

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In the atlas of Soviet music, many roads lead to and from Shostakovich. A New York Continuum conceit last year drew attention to an intriguing and little known thematic connexion between Shostakovich and his fellow composer Galina Ustvolskaya (born 1919). The works of this composer shared the program with those of Ruth Crawford Seeger and Grazyna Bacewicz under the banner ‘Three Women Pioneers.’ Each was among the first women in their country to have forged an original and distinguished body of work from the resources of 20th-century music.

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Lukyanov, Anton V. "Sometimes You Have “To Skip” a Stubborn “Measure”. On Some Aspects of Shostakovich’s Creative Process". Contemporary Musicology, nr 2 (2022): 142–58. http://dx.doi.org/10.56620/2587-9731-2022-2-142-158.

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At times Shostakovich composed his pieces so fast that one would feel something Mozartian in the lightness of his writing technique. However, there were times when things went the other way round. We find what Shostakovich himself says about his writing patterns, “I am trying hard to compose something new. I get down to writing and then change my mind. The symphony does no pan out.” These are just a few of a dozen of other similar statements. One of them makes the title of our paper. It is written as an understatement—a stylistic device so much favored by Shostakovich (O.G. Digonskaya). The words in quotes should not be taken literally. “To skip” does not mean omitting a measure—the measure may contain music subject to later review. The word “measure” does not always imply one measure. It may be one measure in short pieces like Prelude No. 14, Opus 34, or, in extensive scores, the number may reach a few dozens of measures (Symphony No. 4, Part 1). Sometimes “skipping” is nothing but a summary notation—when drafting music, the composer may omit certain details for the simple reason that he remembers them all. This approach is common for that phase of composing when music material is mostly ready but needs emphasis (Symphony No. 10, Part 2). To conclude, Shostakovich deals with music rather freely because of the underlying principle he follows in his composing manner, i.e., a comprehensive vision of what his future music piece will look like.

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Demchenko, Alexander I. "The Musical Oeuvres of Dmitri Shostakovich". ICONI, nr 1 (2020): 95–107. http://dx.doi.org/10.33779/2658-4824.2020.1.095-107.

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This lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a maximally compact form the evolution of the music of the great composer, the main stages of which are corresponded to by the respective sections of the present text: “Early Works,” “Middle Period” and “Late Works,” which is supplemented by generalizations contained in the sections “The Issue of Humanism” and “The Artistic Constants.” The expounding of the lecture will be accompanied by listening to a number of fragments designed to give an overall impression of the range of the composer’s artistic quests.

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Demchenko, Alexander I. "The Musical Oeuvres of Dmitri Shostakovich". ICONI, nr 2 (2020): 50–59. http://dx.doi.org/10.33779/2658-4824.2020.2.050-059.

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The first part of this lecture, dedicated to the evolution of the composer’s creative development (early music, the middle period, the late music) was published in the first issue of the journal “ICONI” for this year. The conclusive part of the lecture, published in this issue, is focused on the determining philosophical “through” thoroughfares of Shostakovich’s legacy (the issues of humanism and artistic constants).

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Fairclough, Pauline, i John Riley. "Dmitri Shostakovich: A Life in Film". Modern Language Review 102, nr 1 (1.01.2007): 303. http://dx.doi.org/10.2307/20467273.

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Zhun, Sui. "Semantic Metamorphoses of D. Shostakovich Waltzes". Университетский научный журнал, nr 55 (2020): 86–91. http://dx.doi.org/10.25807/pbh.22225064.2020.55.86.91.

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Gaziyev, Jobirkhon Jurahonovich, i Nargiza Ravshanjonkizi Aliyeva. "Dmitriy dmitrievich shostakovich life and work". Asian Journal of Multidimensional Research 10, nr 10 (2021): 1181–85. http://dx.doi.org/10.5958/2278-4853.2021.00882.x.

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