The Breath of the Symphonist: Shostakovich's Tenth (Royal Musical Association Monographs, Vol 4) (Royal Musical Association Monographs, Vol 4)

By David Fanning

In 1946 Schoenberg wrote of Sibelius and Shostakovich, 'I believe they've got the breath of symphonists.' This publication poses the query of what precisely that 'breath' capability within the context of Shostakovich's tenth Symphony (1953). Written almost immediately after Stalin's demise, the paintings marks a turning aspect within the composer's output and within the background of Russian tune, heralding the potential for a brand new artistic path for Soviet artists. David Fanning's shut research of the tenth sheds gentle on concerns linked to the style of the twentieth-century epic symphony, problems with constitution and expression, solidarity and distinction. The booklet finds how the paintings screens a few of Shostakovich's most efficient ideas for confronting those matters.

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For heritage info on Russian conception see McQuere 1983 and Brown 1974. For an enticing instance in English of one of those research drawing on Russian tools see Mar6thy 1977. either Orlov 1961 and Sabinina 1976 are informative on Shostako­ vich's works among the 9th and 10th Symphonies (1945--5 3), Orlov specially at the movie tune and Sabinina in particular at the extra 'serious' works (Quartets four and five, Violin Concerto no. l, From fewish people Poetry, 24 Preludes and Fugues) . either got down to deflect the severity of convinced previous serious responses (see [Sovetskaya muzyka] 1954, [S.

17 The dovetailing of improvement and recapitulation is naturally not anything new. between many attainable ancient precedents, Mazel' singles out the 1st pursuits of Beethoven's 7th Symphony, Rakhmaninov's moment Piano Concerto and Chai­ kovsky's Pathetique Symphony (Maze)' 1986, p. 17); Christopher Ballantine mentions Bruckner quite often in addition to the finales of Shostakovich's Leningrad Symphony and Stravinsky's Symphony in C (Ballantine 1983, pp. 94-5). Chaikovsky IV/1 is without doubt one of the such a lot masterful examples, one other parallel to Shostakovich right here being the organization of harmonic and large-scale tonal features, therefore via mediant relationships.

Mazel' 1960 comprises a few fascinating observations yet is quite generalised in keeping with the book's goal as a 'guide' to the symphonies. The articles accrued in Mazel' 1986 are extra penetrating, particularly 'O traktovke sonatnoi formy i tsikla v bol'shikh simfoniyakh Shostakovicha' [On the translation of sonata shape and sonata cycle within the significant symphonies of Shostakovich' . His scholarship drew compliment from Shostakovich (see Shostakovich 1981, p. 275); for a Germ. an transla­ tion of his most crucial common article on Shostakovich's musical language see Mazel' 1967.

The Soviet Russian techniques of "Intonazia" and "Musical Imagery'" . The Musical Quarterly, Ix (1974), 557-67. Dahlhaus, Carl, and Giwi Ordschonikidse (eds . ) . Beitriige zur Musikkultur in der Sowjetunion und in der Bundesrepublik Deutschland. Sikorski/Heinrichshofen, Ham­ burg and Wilhelmshaven, 1982. contains Michail Tarakanow, 'Die Musiktheorie in der sowjetischen Musikwissenschaft' (pp. 103-19). Danilevich, Lev. D. D. Shostakovich. Sovetskii kompozitor, Moscow, 1958. -. Sovetskii simfonizm [Soviet symphonism] .

20th Century Symphony. Dobson, London, 1983. Blokker, Roy, with Robert Dearling. The song of Dmitri Shostakovich: The Symphonies. The Tantivy Press, London, 1979. Bobrovsky, Viktor. 'The Shostakovich Symphonies' . Soviet Literature, 1966, no. 10, 15�5. -. Kamernye instrumental'nye ansambli D. Shostakovicha [Shostakovich's works for chamber instrumental ensembles] . Sovetskii kompositor, Moscow, 1961 . zero peremennosti funktsii muzykal'noi formy [The variability of the services of musical shape] . Muzyka, Moscow, 1970.

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