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Dmitri Shostakovich, Pianist
She traces his musical roots, piano studies, repertoire, and concert career through his correspondence with family and friends and his own and his contemporaries' memoirs, using material never before available in English. This biographical narrative is interwoven with analyses of Shoshtakovich's piano and chamber works, demonstrating how he interpreted his own music. For the first time, Shoshtakovich's own recordings are used as primary sources to discover what made his playing unique and to dispel commonly held myths about his style of interpretation. His recorded performances are analysed in detail, specifically his tempos, phrasing, dynamics, pedal, and tonal production. Some unpublished variants of musical texts are included and examples of his interpretations are provided and compared to various editions of his published scores.
eBook
Shostakovich's Music for Piano Solo
The piano works of Dmitri Shostakovich (1906-1975) are among the most treasured musical compositions of the 20th century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich's piano solos.
eBook
Shostakovich's Music for Piano Solo
The piano works of Dmitri Shostakovich (1906-1975) are among the most treasured musical compositions of the twentieth century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich's piano solos.
eBook
Dmitri Shostakovich, Pianist
She traces his musical roots, piano studies, repertoire, and concert career through his correspondence with family and friends and his own and his contemporaries' memoirs, using material never before available in English. This biographical narrative is interwoven with analyses of Shoshtakovich's piano and chamber works, demonstrating how he interpreted his own music. For the first time, Shoshtakovich's own recordings are used as primary sources to discover what made his playing unique and to dispel commonly held myths about his style of interpretation. His recorded performances are analysed in detail, specifically his tempos, phrasing, dynamics, pedal, and tonal production. Some unpublished variants of musical texts are included and examples of his interpretations are provided and compared to various editions of his published scores.
eBook
Works for Children
Unlike Béla Bartók, Shostakovich never taught piano or showed any interest in pedagogical works. In fact, were it not for his young daughter Galina, who had turned eight and was just starting to play the piano, we would likely not have this beautiful set of seven easy piano pieces entitledChildren’s Notebook.Shostakovich promised his daughter that as soon as she mastered one piece, he would compose another. Galina remembers that it took her a month or two to learn each piece, so the first six were written over a period of more than a year. The seventh piece—“Birthday,”
Book Chapter
Early Works
Existing information on the Five Preludes is scarce. Although first published in 1966 (Muzgiz no. 3184), these preludes are among Shostakovich’s earliest creations. They originally belonged to the still unpublished set of Eight Preludes, op. 2, composed between the autumn of 1919 and the spring of 1920, each carrying a dedication to a friend or relative.¹
Among Shostakovich’s fellow composition students were two gifted musicians, Georgiy Klements and Pavel Feldt.² When the three young composers decided to combine their talents to create a cycle of twenty-four preludes for piano, Shostakovich contributed five selections from his op. 2 (the preludes in
Book Chapter
Mature Works
By 1932, at the age of twenty-six, Shostakovich had achieved renown as a composer, with three symphonies, two ballets (The Golden AgeandThe Bolt), two operas (The NoseandLady Macbeth of the Mtsensk District), and numerous works for screen and stage to his name. Yet, he had written nothing for piano sinceAphorisms(1927), nor had he performed in public since February 1930. Following his marriage to Nina Varzar in May 1932, Shostakovich contemplated a return to the concert platform. On 30 December—just two weeks after the completion ofLady Macbeth of the Mtsensk District—he completed
Book Chapter
The Masterpiece
The period from 1946 to 1953 (the year of Stalin’s death) saw a new terror, in which repression of the arts reached an apogee. Shostakovich was among the composers condemned in the Communist Party’s 1948 “antiformalism” decree. Following the publication of this decree, he was removed from his teaching positions, and a number of his works were banned. Through these years, Shostakovich had to write mostly “for the drawer” and published only his weaker but politically correct pieces. With one notable exception—the Twenty-Four Preludes and Fugues—his best compositions of the period, including the Violin Concerto No. 1, op.
Book Chapter
Recognition 1953–1975
In terms of both composition and performance, 1954 was one of Shostakovich’s least productive years. He considered his works of that year – music for the filmSong of the Great Rivers, op. 95,Festive Overture,” op. 96, andFive Romances on Dolmatovsky’s Verses, op. 98 – meager. Obviously concerned about this lack of productivity, he openly expressed his worries at his birthday celebration of 25 September 1954 when, in response to a guest’s congratulatory toast, he said: “You should wish that I do some composing. For one whole year now, I have been unable to write.”¹
Moreover, Shostakovich did
Book Chapter