Contemplating Shostakovich: Life, Music and Film

314 Pages·2012·2.12 MB·English

by  Alexander Ivashkin

Contemplating ShoStakoviCh:
life, muSiC and film
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Contemplating Shostakovich:
life, music and film
Edited by
alexander ivaShkin
Goldsmiths, University of London, UK
andrew kirkman
University of Birmingham, UK
© alexander ivashkin, andrew kirkman and the Contributors 2012
all rights reserved. no part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise without the prior permission of the publisher.
alexander ivashkin and andrew kirkman have asserted their right under the Copyright,
Designs and Patents Act, 1988, to be identified as the editors of this work.
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British Library Cataloguing in Publication Data
ivashkin, alexander, 1948–
Contemplating Shostakovich: life, music and film.
1. Shostakovich, dmitrii dmitrievich, 1906–1975–Criticism and interpretation.
i. title ii. kirkman, andrew, 1961–
780.9’2-dc23
Library of Congress Cataloging-in-Publication Data
ivashkin, alexander, 1948–
Contemplating Shostakovich : life, music and film / by Alexander Ivashkin and Andrew
kirkman.
p. cm.
includes index.
iSBn 978-1-4094-3937-0 (hardcover : alk. paper) 1. Shostakovich, dmitrii dmitrievich,
1906–1975–Criticism and interpretation. 2. music–Soviet union–history and criticism.
i. kirkman, andrew, 1961- ii. title.
ml410.S53i93 2013
780.92–dc23
2012018277
iSBn 9781409439370 (hbk)
iSBn 9781409439387 (ebk – pdf)
iSBn 9781409472025 (ebk – epuB)
Bach musicological font developed by © Yo tomita
V
printed and bound in great Britain by the
mpg Books group, uk.
Contents
List of Figures and Tables vii
List of Music Examples ix
Transliteration Note xv
Notes on Contributors xvii
Preface xxi
Part I MusIc and style
1 Through the Looking Glass:Reflections on the Significance of
Words and Symbols in Shostakovich’s Music 3
Elizabeth Wilson
2 Shostakovich, Old Believers and New Minimalists 19
Alexander Ivashkin
3 Five Satires (Pictures of the Past) by Dmitrii Shostakovich (op. 109):
The Musical Unity of a Vocal Cycle 47
Gilbert C. Rappaport
4 Moving Towards an Understanding of Shostakovich’s Viola Sonata 79
Ivan Sokolov
(Translated by Elizabeth Wilson)
Part II FIlM
5 Madness by Design: Hamlet’s State as Defined Through Music 97
Erik Heine
6 Stalin (and Lenin) at the Movies 121
John Riley
7 Hamlet, King Lear and Their Companions:
The Other Side of Film Music 141
Olga Dombrovskaia
vi Contemplating Shostakovich: Life, Music and Film
Part III lIFe and docuMents
8 Arrangements for Piano Four Hands in Dmitrii Shostakovich’s
Creative Work and Performance 167
Inna Barsova
9 Shostakovich and Soviet Eros:Forbidden Fruit in the Realm
of Communal Communism 191
Vladimir Orlov
10 A Soviet Opera in America 207
Terry Klefstad
11 Shostakovich in the Mid-1930s: Operatic Plans and Implementations
∗      223
(Regarding the Attribution of an Unknown Autograph)
Olga Digonskaia
Select Bibliography 253
Index 277
List of Figures and Tables
Figures
6.1 The Vyborg Side. Stalin beneficently gives Maxim an extra
hour’s sleep 128
6.2 The Vyborg Side. The revision removes Stalin 128
6.3 The Fall of Berlin. ‘Glory to the Great Stalin!’ reads the banner
greeting the (fictional) arrival in Berlin 131
6.4 The Unforgettable Year 1919. Two leaders in Decembrists’ Square;
Stalin pauses alongside his illustrious predecessor 134
Tables
3.1 Comparison of altered Mixolydian mode underlying ‘To the Critic’
with a standard Klezmer mode (altered Phrygian mode) 58
5.1 List of cues in Hamlet 100
5.2 Cues and starting pitches for Hamlet’s Theme 106
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List of Music Examples
2.1a So sviatymi upokoi. The original znamenny tune: Tat’iana
Vladyshevskaia, Muzykal’naia Kul’tura Drevnei Rusi
[Musical Culture of Ancient Rus’] (Moscow: Znak, 2006), 60.
Reproduced with the author’s and the publishers’ permission 25
2.1b Benjamin Britten, Third Suite for Solo Cello [score] (London:
Faber Music Ltd, 1986), fragment, p. 51. © 1976 by Faber
Music Ltd., reproduced by permission of the publishers 25
2.2a The opening of Boris Godunov [piano score] 27
2.2b Shostakovich, Symphony No. 10, beginning. Reproduced by
permission of Boosey & Hawkes Music Publishers Ltd 27
2.2c Shostakovich, Cello Concerto No. 2, fragment. Reproduced by
permission of Boosey & Hawkes Music Publishers Ltd 27
2.2d Shostakovich, The Execution of Stepan Razin, fragment.
Reproduced by permission of Boosey & Hawkes Music
Publishers Ltd 27
2.3a No. 1, Ne bylo vetru, in the Balakirev Collection: Milii Balakirev,
ed. Sbornik russkikh narodnykh pesen [Collection of Russian Folk
Songs]. (Leipzig: M. P Beliaeff, 1895), 6 29
2.3b The obikhod mode 29
2.3c Tetrachords (four-note motives) in the obikhod mode 29
2.4 A tune from Nikolai Uspensky’s collection: Nikolai Uspensky,
Drevnerusskoe pevcheskoe iskusstvo [The Ancient Russian Art of
Singing] (Moscow: Sovetskii Kompozitor, 1971), 111 29
2.5      Old believers’ tune intended for the finale of Khovanshchina:
M. Mussorgsky, Khovanshchina [piano score], ed. Pavel Lamm.
In Complete Works, Vol. II. (Moscow: Gosudarstvennoe
Muzykal’noe Izdatel’stvo and Wien: Universal Edition, 1932), 334 30
2.6 Znamennyi scale according to Iurii Butsko: Iurii Butsko,
Polifonicheskii Kontsert [Polyphonic Concerto] (Moscow:
Sovetskii Kompozitor, 1992). Reproduced by permission of the
publishers 30
2.7 Borodin, Symphony No. 2, fragment 31
2.8a ‘Alexandrian pentachord 1’: A.[lexander] Dolzhansky,
‘Alexandriiskii pentakhord v muzyke Shostakovicha’ [The
Alexandrian Pentachord in Shostakovich’s Music]. In Dmitrii
Shostakovich, ed. L.[ev] Danilevich (Moscow: Sovetskii
Kompozitor, 1967), 397 32