Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Frontmatter More information The Cambridge Companion to Shostakovich As the Soviet Union’s foremost composer, Shostakovich’s status in the West has always been problematic. Regarded by some as a collaborator, and by others as a symbol of moral resistance, both he and his music met with approval and condemnation in equal measure. The demise of the Communist State has, if anything, been accompanied by a bolstering of his reputation, but critical engagement with his multi-faceted achievements has been patchy. This Companion offers a new starting point and a guide for readers who seek a fuller understanding of Shostakovich’s place in the history of music. Bringing together an international team of scholars, the book brings up-to-date research to bear on the full range of Shostakovich’s musical output, addressing scholars, students and all those interested in this complex, iconic figure. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Frontmatter More information The Cambridge Companion to SHOSTAKOVICH ............................ EDITED BY Pauline Fairclough and David Fanning © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Frontmatter More information CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521603157 © Cambridge University Press 2008 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2008 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloging-in-Publication Data The Cambridge companion to Shostakovich / edited by Pauline Fairclough and David Fanning. p. cm. Includes bibliographical references (p. ) and index. ISBN 978-0-521-60315-7 1. Shostakovich, Dmitrii Dmitrievich, 1906–1975–Criticism and interpretation. I. Fairclough, Pauline, 1970– II. Fanning, David (David J.) ML410.S53C36 2008 780.92–dc22 2007050142 ISBN 978-0-521-84220-4 hardback ISBN 978-0-521-60315-7 paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Frontmatter More information Contents Notes on the contributors page vii Chronology ix Abbreviations xv Introduction 1 Pauline Fairclough and David Fanning PART I. Instrumental works 7 1 Personal integrity and public service: the voice of the symphonist 9 Eric Roseberry 2 The string quartets: in dialogue with form and tradition 38 Judith Kuhn 3 Paths to the First Symphony 70 David Fanning 4 Shostakovich’s Second Piano Sonata: a composition recital in three styles 95 David Haas 5 ‘I took a simple little theme and developed it’: Shostakovich’s string concertos and sonatas 115 Malcolm MacDonald PART II. Music for stage and screen 145 6 Shostakovich and the theatre 147 Gerard McBurney 7 Shostakovich as opera composer 179 Rosamund Bartlett 8 Shostakovich’s ballets 198 Marina Ilichova 9 Screen dramas: Shostakovich’s cinema career 213 John Riley PART III. Vocal and choral works 229 10 Between reality and transcendence: Shostakovich’s songs 231 Francis Maes 11 Slava! The ‘official compositions’ 259 Pauline Fairclough [v] © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Frontmatter More information vi Contents PART IV. Performance, theory, reception 285 12 A political football: Shostakovich reception in Germany 287 Erik Levi 13 The rough guide to Shostakovich’s harmonic language 298 David Haas 14 Shostakovich on record 325 David Fanning 15 Jewish existential irony as musical ethos in the music of Shostakovich 350 Esti Sheinberg Notes 368 Select bibliography 387 Index 390 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Frontmatter More information Notes on the contributors Rosamund Bartlett’s publications include Wagner and Russia (Cambridge, 1995), Shostakovich in Context (Oxford, 2000) and Chekhov: Scenes from a Life (New York, 2004). She has contributed to The New Grove Dictionary of Music and Musicians and The Cambridge History of Russia, and is editor of the forthcoming Cambridge Companion to Russian Music. Pauline Fairclough is Lecturer in Music at the University of Bristol. She has pub- lished on Shostakovich and Soviet culture in The Musical Quarterly and Music and Letters; her book A Soviet Credo: Shostakovich’s Fourth Symphony was published by Ashgate in 2006. David Fanning is Professor of Music at the University of Manchester and has a varied career as scholar, pianist and critic. Author of several books and articles on Nielsen and Shostakovich, his most recent publications include a study of Shostakovich’s Eighth String Quartet for Ashgate Press (2004) and a five-volume performing edition of Russian Opera Arias for Peters Edition. David Haas is Professor of Music at the University of Georgia. His book Leningrad’s Modernists (New York, 1998) was concerned with the new music and musical thought of Leningrad in the 1920s. His edition of Symphonic Etudes by Boris Asafyev (Lanham, Md., 2007) is a translation with commentary of a classic of twentieth-century Russian operatic criticism. He is currently at work on a study of the nineteenth-century Russian symphony and a novel about an American symphonist. Marina Alexandrovna Ilichova danced with the Mariinsky Theatre before working as a ballet historian and critic. She has taught at the Vaganova Russian Ballet Academy in St Petersburg and since 2003 she has worked at the Russian Institute of the History of Arts. She is the author of many books and articles on ballet, including Irina Kolpakova (Leningrad, 1979; 2nd edn, Leningrad, 1986) and Oleg Vinogradov (Hamburg, 1994 (in English and German)). Judith Kuhn teaches at the University of Wisconsin-Milwaukee. She has published articles in Music Analysis and in Ernst Kuhn et al., eds., Dmitri Schostakowitsch und das jüdische musikalische Erbe (Berlin, 2001). Her book, Shostakovich in Dialogue: Form, Imagery and Ideas in Quartets 1–7 is forthcoming from Ashgate. Erik Levi is Reader in Music at Royal Holloway University of London. Author of the book Music in the Third Reich (London, 1994) and numerous chapters and articles on German music from the 1920s to the 1950s, he is also an experienced performer and writes regularly for BBC Music Magazine. He is currently writing a book about Mozart and the Nazis for Yale University Press. Gerard McBurney is a composer, arranger and broadcaster. He has made performing versions of many Shostakovich works including a chamber ensemble score of the musical comedy Moscow Cheryomushki and an orchestral suite from the [vii] © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Frontmatter More information viii Notes on the contributors music-hall show Uslovno Ubitïy. Since 2006 he has been creative director of the Chicago Symphony Orchestra’s Beyond the Score series. Malcolm MacDonald is the editor of a short catalogue of Shostakovich’s works (London, 1977; two subsequent editions). His books include the Dent Master Musicians volumes on Brahms and Schoenberg, monographs on Ronald Stevenson and John Foulds and a three-volume study of the symphonies of Havergal Brian. His most recent book is Varèse, Astronomer in Sound (London, 2003), and the new enlarged edition of his Schoenberg is imminent in 2008. Francis Maes was artistic director of the Flanders Festival and currently teaches musicology at Ghent University (Belgium). He is the author of A History of Russian Music, from Kamarinskaya to Babi Yar, published by the University of California Press (2002). John Riley is a lecturer, writer, broadcaster and curator. His publications include Dmitri Shostakovich: A Life in Film (London and New York, 2005). As a curator he works with various cinemas and produced the first BBC Film Promenade Concert. He wrote, produced and directed Shostakovich – My Life at the Movies, which was premiered by the City of Birmingham Symphony Orchestra with narrator Simon Russell Beale. It was then produced at the Komische Oper, Berlin. Eric Roseberry is a freelance musician and writer who has specialized in the music of Benjamin Britten and Dmitry Shostakovich.