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A Russian Eschatology: Theological Reflections on the Music of Dmitri Shostakovich
A Russian Eschatology: Theological Reflections on the Music of Dmitri Shostakovich Submitted by Anna Megan Davis to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Theology in December 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 3 Abstract Theological reflection on music commonly adopts a metaphysical approach, according to which the proportions of musical harmony are interpreted as ontologies of divine order, mirrored in the created world. Attempts to engage theologically with music’s expressivity have been largely rejected on the grounds of a distrust of sensuality, accusations that they endorse a ‘religion of aestheticism’ and concern that they prioritise human emotion at the expense of the divine. This thesis, however, argues that understanding music as expressive is both essential to a proper appreciation of the art form and of value to the theological task, and aims to defend and substantiate this claim in relation to the music of twentieth-century Russian composer Dmitri Shostakovich. Analysing a selection of his works with reference to culture, iconography, interiority and comedy, it seeks both to address the theological criticisms of musical expressivism and to carve out a positive theological engagement with the subject, arguing that the distinctive contribution of Shostakovich’s music to theological endeavour lies in relation to a theology of hope, articulated through the possibilities of the creative act. -
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible. -
The Mem Oirs of Soidmon Volkov
THE MEM OIRS OF DMITRI HOSTAKOVICH "The tragic horror of a trapped genius."-Yehudi Menuhin SOIDMONas related to and edited VOLKOV by Translated from the Russian by Antonina W. Bouis AtShostakovichs Moscow apartment: (from the left) the composers wife Irina, his favorite student, Boris Tishchenko, Dmitri Shostakovich, Solomon Volkov. On the wall, a portrait of Shostakovichas a boy byBoris K ustodiev. The inscription on the photograph reads: "To dearSolomonMoiseyevich Volkov in fond remembrance. D. Shostakovich.13XI1974. A reminder of our conversations about Glazunov, Zoshchenko, Meyerhold. D.S." LIMELIGHT EDITIONS NEW YORK TESTIMONY The Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov Translated from theRussianbyAntonina W. Bouis All photographs except where otherwisecredited are from thepersonal collection of Solomon Vol lr.ov. First Limelight Edition, October 1984 Copyright© 1979 by Solomon Volkov. English-language translation copyright© 1979 by Harper&: Row, Publishers, Inc. All rights reserved under International and Pan-American Copyright Conven tions. Published in the United States by Proscenium Publishers Inc., New York, and simultaneously in Canada by Fitzhenry &: Whiteside Limited, Toronto. Originally published by Harper&: Row, Publishers, Inc. ISBN 0-87910-021-4 Manufactured in the United States of America Designer: Gloria Ade/sun Library of Congress Cataloging in Publication Data Shostakovich, Dmitrii Dmitrievich, 1906-1975. Testimony: the memoirs o.f Dmitri Shostakovich. Includes index. I. Shostakovich, -
THE SHOSTAKOVICH WARS a Thesis Submitted in Partial Fulfilment Of
REVISIONISM IN THE MUSIC HISTORY OF DMITRY SHOSTAKOVICH: THE SHOSTAKOVICH WARS A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Russian at the University of Canterbury by G. C. Ginther University of Canterbury 2008 Table of Contents Acknowledgments ........................................................................................ 2 Abstract ......................................................................................................... 3 Glossary of names ........................................................................................ 4 Introduction .................................................................................................. 8 Chapter 1: Shostakovich in the Post-modern Aesthetic ........................ 13 1.1 Shostakovich’s Music in the West before World War Two ................. 14 1.2 The Cold War ........................................................................................................ 16 1.3 The Estrangement of the Audience .................................................................. 18 1.4 The Shostakovich Renaissance .......................................................................... 20 1.5 The Soviet Union Dissolves ............................................................................... 21 1.6 The Centenary of Shostakovich's Birth ............................................................ 23 1.7 The Hijacking of Shostakovich ......................................................................... -
Program Notes: the Russian Quartet Notes on the Program by Dr
Program Notes: The Russian Quartet Notes on the program by Dr. Richard E. Rodda Sergei RachmaninoV When the Germans invaded Soviet Russia in June 1941, Prokofiev and sev- (Born March 20/April 1, 1873, Oneg, Russia; died March 28, 1943, Beverly eral other composers were evacuated from Moscow to Nalchik, the capital Hills, California) of the Kabardino-Balkaria Republic, in the northern Caucasus Mountains. Two Movements for String Quartet Prokofiev recalled in his autobiography, “The Chairman of the Arts Com- mittee in Nalchik said to us, ‘Look here...you have a gold mine of folk music Composed: 1889 in this region that has practically been untapped.’ He went to his files and Other works from this period: Two Pieces for Piano, Six Hands (1890– brought out some songs collected by earlier musical visitors to Nalchik. The 1891); Aleko (The Gypsies) (opera) (1892); Capriccio on Gypsy Themes, material proved to be very fresh and original, and I settled on writing a op. 12 (1892, 1894) string quartet, thinking that the combination of new, untouched Oriental Approximate duration: 13 minutes folklore with the most classical of classic forms, the string quartet, ought to produce interesting and unexpected results.” Prokofiev began the Quartet Rachmaninov was born of noble blood, but his father, Vasily, squandered no. 2 on November 2, finishing the score early the following month. Though the family fortune (David Mason Greene, in his useful Greene’s Biographi- some critics faulted Prokofiev for overemphasizing the primitive qualities of cal Encyclopedia of Composers, described him as “a wastrel, a compulsive his folk materials with “barbaric” harmonies and “strident” sonorities, the gambler, a pathological liar, and a skirt chaser”), and by 1882 he had had quartet’s premiere, given in Moscow by the Beethoven Quartet on April 7, to sell off all of the estates to settle his debts. -
Dmitry Shostakovich: Second Piano Sonata by Karina
DMITRY SHOSTAKOVICH: SECOND PIANO SONATA BY KARINA AVANESIAN-WEINSTEIN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2017 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luba Edlina-Dubinsky, Chair ______________________________________ Emile Naoumoff ______________________________________ Karen Shaw ii ii Table of Contents Table of Contents . .iii List of Examples . .v List of Figures . vi Introduction . .1 Chapter One . .2 The Germans Attack. .2 The Seventh Symphony . .4 Chapter Two . 5 “Muddle…” . 5 Friends . 10 Chapter Three . 12 Nikolayev . 13 Shostakovich and His Teacher . .17 Shostakovich, the Pianist . 19 Chapter Four . 19 Sonata for Nikolayev . 21 Style and Language . .24 Chapter Five . 25 The Music of the Sonata . .25 Borrowing . .29 First movement – Moderato . .32 iii Second Movement – Largo . .35 Third Movement – Variations . .37 Bibliography . .46 iv List of Examples Example 5.1. Shostakovich, First Symphony . 29 Example 5.2. Shostakovich, Second Piano Sonata, Mvmt. I, Opening . 29 Example 5.3. Shostakovich, First Symphony, Mvmt. I, Secondary Material . .30 Example 5.4. Shostakovich, Second Piano Sonata, Mvmt. II, Secondary Material . .30 Example 5.5. Shostakovich, First Symphony, mvmt. I, Primary Material . .30 Example 5.6. Shostakovich, Second Piano Sonata, Mvmt. II, mm. 6-7 . .30 Example 5.7. Shostakovich, Second Piano Sonata, Mvmt. I, Main Theme, and Nikolayev, Second String Quartet, Finale . 31 Example 5.8. Nikolayev, Three Piano Pieces, Mvmt. I, and Suite for Two Pianos, Mvmt. -
Shostakovich, As I Knew Him Part 4
WRITING ABOUT SHOSTAKOVICH Shostakovich, as I knew him Part 4 by Gabriel Glikman insecure man with a very delicate psyche.” He studied the bust for a long time, but didn’t say anything else. I In the following article, dated 13 August 1982, Gabriel thanked him, but said that I expressed the poet in my Glikman offers his observations of Shostakovich as sub own way. Somehow, I couldn’t imagine Mayakovsky ject matter for his artwork, and provides fresh insight as a quiet lyricist with a pretty smile. Besides, people into Shostakovich’s life. Glikman details his conversa would’ve hardly understood it. However, I never forgot tions with Shostakovich and offers his own thoughts on this conversation—I always listened very closely to what Shostakovich’s genius. Due to its length, this article, trans Shostakovich had to say. It had been a long time since lated here into English for the first time, is being presented my infatuation with Mayakovsky’s lumbering lyrics. I in four parts.1 had stopped carrying The Cloud in Trousers in my pock et. Like the rest of my generation, I not only changed my n 1929, when Dmitri Dmitrievich was 23 years attitude towards the poet to sharply negative, but I began old, Meyerhold staged The Bedbug by Mayakovsky. to perceive him not as a product of the regime, but as a He invited Rodchenko—a renowned construc victim. In the 1960s, I painted a large colourful portrait Itivist at that time and the personal photographer ofof a suicidal Mayakovsky with a gun pressed against his Mayakovsky—to be costume designer. -
Artistic Influence, Stylistic Irony, and Musical Reference in Dmitri Shostakovich’S Cello Concerto No
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2013 Artistic influence, stylistic irony, and musical reference in Dmitri Shostakovich’s Cello Concerto No. 1 Ryan Michael Hoffman James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Commons Recommended Citation Hoffman, Ryan Michael, "Artistic influence, stylistic irony, and musical reference in Dmitri Shostakovich’s Cello Concerto No. 1" (2013). Dissertations. 91. https://commons.lib.jmu.edu/diss201019/91 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Artistic Influence, Stylistic Irony, and Musical Reference in Dmitri Shostakovich‟s Cello Concerto No. 1 Ryan Michael Hoffman A research project submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2013 Table of Contents List of Score Examples ..................................................................................................... iii Abstract ................................................................................................................................v I. Introduction ....................................................................................................................1 -
The Three Great Soviet Composers and Mstislav Rostropovich – Talent, Music and Politics in the Soviet Union
The Three Great Soviet Composers and Mstislav Rostropovich – Talent, Music and Politics in the Soviet Union Lucy Gijsbers A thesis submitted to Massey University and Victoria University of Wellington in partial fulfilment of the requirements for the degree Master of Musical Arts in Violoncello Performance New Zealand School of Music 2014 Contents Acknowledgements 2 Introduction 3 Mstislav Rostropovich (1927-2007) 4 Mieczyslaw Weinberg (1919-1996) 8 Dmitri Shostakovich (1906-1975) 17 Sergei Prokofiev (1891-1953) 24 Rostropovich's Influence on Selected Cello Works of Weinberg, Shostakovich and Prokofiev, and the Relationship Between Rostropovich and the Three Composers 31 Conclusion 39 Bibliography 40 1 Acknowledgements I would like to express my sincere gratitude toward both of my supervisors, Inbal Megiddo and Professor Donald Maurice. Inbal has been a committed and inspiring cello teacher over the past three years, and has offered much support, expertise and wisdom in preparing me for my recitals and for this exegesis. Many thanks to Donald for his commitment to my research and for his attention to detail. I would not have been able to properly complete this exegesis without his guidance. Many thanks also to my family and to my husband Alaister Straka for their continued love and support; and to my friends, in particular Thomas Nikora and my duo partner Andrew Atkins, both of whom have often stood in at the last minute to accompany me. 2 Introduction Mstislav Rostropovich, the most famous cellist of the second half of the twentieth century, had a close relationship with Dmitri Shostakovich, Sergei Prokofiev, and Mieczyslaw Weinberg. These three composers are hailed by some as the three greatest Soviet composers of the twentieth century,1 although in New Zealand and much of Western society little of Weinberg's music has been played. -
Re-Examining the Warhorse: Shostakovich's Leningrad
RE-EXAMINING THE WARHORSE: SHOSTAKOVICH’S LENINGRAD SYMPHONY by KERI BLICKENSTAFF (Under the Direction of David Haas) ABSTRACT Shostakovich’s Symphony No. 7 (“Leningrad”) has a unique history in its topicality and reception. It received rave reviews in the Soviet Union, but once the score reached Western shores, music critics were skeptical from the outset. Their discussions concerned a wide variety of aesthetic, social, and political implications, but comment on the music was negligible. Not only was there a lack of depth to their musical arguments, but also a disregard of movements Two, Three, and Four. My thesis will provide a survey of the symphony’s reception outside of the Soviet Union, with antithetical Russian opinions included intermittently as a point of contrast. A detailed examination of the issues espoused by critics in America as well as the absence of musical considerations in their discourse provides a framework for my own investigation into the music of Shostakovich’s Seventh Symphony, wherein a deeper insight into its construction and the processes of opposition and distortion will be provided. INDEX WORDS: Shostakovich, Seventh Symphony, reception, opposition, distortion RE-EXAMINING THE WARHORSE: SHOSTAKOVICH’S LENINGRAD SYMPHONY by KERI BLICKENSTAFF B.M.E., Florida Southern College, 2007 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2010 © 2010 Keri Blickenstaff All Rights Reserved RE-EXAMINING THE WARHORSE: -
Secrets of the Ləgend
Ə SECRETS OF THE L GEND MƏLIKOV, MAHLER, FIVE CHORDS AND THE DANCE OF TIME BY SIMON HEWITT ON 21 MARCH 2004 I took a train through the snow from Helsinki to Saint Petersburg, following in the railsteps of Lenin in April 1917 and those, a decade earlier, of Gustav Mahler. On 3 November 1907 Mahler was returning to St Petersburg after a week in Helsinki (then part of the Russian Empire) which he described as ‘beautiful, superb… I could happily live here! ’ During his stay he conducted a concert at the University Solennitetssal, devoted to Beethoven (Fifth Symphony/Coriolan Overture) and Wagner (preludes to Tristan & Isolde and Die Meistersinger ), and hobnobbed with the Finnish cultural élite. On October 31 Mahler heard two early works by Sibelius (his Valse Triste and Varsang symphonic poem) – dismissing them, a little harshly, as ‘kitsch.’ But he liked the conductor, Robert Kajanus (founder of the Helsinki Philharmonic), who had paid him a courtesy visit earlier that day. Kajanus was the foremost interpreter of Sibelius’s works (and, in the 1930s, the first to record his symphonies). He staged what were known as ‘popular’ concerts at Societetshuset Hotel (now City Hall) on the Helsinki waterfront, where Mahler was staying. Gustav Mahler was introduced to Sibelius after the concert and found him ‘extremely pleasant.’ Sibelius, in return, described Mahler as a ‘very modest and most interesting person.’ They talked at length, swapping views about The Symphony. ‘The main thing is severity of style, and an underlying logic that links all the motifs like a hidden thread’ threw in Sibelius. -
Université Paris-Sorbonne University of Sheffield
UNIVERSITÉ PARIS-SORBONNE UNIVERSITY OF SHEFFIELD ÉCOLE DOCTORALE V Laboratoire de recherche IREMUS T H È S E pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE ET UNIVERSITY OF SHEFFIELD Discipline : MUSIQUE ET ETUDES SLAVES Présentée et soutenue par : Michelle ASSAY (ESHGHPOUR) le : 23 janvier 2017 Hamlet in the Stalin Era and Beyond: Stage and Score Les mises en scène et mises en musique d’Hamlet à l’ère stalinienne et après Sous la direction de : Mme Michèle BARBE – Professeur émérite, Université Paris Sorbonne M. Evgeny DOBRENKO – Professeur, University of Sheffield Membres du jury : Mme Michèle BARBE – Professeur émérite, Université Paris Sorbonne Mme Katerina CLARK – Professeur, University of Yale M. Evgeny DOBRENKO – Professeur, University of Sheffield M. Walter ZIDARIČ – Professeur, Université de Nantes Hamlet in the Stalin Era and Beyond: Stage and Score Les mises en scène et mises en musique d’Hamlet à l’ère stalinienne et après Acknowledgements I wish to thank first and foremost my distinguished supervisors, Professor Michèle Barbe at the Université Paris Sorbonne and Professor Evgeny Dobrenko at the University of Sheffield, for their continuous belief in this project, for their commitment, encouragement, intellectual rigour and support. I express my gratitude to the members of the jury and the external examiners for taking the time and care to read and assess my work and to attend my viva voce. I would like to extend my thanks to Professors Kristine Horner and Craig Brandist, Ms Lottie Mohindra, Claudia Villa Gutierrez and Claire Ryckmans as well as the rest of my PhD team at School of Languages and Culture of the University of Sheffield and at the Ecole Doctorale V and Maison de la Recherche of the Université Paris Sorbonne for supporting me throughout this project.