Shostakovich's Attempt to Convey Stalin's Oppression

Total Page:16

File Type:pdf, Size:1020Kb

Shostakovich's Attempt to Convey Stalin's Oppression Communication Through Music: Shostakovich’s Attempt to Convey Stalin’s Oppression Jayaditya Kothari and Tariq Shahid Junior Division Group Website Word Count: 1200 Words Media Time: 3 Minutes and 0 Seconds Process Paper: 496 Words URL: https://site.nhd.org/61020385/home ​ Annotated Bibliography Primary Sources A billboard advertises the Leningrad premiere of Shostakovich's Seventh in August 1942. Aug. 1942. Wall Street Journal, 17 May 2019, A billboard advertises the Leningrad premiere ​ ​ of Shostakovich's Seventh in August 1942. Accessed 26 Feb. 2021. This source is an image that shows a billboard advertising Shostakovich’s Seventh Symphony. It is used in the website to show the effectiveness of Shostakovich’s music in inspiring the masses. Abramson, Max. The first five Marshals in 1935, only two survived the Purge (Wiki). Armstrong ​ History Journal, ​ armstronghistoryjournal.wordpress.com/2018/11/23/creating-killers-stalins-great-purge-a nd-the-red-armys-fate-in-the-great-patriotic-war/. Accessed 10 Jan. 2021. This source is an image that shows the first five marshals of the Soviet Union. The researchers put this on their website to show that only two of them survived the great purge. This shows how widespread and cruel this process was. Anti-Soviet Rayok. Composed by Dmitri Shostakovich. YouTube, Google, ​ ​ ​ youtu.be/RrKUj4d5O9I. Accessed 10 Jan. 2021. This is a recording of a private piece that Shostakovich composed. It illustrates Shostakovich’s hate for Stalin as it shows three pompous people saying very stupid things and acting like they are smart. Arts, Granger. Dimitri Shostakovich. FineArtAmerica, ​ ​ ​ ​ fineartamerica.com/featured/dimitri-shostakovich-granger.html. Accessed 10 Jan. 2021. This is a painting of Shostakovich composing a piece after his denouncement. It enriches the website due to the facial expression captured by the artist that shows Shostakovich’s distaste at being denounced. "ATTACKS ON INTELLIGENTSIA: CENSORSHIP." Library of Congress, 31 Aug. 2016, ​ ​ www.loc.gov/exhibits/archives/attc.html. Accessed 10 Jan. 2021. This source explains the use of censorship in the USSR. This source was used because the main part of their project is about the censorship of music and literature. Auerbach, Eric. Shostakovich. 1972. NPR, 2006, ​ ​ ​ ​ www.npr.org/templates/story/story.php?storyId=6129917. Accessed 26 Feb. 2021. This source is an image of Shostakovich when he was very old. It is used in the website to show what Shostakovich was like in his later years. Bernstein, Leonard. "Leonard Bernstein Discusses Shostakovich's 9th Symphony." YouTube, ​ ​ Google, 19 May 2014, youtu.be/FVfz5YymsXI. Accessed 10 Jan. 2021. Interview. This interview with Bernstein gives the historians an inside perspective at a 3rd party interpretation of the 9th Symphony. Bernstein talks about how Shostakovich differed from the norm greatly and this excerpt was added as a quote on the website. Conquest, Robert. The Great Terror. 1968. ​ ​ This book is about the great purge and all the officers that died during this time. It also mentions the fear many political figures felt when they gained popularity. Corbis. Shostakovich Composing. BBC, ​ ​ www.bbc.com/culture/article/20150807-shostakovich-the-composer-who-was-almost-pur ged. Accessed 10 Jan. 2021. This website is used for an image of Shostakovich fervently composing. It represents how fidgety and overzealous Shostakovich was at all times. Dmitri Shostakovich and Leonard Bernstein in Moscow. Brandeis University, 1959, ​ ​ ​ blogs.brandeis.edu/musicalmusings/2018/10/18/bernstein-conducts-shostakovichs-symph ony-no-5/. Accessed 26 Feb. 2021. This is an image of Leonard Bernstein conducting Shostakovich’s fifth symphony. It is used in the website to also show the effects of Shostakovich’s music on others. Dmitri Shostakovich - Symphony No. 5. Composed by Dmitri Shostakovich, 1937. YouTube, ​ ​ ​ Google, youtu.be/L__jruvYuCg. Accessed 10 Jan. 2021. This is a recording of Shostakovich’s 5th Symphony. The finale serves to show how Shostakovich meant for it to resemble drums beating against your head and saying you must be happy. Dmitri Shostakovich : The Limpid Stream, Suite from the ballet Op. 39a (1934-35). Composed by ​ Dmitri Shostakovich, 1935. YouTube, Google, youtu.be/JKyX5CPai7A. Accessed 10 Jan. ​ ​ 2021. This is an opera by Shostakovich that was denounced due to its Formalist nature. This can be seen as the opera does repeatedly work off the same motifs. Downes, Olin. "CHANGES IN THE SOVIET; Shostakovich Affair Shows Shift in Point Of View in the U.S.S.R." New York Times. The New York Times, ​ ​ ​ ​ www.nytimes.com/1936/04/12/archives/changes-in-the-soviet-shostakovich-affair-shows -shift-in-point-of.html. Accessed 10 Jan. 2021. This is a news article written during the time Shostakovich was denounced. It shows the reaction of the people to his denouncement. Eliasberg, Karl. Karl Eliasberg conducting, on 9 August 1942. Culture Matters, ​ ​ www.culturematters.org.uk/index.php/arts/music/item/2829-the-siege-of-leningrad-shosta kovich-and-the-airbrushing-of-history. Accessed 10 Jan. 2021. This is an image of Shostakovich’s 9th symphony being conducted. The atmosphere shows the lighthearted nature of the symphony. Gutman, David. Photo of Shostakovich. Gramophone, 9 Jan. 2017, ​ ​ www.gramophone.co.uk/features/article/the-best-recordings-of-shostakovich-s-symphon y-no-10. Accessed 10 Jan. 2021. This is an image of Shostakovich gazing pensively into the distance. It was added to the website to show his nature. Gulag Perm 36 in the Urals. RFERL, ​ ​ www.rferl.org/a/gulag-records-being-digitized-not-destroyed-russian-ministry-says/2928 9219.html. Accessed 10 Jan. 2021. This is an image of people in the Gulag. It shows the cruelty and strict measures put into place to enforce minor crimes. Image of Shostakovich. The Violin Channel, 9 Aug. 2020, ​ ​ theviolinchannel.com/composer-pianist-dmitri-shostakovich-died-on-this-day-1975/. Accessed 10 Jan. 2021. This is another image of Shostakovich sitting on his piano in a white suit. It serves as extra imagery to visualize Shostakovich in his later years. Kilian, Michael. "TAKE THAT, STALIN." Chicago Tribune [Chicago]. Chicago Tribune, ​ ​ ​ ​ www.chicagotribune.com/news/ct-xpm-1989-01-15-8902250878-story.html. Accessed 10 Jan. 2021. This newspaper article chronicles the time after Stalin’s death when the Anti-Soviet Rayok was released by Shostakovich. The writer says that they believe Stalin’s death was a blessing due to the music that was released as a result. Lady Macbeth of Mtsensk District. Composed by Dmitri Shostakovich. YouTube, Google, ​ ​ ​ youtu.be/5KAKW4b3BvU. Accessed 10 Jan. 2021. This is the main opera that was denounced in the Pravda. Many believe it was denounced by Stalin due to his hate for vulgar operas. Marx, Karl. Manifesto of the Communist Party: By Karl Marx and Friedrich Engels. ​ ​ The communist manifesto by Karl Marx was the main book that inspired Stalin to join the communist cause. He read it as a schoolboy and it inspired him. Montefiori, Sebag. Young Stalin at Age 23. 1901. Mashable, ​ ​ ​ ​ mashable.com/2016/03/16/young-stalin/. Accessed 10 Jan. 2021. This is an image of Stalin as a schoolboy. At this time he was becoming a communist activist and it acts as extra imagery for the website while reading about Stalin’s Rise. Shostakovich, Dmitri. Shostakovich Playing his Second Piano Concerto. MyFavoriteClassical, ​ ​ ​ ​ myfavoriteclassical.com/shostakovich-piano-concerto-no-2/. Accessed 10 Jan. 2021. Shostakovich did not perform very often and he was very nervous whenever he did perform. This adds to the readers’ understanding of Shostakovich and his life. ---. Shostakovich Speaking to his Fans. FineArtAmerica, fineartamerica.com/art/shostakovich. ​ ​ Accessed 10 Jan. 2021. Shostakovich speaking in New York to his fans. This shows how widespread Shostakovich’s music was despite how badly he was treated in Russia. Shostakovich, Dmitri, and Isaak Glikman. Story of a Friendship: The Letters of Dmitry ​ Shostakovich to Isaak Glikman, 1941-1975. ​ A chronicle of Shostakovich’s letters to his friend. He talks about his lack of money and his personal beliefs and this serves as a fundamental point for the website. Shostakovich - String Quartet No. 8 with score - Borodin String Quartet. Composed by Dmitri ​ Shostakovich, Borodin String Quartet, 2019. YouTube, Google, youtu.be/uGoxfQ2H3ns. ​ ​ This is a recording of Shostakovich’s 8th String Quartet. Shostakovich includes a cryptogram where the four notes of the theme of this piece spell out his initials. This can be considered formalist but due to the circumstances of this piece, it was let by as it was a testimony to Shostakovich’s life. SHOSTAKOVICH:Symph. No 11 'The Year 1905' in G min op 103-Dir. Valery Gergiev-Orq. Mariinsky theatre. Composed by Dmitri Shostakovich, 1957. YouTube, Google, ​ ​ ​ youtu.be/aONNDVKfsuo. Accessed 10 Jan. 2021. A recording of Shostakovich’s 11th Symphony. Shostakovich dedicated it to the year 1905 and the October Revolution yet also included allusions to the massacre the year before. Shostakovich Symphony No. 4 / Valery Gergiev & Münchner Philharmoniker. Composed by ​ Dmitri Shostakovich, Munchner Philharmonic, 1961. YouTube, Google, ​ ​ youtu.be/qj2PJwhatWU. Accessed 10 Jan. 2021. This is Shostakovich’s 4th Symphony that was written at a time when Shostakovich was very poor. He wrote a pro-Soviet piece here that was commissioned by the party because he needed the money. Shostakovich: Symphony No. 9 - Bernstein conducts. Composed by Dmitri Shostakovich, 1945. ​ YouTube, Google, youtu.be/AfakIg9E_ao. Accessed 10 Jan. 2021. ​ In Shostakovich’s 9th Symphony, what was meant to be a grand bombastic piece is instead reduced to fluttering wind players. Shostakovich was being very “cheeky” as he was commissioned to compose a victory piece and composed this instead. Soroka, Arkady. Lenin With Peasants. 1965, Boris Wilnitsky Fine Arts. ​ ​ This is an image of Lenin standing with peasants and helping them. This artwork was part of Socialist Realism where all artwork must be realistic but also pro-Soviet.
Recommended publications
  • Link Shostakovich.Txt
    FRAMMENTI DELL'OPERA "TESTIMONIANZA" DI VOLKOV: http://www.francescomariacolombo.com/index.php?option=com_content&view=article&i d=54&Itemid=65&lang=it LA BIOGRAFIA DEL MUSICISTA DA "SOSTAKOVIC" DI FRANCO PULCINI: http://books.google.it/books?id=2vim5XnmcDUC&pg=PA40&lpg=PA40&dq=testimonianza+v olkov&source=bl&ots=iq2gzJOa7_&sig=3Y_drOErxYxehd6cjNO7R6ThVFM&hl=it&sa=X&ei=yUi SUbVkzMQ9t9mA2A0&ved=0CDEQ6AEwAQ#v=onepage&q=testimonianza%20volkov&f=false LA PASSIONE PER IL CALCIO http://www.storiedicalcio.altervista.org/calcio_sostakovic.html CENNI SULLA BIOGRAFIA: http://www.52composers.com/shostakovich.html PERSONALITA' DEL MUSICISTA NELL'APPOSITO PARAGRAFO "PERSONALITY" : http://www.classiccat.net/shostakovich_d/biography.php SCHEMA MOLTO SINTETICO DELLA BIOGRAFIA: http://www.thefamouspeople.com/profiles/dmitry-shostakovich-344.php La mia droga si chiama Caterina La mia droga si chiama Caterina “Io mi aggiro tra gli uomini come fossero frammenti di uomini” (Nietzsche) In un articolo del 1932 sulla rivista “Sovetskoe iskusstvo”, Sostakovic dichiarava il proprio amore per Katerina Lvovna Izmajlova, la protagonista dell’opera che egli stava scrivendo da oltre venti mesi, e che vedrà la luce al Teatro Malyi di Leningrado il 22 gennaio 1934. Katerina è una ragazza russa della stessa età del compositore, ventiquattro, venticinque anni (la maturazione artistica di Sostakovic fu, com’è noto, precocissima), “dotata, intelligente e superiore alla media, la quale rovina la propria vita a causa dell’opprimente posizione cui la Russia prerivoluzionaria la assoggetta”. E’ un’omicida, anzi un vero e proprio serial killer al femminile; e tuttavia Sostakovic denuncia quanta simpatia provi per lei. Nelle originarie intenzioni dell’autore, “Una Lady Macbeth del distretto di Mcensk” avrebbe inaugurato una trilogia dedicata alla donna russa, còlta nella sua essenza immutabile attraverso differenti epoche storiche.
    [Show full text]
  • Soviet Censorship Policy from a Musician's Perspective
    The View from an Open Window: Soviet Censorship Policy from a Musician’s Perspective By Danica Wong David Brodbeck, Ph.D. Departments of Music and European Studies Jayne Lewis, Ph.D. Department of English A Thesis Submitted in Partial Completion of the Certification Requirements for the Honors Program of the School of Humanities University of California, Irvine 24 May 2019 i Table of Contents Acknowledgments ii Abstract iii Introduction 1 The Music of Dmitri Shostakovich 9 Lady Macbeth of Mtsensk District 10 The Fifth Symphony 17 The Music of Sergei Prokofiev 23 Alexander Nevsky 24 Zdravitsa 30 Shostakovich, Prokofiev, and The Crisis of 1948 35 Vano Muradeli and The Great Fellowship 35 The Zhdanov Affair 38 Conclusion 41 Bibliography 44 ii Acknowledgements While this world has been marked across time by the silenced and the silencers, there have always been and continue to be the supporters who work to help others achieve their dreams and communicate what they believe to be vital in their own lives. I am fortunate enough have a background and live in a place where my voice can be heard without much opposition, but this thesis could not have been completed without the immeasurable support I received from a variety of individuals and groups. First, I must extend my utmost gratitude to my primary advisor, Dr. David Brodbeck. I did not think that I would be able to find a humanities faculty member so in tune with both history and music, but to my great surprise and delight, I found the perfect advisor for my project.
    [Show full text]
  • And So, It Had All Begun, Very Precisely, on the Morning of the 28Th of January 1936, in Arkhangelsk
    And so, it had all begun, very precisely, on the morning of the 28th of January 1936, in Arkhangelsk. He had been invited to perform his first piano concerto with the local orchestra under Viktor Kubatsky; the two of them had also played his new cello sonata. It had gone well. The next morning he went to the railway station to buy a copy of Pravda. He had looked at the front page briefly, then turned to the next two. It was, as he would later put it, the most memorable day of his life. And a date he chose to mark each year until his death. Except that—as his mind obstinately argued back—nothing ever begins as precisely as that. It began in different places, and in different minds. The true starting point might have been his own fame. Or his opera. Or it might have been Stalin, who, being infallible, was therefore responsible for everything. Or it could have been caused by something as simple as the layout of an orchestra. Indeed, that might finally be the best way of looking at it: a composer first denounced and humiliated, later arrested and shot, all because of the layout of an orchestra. If it all began elsewhere, and in the minds of others, then perhaps he could blame Shakespeare, for having written Macbeth. Or Leskov for Russifying it into Lady Macbeth of Mtsensk. No, none of that. It was, self-evidently, his own fault for having written the piece that offended. It was his opera’s fault for being such a success—at home and abroad—it had aroused the curiosity of the Kremlin.
    [Show full text]
  • Alex Ross: the Rest Is Noise: Ruined Choirs: Shostakovich Pagina 1 Van 6
    Alex Ross: The Rest Is Noise: Ruined Choirs: Shostakovich pagina 1 van 6 Alex Ross: The Rest Is Noise Articles, a blog, and a book by the music critic of The New Yorker Ruined Choirs: Shostakovich by Alex Ross The New Yorker, March 20, 2000. Addendum 2004: This article contains quotations from Testimony, the purported memoirs of Dmitri Shostakovich. In light of Laurel E. Fay's latest researches, published in The Shostakovich Casebook, it is no longer possible to place any faith in Solomon Volkov's book. Writing in 2000, I stated that the composer's signature appeared on the first page of the manuscript. This, it turns out, is not the case. On a January evening in 1936, Joseph Stalin entered a box at the Bolshoi Theatre, in Moscow. His custom was to take a seat in the back, just before the curtain rose. He had become interested that month in new operas by Soviet composers: a week earlier, he had seen Ivan Dzerzhinsky’s “The Quiet Don,” and liked it enough to summon the composer for a conversation. On this night, the Bolshoi was presenting “Lady Macbeth of Mtsensk,” a dark, violent, sexually explicit opera by Dmitri Shostakovich. Stalin enjoyed himself less. After the third act—in which tsarist policemen are depicted as buffoons who arrest people on hastily fabricated pretexts—the Leader conspicuously walked out. Shostakovich, who had been expecting the same reception that Stalin gave to Dzerzhinsky, went away feeling, he said, “sick at heart.” Two days later, Pravda published an editorial under the headline “muddle instead of music,” which condemned Shostakovich’s opera outright.
    [Show full text]
  • DMITRI SHOSTAKOVICH Born September 25, 1906 in St
    DMITRI SHOSTAKOVICH Born September 25, 1906 in St. Petersburg; died August 9, 1975 in Moscow. Symphony No. 5, Opus 47 (1937) PREMIERE OF WORK: Leningrad, November 21, 1937 Great Hall of the Leningrad Philharmonic Leningrad Philharmonic Yevgeny Mravinsky, conductor APPROXIMATE DURATION: 52 minutes INSTRUMENTATION: piccolo, two flutes, two oboes, E-flat and two B-flat clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, celesta, piano and strings “COMPOSER REGAINS HIS PLACE IN SOVIET,” read a headline of The New York Times on November 22, 1937. “Dmitri Shostakovich, who fell from grace two years ago, on the way to rehabilitation. His new symphony hailed. Audience cheers as Leningrad Philharmonic presents work.” The background of Shostakovich’s Fifth Symphony is well known. His career began before he was twenty with the cheeky First Symphony; he was immediately acclaimed the brightest star in the Soviet musical firmament. In the years that followed, he produced music with amazing celerity, and even managed to catch Stalin’s attention, especially with his film scores. (Stalin was convinced that film was one of the most powerful weapons in his propaganda arsenal.) The mid-1930s, however, the years during which Stalin tightened his iron grip on Russia, saw a repression of the artistic freedom of Shostakovich’s early years, and some of his newer works were assailed with the damning criticism of “formalism.” The opera The Nose, the ballets The Golden Age and The Bolt and even the blatantly jingoistic Second and Third Symphonies were the main targets. The storm broke in an article in Pravda on January 28, 1936 entitled “Muddle Instead of Music.” The “muddle” was the opera Lady Macbeth of the Mtsensk District, a lurid tale of adultery and murder in the provinces that is one of Shostakovich’s most powerful creations.
    [Show full text]
  • Shostakovich's Fourth and Fifth Symphonies: a Comparative Analysis
    Tenor of Our Times Volume 7 Article 18 5-3-2018 Shostakovich’s Fourth and Fifth yS mphonies: A Comparative Analysis Payden Taylor Harding University, [email protected] Follow this and additional works at: https://scholarworks.harding.edu/tenor Part of the History Commons, and the Music Commons Recommended Citation Taylor, Payden ( 2018) "Shostakovich’s Fourth and Fifth yS mphonies: A Comparative Analysis," Tenor of Our Times: Vol. 7, Article 18. Available at: https://scholarworks.harding.edu/tenor/vol7/iss1/18 This Article is brought to you for free and open access by the College of Arts & Humanities at Scholar Works at Harding. It has been accepted for inclusion in Tenor of Our Times by an authorized editor of Scholar Works at Harding. For more information, please contact [email protected]. Author Bio: Payden Taylor is a senior Music Education major at Harding University from Arlington, TX. On campus, Payden is an active member in social clubs, musical ensembles, and academic organizations, including the Harding Wind Ensemble, composition studio, Alpha Chi, and ASI. Payden serves as an officer for Chi Sigma Alpha, a club director for the 2018 Spring Sing production, and a musical collaborator for the Uncle Bud Poetry Competition. After graduating, he plans to return to Texas to teach music and to pursue a career writing and arranging music. SHOSTAKOVICH’S FOURTH AND FIFTH SYMPHONIES: A COMPARATIVE ANALYSIS By: Payden Taylor Dmitri Shostakovich’s Fourth and Fifth Symphonies bear the opus numbers 43 and 47, respectively, and, from the inception of the Fourth to the debut of the Fifth, spanned a time of less than two years.
    [Show full text]
  • 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,
    [Show full text]
  • This Is an Electronic Reprint of the Original Article. This Reprint May Differ from the Original in Pagination and Typographic Detail
    This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Author(s): Mikkonen, Simo Title: "Muddle instead of music" in 1936: cataclysm of musical administration Year: 2010 Version: Please cite the original version: Mikkonen, S. (2010). ’Muddle Instead of Music’ in 1936: Cataclysm of Musical Administration. In P. Fairclough (Ed.), Shostakovich Studies 2 (pp. 231-248). Cambridge: Cambridge University Press. All material supplied via JYX is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. C:/ITOOLS/WMS/CUP/1594072/WORKINGFOLDER/FGL/9780521111188C09.3D 231 [231–248] 9.6.2010 11:49AM 9 ‘Muddle instead of music ’ in 1936: cataclysm of musical administration Simo Mikkonen During the first eighteen years of Soviet power, music was never at the centre of attention in the way that literature had been. For several weeks, coverage of the first Writers ’ Congress in August 1934 practically filled the main newspapers, Pravda and Izvestiya , with articles on literature. Suddenly in 1936, music made it to the front pages of both Pravda and Izvestiya , not just once but several times. This event looks, on the face of it, like a response to the attack Pravda launched against Shostakovich in January and February 1936.
    [Show full text]
  • The Nineteenth-Century Russian Operatic Roots of Prokofyev’S
    THE NINETEENTH-CENTURY RUSSIAN OPERATIC ROOTS OF PROKOFYEV’S WAR AND PEACE by TERRY LYNN DEAN, JR. (Under the Direction of David Edwin Haas) ABSTRACT More than fifty years after Prokofyev’s death, War and Peace remains a misunderstood composition. While there are many reasons why the opera remains misunderstood, the primary reason for this is the opera’s genesis in Stalinist Russia and his obligation to uphold the “life-affirming” principles of the pro-Soviet aesthetic, Socialist Realism, by drawing inspiration from the rich heritage “Russian classical” opera—specifically the works of Glinka, Chaikovsky, and Musorgsky. The primary intent of this dissertation is to provide new perspectives on War and Peace by examining the relationship between the opera and the nineteenth-century Russian opera tradition. By exploring such a relationship, one can more clearly understand how nineteenth-century Russian operas had a formative effect on Prokofyev’s opera aesthetic. An analysis of the impact of the Russian operatic tradition on War and Peace will also provide insights into the ways in which Prokofyev responded to official Soviet demands to uphold the canon of nineteenth-century Russian opera as models for contemporary composition and to implement aspects of 19th-century compositional practice into 20th-century compositions. Drawing upon the critical theories of Soviet musicologist Boris Asafyev, this study demonstrates that while Prokofyev maintained his distinct compositional voice, he successfully aligned his work with the nineteenth-century tradition. Moreover, the study suggests that Prokofyev’s solution to rendering Tolstoy’s novel as an opera required him to utilize a variety of traits characteristic of the nineteenth-century Russian opera tradition, resulting in a work that is both eclectic in musical style and dramaturgically effective.
    [Show full text]
  • Muddle Instead of Music
    28 January 1936, Pravda Muddle instead of Music With the general cultural development of our country there grew also the necessity for good music. At no time and in no other place has the composer had a more appreciative audience. The people expect good songs, but also good instrumental works, and good operas. Certain theatres are presenting to the new culturally mature Soviet public Shostakovich's opera Lady MacBeth as an innovation and achievement. Musical criticism, always ready to serve, has praised the opera to the skies, and given it resounding glory. The young composer, instead of hearing serious criticism, which could have helped him in his future work, hears only enthusiastic compliments. From the first minute, the listener is shocked by deliberate dissonance, by a confused stream of sound. Snatches of melody, the beginnings of a musical phrase, are drowned, emerge again, and disappear in a grinding and squealing roar. To follow this "music" is most difficult; to remember it, impossible. Thus it goes, practically throughout the entire opera. The singing on the stage is replaced by shrieks. If the composer chances to come upon the path of a clear and simple melody, he throws himself back into a wilderness of musical chaos - in places becoming cacaphony. The expression which the listener expects is supplanted by wild rhythm. Passion is here supposed to be expressed by noise. All this is not due to lack of talent, or lack of ability to depict strong and simple emotions in music. Here is music turned deliberately inside out in order that nothing will be reminiscent of classical opera, or have anything in common with symphonic music or with simple and popular musical language accessible to all.
    [Show full text]
  • Proquest Dissertations
    M u Ottawa L'Unh-wsiie eanadienne Canada's university FACULTE DES ETUDES SUPERIEURES IfisSJ FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L'Universite canadienne Canada's university Jada Watson AUTEUR DE LA THESE /AUTHOR OF THESIS M.A. (Musicology) GRADE/DEGREE Department of Music lATJULfEJ^LTbliP^ Aspects of the "Jewish" Folk Idiom in Dmitri Shostakovich's String Quartet No. 4, OP.83 (1949) TITREDE LA THESE/TITLE OF THESIS Phillip Murray Dineen _________________^ Douglas Clayton _______________ __^ EXAMINATEURS (EXAMINATRICES) DE LA THESE / THESIS EXAMINERS Lori Burns Roxane Prevost Gary W, Slater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies ASPECTS OF THE "JEWISH" FOLK IDIOM IN DMITRI SHOSTAKOVICH'S STRING QUARTET NO. 4, OP. 83 (1949) BY JADA WATSON Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Master's of Arts degree in Musicology Department of Music Faculty of Arts University of Ottawa © Jada Watson, Ottawa, Canada, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-48520-0 Our file Notre reference ISBN: 978-0-494-48520-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant
    [Show full text]
  • Bts-Shostakovich-Perusal-Script.Pdf
    SHOSTAKOVICH: SYMPHONY NO. 4 Is Music Dangerous? Perusal script Not for performance use Copyright © 2006 Chicago Symphony Orchestra. Duplication and distribution prohibited. VO 1 - Communism is Soviet power… Narrator At the Russian Revolution... in 1917... the composer Shostakovich was eleven years old… Russia, his country, the largest in the world, was in a time-warp... The majority of the population were illiterate peasants... working – and often starving – on the land... Modern industry existed only in a few cities... like Moscow and St. Petersburg... Just a few years later... when Joseph Stalin became leader of what was now... the Soviet Union... he set himself the almost inconceivable task... of dragging this vast continent into the 20th century... Actor [voice of Stalin] Russia has suffered continual beatings... and humiliation from the rest of the world... because of her backwardness... We are one hundred years behind the advanced countries... We must catch them up in ten... We must do this, or be crushed...i Copyright © 2006 Chicago Symphony Orchestra. Duplication and distribution prohibited. Page | 1 Narrator The whole of society was directed to this monumental effort... If individual lives were lost or ruined, that was inevitable.. Actor [a sinister and malevolent slogan] You cannot make an omelette without breaking eggs!ii Narrator Every Soviet citizen was drawn into the herculean struggle… to force an entire nation into the modern age... And the artists… novelists, poets, film-makers, playwrights, painters and composers… they too were to bend their shoulders to an enterprise so vast... it was intended to change the course of human history… ME 1 – Building and Hammering (1'50") VO 2 - …plus the electrification of the whole country Narrator Like every young person of his time..
    [Show full text]