DOCSLIB.ORG

Waltz No 2 Shostakovich Sheet Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Waltz no 2 shostakovich sheet music Continue /item/eprint-preview/B/Waltz No 2/10095495E ePrint gives you the ability to view and print purchases of digital notes. How can I access my ePrint names? EPrint digital note purchases are stored and available through ePrint in your My Library account. Can I print my music and make copies? Due to copyright law, you cannot make any copies of your digital notes purchases. If you have purchased several copies, please print out all of them. /Search Shostakovich Waltz No. 2 45 Search Shostakovich Waltz No 2 SORT BY - ADD FILTER - Shostakovich Waltz No 2 (45) /item/eprint-preview/B/Waltz No 2/10095495E ePrint gives you the opportunity to view and print your digital music purchases. How can I access my ePrint names? EPrint digital note purchases are stored and available through ePrint in your My Library account. Can I print my music and make copies? Due to copyright law, you cannot make any copies of your digital notes purchases. If you have purchased several copies, please print out all of them. /Search for Shostakovich Waltz No. 2 45 Search for Shostakovich Waltz No. 2 SORT BY - ADD FILTER - Shostakovich Waltz No. 2 (45) by Dmitry Shostakovich (September 25, 1906 - August 9, 1975) was a Soviet Russian composer and one of the most famous composers of the 20th century. Shostakovich became famous in the Soviet Union under the patronage of Chief of Staff Lev Trotsky Mikhail Tukhachevsky, but later had a complicated and complicated relationship with Stalin's bureaucracy. In 1936, the government, most likely on Stalin's orders, sharply criticized his opera Lady Macbeth of the Mtsensk region, forcing him to withdraw the Fourth Symphony during rehearsals. Shostakovich's music was officially condemned twice, in 1936 and 1948, and periodically banned. However, he also received awards and state awards and served in the Supreme Soviet Union of the RFSR. Despite the official controversy, his work was popular and well received. This suite has been mistakenly identified as a suite for jazz orchestra No. 2 for a long time. Waltz No. 2 was included in the soundtrack to Stanley Kubrick's film Eyes Wide Shut. Transcription for massimo Pennesi's voice recorder and piano. This interactive score was published first in the Vals para orquesta de variedades post, a blog post educacionmusical.es. Royal Concert Orchestra, Amsterdam Piano Solo, Light Piano - Early Intermediate - Digital DownloadBy by Dmitri Shostakovich. Arrangement by Bobby Sear - Piano Concept. The individual part is 2 pages long. Published by Piano Notion (H0.760687-SC001521777). Element number: H0.760687-SC001521777 Simplified solo piano version you can play. Arranged by Bobby Sear - Piano Concept of SMP Press This product was created by a member of SMP Press, our global community of independents arrangers and songwriters. Our independent independent created unique compositions and arrangements for the Sheet Music Plus community, many of which are not available anywhere else. Click here to see more titles from these independent creators and learn more about SMP Press. Please note that this product may not be eligible for all sales, promotions or coupons offered through Sheet Music Plus - please check the promotional data for specifics. About digital downloads of digital downloads downloads downloadable notes that can be viewed directly on your computer, tablet or mobile device. Once you download a digital note, you can browse and print it at home, at school or anywhere you want to make music and you don't have to be connected to the Internet. Just buy, download and play! NOTE NOTE: Your digital download will have a watermark at the bottom of each page, which will include your name, date of purchase, and number of copies sold. You can only print the number of copies you've bought. You can't digitally distribute or print more copies than you bought for use (i.e. you can't print or distribute individual copies digitally to friends or students). Watch This site uses cookies to analyze the use of your products to help with advertising and marketing efforts, to analyze our traffic and provide content from third parties. You agree to our cookies and privacy policies if you continue to use this site. Please watch our privacy policy for details. Orchestra - Digital downloadComponent by Dmitri Shostakovich (1906-1975). Arrangement by Paul Lavender. Classic. Orchestra. Three pages. Running time 190. Published by Hal Leonard - Digital Music Sheet (HX.154809). Element Number: HX.154809 On digital downloads Digital downloads downloads downloadable note files that can be viewed directly on your computer, tablet or mobile device. Once you download a digital note, you can browse and print it at home, at school or anywhere you want to make music and you don't have to be connected to the Internet. Just buy, download and play! NOTE NOTE: Your digital download will have a watermark at the bottom of each page, which will include your name, date of purchase, and number of copies sold. You can only print the number of copies you've bought. You can't digitally distribute or print more copies than you bought for use (i.e. you can't print or distribute individual copies digitally to friends or students). Suzuki Violin School, Volume 1 Essential Elements for Strings - Bo... Galamay scale system for Violo... Suzuki Violin School, Volume 2 Essential Elements 2000 for Strings ... Violin School, Volume 3 Suzuki Violin School, Volume 2 Suzuki Violin School, Volume 3 Suzuki Violin School, Volume 4 Basic Techniques for String Wit... COMPLETE Christmas Ensemble Package (5... Violin Time Joggers - CD Star Wars (Suite for Orchestra) - - $85.00 $68.00 (1,927.04 UAH) Suzuki Cello School, Volume 2 Early Violin Start, Volume 1 Suzuki Violin School, Volume 5 Essential Elements for Strings - Bo... Introduction of positions, Volume 1... This site uses cookies to analyze the use of your products, to assist in advertising and marketing efforts, to analyze our traffic and provide content from third parties. Please watch our privacy policy for details. /Search Waltz No2 716 Search Waltz No.2 SORT BY - ADD FILTER - CLOSE Waltz No2 (716) Waltz No. 2 by Dmitri Shostakovich (1906-1975) Waltz No. 2 - the seventh part of the Suite for the variety orchestra of Dmitri Shostakovich. The work consists of a collection of movements that come from other works of the composer. Waltz No. 2 was used in Stanley Kubrick's 1999 film Eyes Wide Shut as the opening title and closing credit themeNotes Waltz. The 20th century. No 7 out of 8 Suite movement for the variety orchestra. Time signature 3/4. 169 measures. 11 pages. Key in D minor. Fell D Tuning. Key D Minor/Bb Major This list is manually maintained, so some of the available parts may not yet be associated with this page. For an automatic generated alphabet list of all available works, please see Category:Shostakovich, Dmitri. Please consult with the style guide to create lists of the composer's works. The following information is given for each work where it is available: Opus - opus number title - title in English Instrumental - description of the work and forces required by the year - year (s) composition where known. Notes are other important notes related to work. Opus Title Instrumental Year Celebrates - Funeral March in memory of the fallen heroes of the revolution piano 1917 Juvenilia - Gypsies, Opera after the orchestra of Alexander Pushkin 1919-1920 JuveniliaOnly 3 numbers were discovered: No 11 Duet of Semfira and Aleco, No 12 Arietta the Old Man, and No 13 Trio of Semphira, Aleko and Old Man. - In the Forest Of Piano Juvenilia - 2 Mazurka Piano Juvenilia - Polka Piano Juvenilia - Soldier Piano 1915-1917 Juvenilia - Anthem of Freedom Piano 1915-1916 Juvenilia 001 Skerzo in F Sharp Minor Orchestra 1919 - Minuet, Prelude and Intermezzo Piano 1919-1920 002 8 Preludes Piano 1919-1920 Lost - Murzilka Piano 1920 - 5 Preludes Piano 1920-1921 003 Theme and Variations in B Flat Large Orchestra 1921-1922 Transcribed piano solo as Op.3a 004 2 Fabines Ivan Krylova Mezzo-Soprano, Women's Choir and Chamber Orchestra 1922 Transcript for Mezzo-Soprano and Piano as Op.4a 005 3 Fantastic Piano Dances 1922 006 Suite in F Sharp Minor piano 1922 007 Scherzo's E flat large orchestra 1923-1924 Transcribed Transcribed piano solo as Op.7a 008 Piano Trio No. 1 in C minor piano, violin, Cello 1923 009 3 cello and piano pieces 1923-1924 Lost 010 Symphony No. 1 in F minor orchestra 1924-1925 011 2 pieces string octet 1924-1925 Prelude 012 Piano Sonata No. 1 Piano 1926 013 Aphorisms, Ten Pieces Of Piano 1927 014 Symphony No. 2 in B Major K October Orchestra and Choir 1 Shostakovich made a reduction of choral score for voices and piano 015 Nose , opera in 3 acts after Nikolai Gogol Orchestra 1927-1928 Shostakovich collected a syota from the nose, for tenor, baritone and orchestra as Op.15aShostakovich made short accompaniment Nose for Piano 016 Tahiti Trot Orchestra 1928 017 2 Pieces by Domenico Scarlatti Wind Orchestra 1928 01 01 8 New Babylon (silent film music) Small Orchestra 1928-1929 019 Bedbug (comedy music) Orchestra of Vladimir Mayakovsky 1928-1929 Shostakovich assembled a juita from Bedbug for orchestra as Op.19aShostakovich arranged music to Budbug for piano as Op.19b 020 Symphony No. 3 in E Flat Major First May Orchestra with a choir 1929 Shostakovich made a shortening score for piano solo, including vocal scores of the final choir, as Op.20a 021 6 Romance on the texts of Japanese tenor poets and orchestra 1928-1932 Arrangement for tenor and piano, as Op.21a 022 Golden Age Golden Age , the ballet in 3 acts Orchestra 1929-1930 Shostakovich collected a suite from the Golden Age for the orchestra, as Op.
Recommended publications
  • DSCH Journal No. 24

    DSCH Journal No. 24

    DOCUMENTARY III VARIANT AND VARIATION[1] IN THE SECOND MOVEMENT OF THE ELEVENTH SYMPHONY Lyudmila German The Eleventh Symphony, form, as it ‘resists’ develop- named Year 1905, is a pro- mental motif-work and frag- ach of Shostakovich’s gram work that relates the mentation. [2]” symphonies is unique in bloody events of the ninth of Eterms of design and January, 1905, when a large Indeed, if we look at the sec- structure. Despite the stifled number of workers carrying ond movement of the sym- atmosphere of censorship petitions to the Tsar were shot phony, for instance, we shall which imposed great con- and killed by the police in the see that its formal structure is strains, Shostakovich found Palace Square of St. Peters- entirely dependent on the nar- creative freedom in the inner burg. In order to symbolize rative and follows the unfold- workings of composition. the event Shostakovich chose ing of song quotations, their Choosing a classical form such a number of songs associated derivatives, and the original as symphony did not stultify with protest and revolution. material. This leads the com- the composer’s creativity, but The song quotations, together poser to a formal design that rather the opposite – it freed with the composer’s original is open-ended. There is no his imagination in regard to material, are fused into an final chord and the next form and dramaturgy within organic whole in a highly movement begins attacca. the strict formal shape of a individual manner. Some of The formal plan of the move- standard genre.
  • Link Shostakovich.Txt

    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.
  • Soviet Censorship Policy from a Musician's Perspective

    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.
  • The Theory of Eternal Life

    The Theory of Eternal Life

    THE THEORY OF ETERNAL LIFE by RODNEY COLLIN Life is a lyre, for its tune is death. LXVI Immortal mortals and mortal immortals—one living LXVII the other's death and dead the other's life. For it is death to the breath of life to become liquid, and death LXVIII to this liquid to become solid. But from such solid comes liquid and from such liquid the breath of life. The path up and the path down is one and the same. LXI Identical the beginning and the end... Living and dead LXX are the same, and so awake and asleep, young and old: LXXVIII the former shifted become the latter, and the latter shifted the former. For time is a child playing draughts, and that child's LXXIX is the move. HERACLEITUS: On the Universe To him who, purified, would break this vicious round And breathe once more the air of heaven—greeting! There in the courts of hades wilt thou find Leftward a beckoning cypress, tall and bright, From out whose root doth flow the water of Oblivion. Approach it not: guard thou thy thirst awhile. For on the other hand—and further—wells From bottomless pool the limpid stream of Memory, Cool, full of refreshment. To its guardians cry thus: ' I am the child of earth and starry sky: Know that I too am heavenly—but parched! I perish: give then and quickly that clear draught Of ice-cold Memory!' And from that fountainhead divine Straightway they'll give thee drink; quaffing the which Thou with the other heroes eternally shalt rule.
  • Download Booklet

    Download Booklet

    552129-30bk VBO Shostakovich 10/2/06 4:51 PM Page 8 CD1 1 Festive Overture in A, Op. 96 . 5:59 2 String Quartet No. 8 in C minor, Op. 110 III. Allegretto . 4:10 3 Piano Trio No. 2 in E minor, Op. 67 III. Largo . 5:35 4 Cello Concerto No. 1 in E flat, Op. 107 I. Allegretto . 6:15 5–6 24 Preludes and Fugues – piano, Op.87 Prelude and Fugue No. 1 in C major . 6:50 7 Symphony No. 5 in D minor, Op. 47 II. Allegretto . 5:08 8 Cello Sonata, Op. 40 IV. Allegro . 4:30 9 The Golden Age: Ballet Suite, Op. 22a Polka . 1:52 0 String Quartet No. 3 in F, Op. 73 IV. Adagio . 5:27 ! Symphony No. 9 in E flat, Op. 54 III. Presto . 2:48 @ 24 Preludes – piano, Op. 34 Prelude No. 10 in C sharp minor . 2:06 # Violin Concerto No. 1 in A minor, Op. 77 IV. Burlesque . 5:02 $ The Gadfly Suite, Op. 97a Romance . 5:52 % Symphony No. 10 in E minor, Op. 93 II. Allegro . 4:18 Total Timing . 66:43 CD2 1 Jazz Suite No. 2 VI. Waltz 2 . 3:15 2 Piano Concerto No. 1 in C minor, Op. 35 II. Lento . 8:31 3 Symphony No. 7 in C, Op. 60, ‘Leningrad’ II. Moderato . 11:20 4 3 Fantastic Dances, Op. 5 Polka . 1:07 5 Symphony No. 13 in B flat minor, Op. 113, ‘Babi Yar’ II. Humour . 7:36 6 Piano Quintet, Op. 57 III.Scherzo .
  • Concert Film Music

    Concert Film Music

    Movies in Concert: Concert Film Music Concert music based on film music: music composed for films and been recast into concert works music that many people don’t realise was composed for films Although we made every effort to make this list as complete and as accurate as possible, this list is certainly not complete and additional info will be highly appreciated. To get in touch with us you can use our ”Contact MIC” page on: http://www.moviesinconcert.nl/index.php?page=contact RICHARD ADDINSELL - Warsaw Concerto: from the 1941 movie Dangerous Moonlight MALCOLM ARNOLD The Holly and the Ivy (Fantasy on Christmas Carols), music from a 1952 British drama film adapted from the play of the same name by Wynyard Browne, directed by George More O'Ferrall - Symphonic Study 'Machines, Op. 30 (1952), based on his score for the documentary 'Report on Steel' (1948) - The Sound Barrier - A Rhapsody for Orchestra, Op 38 (1952), based on his score for 'The Sound Barrier' (1952) - Scherzetto, from the film “You know what sailors are” ARTHUR BENJAMIN - Storm clouds: Cantata composed for and used in the film The Man Who Knew Too Much LEONARD BERNSTEIN - On the waterfront: music from the 1954 movie by Elia Kazan HOWARD BLAKE - A month in the country: suite (opus 446), A concert work for string orchestra adapted from the film score ARTHUR BLISS - Suite from Things to Come: from the movie of the same name and recorded by the LSO in 1957 BENJAMIN BRITTEN - Around the village green (also entitled 'Village harvest') uses the tune 'The bottom of the punch bowl' It was composed as the title music for a documentary film of the same name (by Marion Grierson and Evelyn Spice) - The Young Person's Guide to the Orchestra, opus 34: composed in 1946 to accompany an educational film produced by the British government and featured in the Oscar-nominated film Moonrise Kingdom AARON COPLAND - Barley Wagons - The City, 1939 (Documentary short), music to a short documentary film from 1939.
  • Download Booklet

    Download Booklet

    572138 bk Shostakovich 3/18/09 11:03 AM Page 20 Mark Fitz-Gerald with the string quartet. From left to right: Piotr Tarcholik, Kinga Tomaszewska, Beata Raszewska, Zdzisław Łapiński SHOSTAKOVICH WORLD PREMIÈRE RECORDINGS The Girlfriends (Complete) • Salute to Spain Rule, Britannia! • Symphonic Movement (1945) Acknowledgements We wish to thank the following people and organisations for their generous support of this recording: Pauline and Bob Fitz-Gerald, Ray and Elizabeth Harsant, Lesley Spence (on behalf of her late husband, Malcolm Spence), the Association Internationale ‘Dmitri Chostakovitch’, Anastasia Belina, David Coronel, Stephen Davis, Jonathan Del Mar, the DSCH Journal (www.dschjournal.com), the Farnborough Symphony Orchestra, Derek Hulme, Jacek Mentel, Geoffrey Paterson, Mariusz Szymanski/Kraków Industrial Society, the Polish Union of Performing Arts, John Riley, the Society of Friends of the Polish National Radio Symphony Orchestra, and Emmanuel Utwiller Polish National Radio Symphony Orchestra 8.572138 20 Mark Fitz-Gerald 572138 bk Shostakovich 3/18/09 11:03 AM Page 2 Podrugi (The Girlfriends), Op. 41(ii) 46:33 ¡ Natasha and Zoya are rescued – Allegro molto Stanisław Dziewior (Orchestra)* 1:42 1 Introduction (opening credits) – Moderato ™ Fanfare: Andrei and Senka arrive (2 trumpets)* 0:40 (String Quartet) 3:04 £ Andrei’s closing words – Adagio (Orchestra) 3:12 2 The Year 1914: The workers’ residential block and factory gates – Allegretto (String Quartet) 2:08 All tracks edited by Mark Fitz-Gerald to comply with 3 The families
  • Abstracts' Book

    Abstracts' Book

    International Conference SOCIOCULTURAL CROSSINGS AND BORDERS: MUSICAL MICROHISTORIES 4–7 September 2013, Vilnius Lithuanian Academy of Music and Theatre & Competition INTERDISCIPLINARY STUDIES IN MUSIC. NEW APPROACHES, METHODS AND CONCEPTIONS ABSTRACTS’ BOOK Compilers Rūta Stanevičiūtė, Rima Povilionienė Vilnius, 2013 UDK 78.072(063) So-25 Abstracts’ book of the International Conference Sociocultural Crossings and Borders: Musical Microhistories and Competition Interdisciplinary Studies in Music. New Approaches, Methods and Conceptions Conference organizers: Lithuanian Academy of Music and Theatre Lithuanian Composers’ Union Conference partners: Estonian Academy of Music and Theatre Jāzeps Vītols Latvian Academy of Music IMS study group ‘Shostakovich and his Epoch: Contemporaries, Culture and the State’ IMS study group ‘Stravinsky between East and West’ IMS study group ‘Music and Cultural Studies’ IMS Regional Association for Eastern Slavic Countries Lithuanian Art Museum – Vytautas Kasiulis Art Museum National Museum – Palace of the Grand Dukes of Lithuania Competition organizer Art-parkING Center for New Technology in the Arts Competition general partner Lithuanian Academy of Music and Theatre Support: Lithuanian Research Council Culture Support Foundation International Musicological Society (IMS) Lithuanian Art Museum – Vytautas Kasiulis Art Museum National Museum – Palace of the Grand Dukes of Lithuania Saulius Karosas Charity and Support Foundation Vytautas Landsbergis Foundation Music shop Open World (St Petersburg) Publishing house
  • Scores 384 SCORES

    Scores 384 SCORES

    383 Scores 384 SCORES GEORGES AURIC ______50409370 Phedre SCORES Salabert SEAS15642......................................................$30.00 For orchestra unless otherwise specified. MILTON BABBITT ______50237950 All Set (1957) 8 instruments JOHN ADAMS AMP96417-48 ..............................................................$50.00 ______50480014 Chairman Dances, The ______50237880 Composition 12 instruments AMP7974.......................................................................$30.00 AMP96418-52 ..............................................................$30.00 ______50480554 Grand Pianola ______50236700 String Quartet No. 2 (1954) Mini-score AMP7995.......................................................................$60.00 AMP6716-45 ................................................................$30.00 ______50488949 Harmonielehre CARL PHILLIP EMANUEL BACH AMP7991.......................................................................$60.00 ______50480489 Concerto in G Major for Organ (Winter) ______50480015 Harmonium Chorus & orchestra Harpsichord, piano, strings & continuo AMP7924.......................................................................$60.00 Sikorski SIK638P ..........................................................$32.00 ______50488934 Shaker Loops (revision) String orchestra AMP7983.......................................................................$40.00 JOHANN SEBASTIAN BACH ISAAC ALBENIZ ______50086400 6 Brandenburg Concertos Study score Ricordi RPR733.............................................................$24.95
  • Associate Professor in Art and Music Honors Adviser

    Associate Professor in Art and Music Honors Adviser

    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC HEARING VOICES IN SHOSTAKOVICH UNCOVERING HIDDEN MEANINGS IN THE FILM ODNA CAROLE CHRISTIANA SMITH Spring 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music with honors in Music Reviewed and approved* by the following: Eric J. McKee Associate Professor of Music Thesis Supervisor Charles D. Youmans Associate Professor of Music Thesis Supervisor Mark E. Ballora Associate Professor in Art and Music Honors Adviser *Signatures are on file in the Schreyer Honors College. ABSTRACT While the concert works of Dmitri Shostakovich have been subject to much research and analysis by scholars, his works for film remain largely unknown and unappreciated. Unfortunately so, since Shostakovich was involved with many of the projects that are hallmarks of Soviet Cinema or that changed the course of the country‘s cinematic development. One such project, the film Odna (1931), was among the first sound films produced in the Soviet Union and exhibits the innovative methods of combining sound and image in order enhance to audience‘s understanding of the films message. This thesis will examine the use and representation of the human voice in the sound track of Odna and how its interaction with the visual track produces deeper levels of meaning. In designing the sound track, Shostakovich employs the voice in several contexts: recorded dialogue, songs, and vocal ―representations‖ whereby music mimics speech. These vocal elements will be examined through theoretical analysis in the case of music, and dramatic importance in the case of dialogue and sound effects.
  • Shostakovich's Fourth and Fifth Symphonies: a Comparative Analysis

    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.
  • Dimitri Shostakovich: a Catalogue of the Orchestral Music

    Dimitri Shostakovich: a Catalogue of the Orchestral Music

    DIMITRI SHOSTAKOVICH: A CATALOGUE OF THE ORCHESTRAL MUSIC 1919: Scherzo in F sharp minor for orchestra, op.1: 5 minutes 1921-22: Theme with Variations in B major for orchestra, op.3: 15 minutes 1922: “Two Fables of Krilov” for mezzo-soprano, female chorus and chamber Orchestra, op.4: 7 minutes 1923-24: Scherzo in E flat for orchestra, op.7: 4 minutes 1924-25: Symphony No.1 in F minor, op.10: 32 minutes Prelude and Scherzo for string orchestra, op.11: 10 minutes 1927: Symphony No.2 “October” for chorus and orchestra, op.14: 21 minutes 1927-28: Suite from the Opera “The Nose” for orchestra, op. 15A 1928: “Tahiti-Trot” for orchestra, op. 16: 4 minutes 1928-29/76: Suite from “New Babylon” for orchestra, op. 18B: 40 minutes 1928-32: Six Romances on Words by Japanese poets for tenor and orchestra, op.21: 13 minutes 1929: Suite from “The Bedbug” for orchestra, op.19B Symphony No.3 in E flat major “The First of May” for chorus and orchestra, op.20: 32 minutes 1929-30: Ballet “The Age of Gold”, op.22: 134 minutes (and Ballet Suite, op. 22A: 23 minutes) 1930-31: Suite from “Alone” for orchestra, op. 26 B Ballet “The Bolt”, op.27: 145 minutes (and Ballet Suite, op.27A: 29 minutes) 1930-32: Suite from the Opera “Lady Macbeth of the Mtsensk District” for orchestra, op. 29A: 6 minutes 1931: Suite from “Golden Mountains” for orchestra, op.30A: 24 minutes Overture “The Green Company”, op. 30C (lost) 1931-32: Suite from “Hamlet” for small orchestra, op.