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Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Index More information Index Adorno, Theodor 38, 295 Piano Sonata, op. 106, ‘Hammerklavier’ Adventures of Korzinkina, The, op. 59 219 92, 101 Afinogenov, Alexander 170 Piano Sonata, op. 109 130 Akhmatova, Anna 251 Piano Sonata, op. 111 130 Akimov, Nikolay 160, 163, 165–8, 171, 172, ‘Rage Over a Lost Penny’ 118, 138 224, 273 String Quartet, op. 59 no. 1 61, 69 Aleichem, Sholem 362 String Quartet, op. 131 79 Tevye the Milkman (Fiddler on the Roof) String Quartet, op. 132 66, 68 362–3 String Quartet, op. 135 53 Alexandrov, Alexander 263, 265, 276 Symphony no. 3, ‘Eroica’ 126, 172 Alone, op. 26 (film score) 214–15 Symphony no. 4 13 Altman, Natan 173 Symphony no. 5 15, 224 Anna Fogt Circle 74 Symphony no. 8 13, 26 Antiformalist Rayok (choral) 227, 278 Symphony no. 9 13, 15, 26, 224 Aphorisms, op. 13 13, 67, 79, 82, 94 Violin Concerto 13 Armashevskaya, Klavdiya 202, 203 Beethoven Quartet, The 42, 49, 52, 58, 60, 63, Arnshtam, Lev 194, 217, 219, 224, 225 65, 139, 335 Asafyev, Boris 74, 80, 181, 183, 302, 309 Belinsky, op. 85 (film score) 220–1, 267, Ashkenazy, Vladimir 326 269, 343 ASM see Association of Contemporary Music Belsky, Igor 211 Association of Contemporary Music (ASM) 181 Berg, Alban 70, 72, 181, 182 Atovmyan, Lev 170 Piano Sonata 100 A Year Like a Lifetime op. 120 225 Wozzeck 55, 64, 72, 182, 185, 303, 320, 352 Beria, Lavrenty 175 Bach, Johann Sebastian 24, 29, 72, 325 Berlinsky, Valentin 42 Chaconne in D minor 137 Bezïmensky, Alexander 15, 157–8 The Well-Tempered Clavier 99, 344 Big Lightning, The (unfinished operetta) Bakhtin, Mikhail 9 164, 194–5 ‘Baletnaya Fal’sh’ see Pravda editorials Bizet, Georges 70 Ballet Suite no.3 170 Carmen 352–3 Barenboym, Lev 97, 114 Black Monk, The (unfinished opera) 66, 197 Barshai, Rudolf 337 ‘Black Sea,’ The 265 Bartók, Béla 72, 181, 182, 303, 325 Bloch, Ernest 142 Contrasts 133 Bogdanov-Berezovsky, Valerian 182 Bedbug, The, op. 19 (incidental music) 152–6, Bolt, The, op. 27 (incidental music) 160, 163, 164, 157, 195, 199 195, 205–8, 209 ‘Bedbug, The’ (ballet) 211 Boris Godunov see Musorgsky Beethoven, Ludwig van 9, 24, 139, 141, 221, Borisovsky, Vadim 63 302, 306 Borodin, Alexander 30, 179 Diabelli Variations 86 Borodin Quartet, The 42, 49, 54, 336 ‘Kreutzer’ Sonata 245 Borris, Siegfried 291 Piano Concerto no. 5, ‘Emperor’ 86 Boulez, Pierre 368 Piano Sonata, op. 27 no. 2, ‘Moonlight’ 24, 120, Boyarsky, Konstantin 211 135, 141, 142 Braga, Gaetano 66, 197 Piano Sonata, op. 53, ‘Waldstein’ 99, 101–6 Brahms, Johannes 24, 142, 236 Piano Sonata, op. 57, ‘Appassionata’ 101 ‘Handel’ Variations 86 [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 Index More information 391 Index Symphony no. 1 15 Dolzhansky, Alexander 310–13, 322 Symphony no. 4 72, 137 Dostoyevsky, Fyodor 9, 189, 257, 258, 351, Braun, Joachim 32, 242 359–60 Brezhnev, Leonid 226 Dovzhenko, Alexander 221 Bright Stream, The, op. 39 (ballet) 116, 148, 163, Dressel, Erwin 164 164, 170, 178, 208–9 Druzhinin, Fyodor 139, 141, 142 Britten, Benjamin 35, 295 DSCH monogram 29, 47, 51, 52, 53, Spring Symphony 35 68, 120, 124, 128, 133, 136, 246, Bruckner, Anton 24, 30, 72, 92 320, 360 Bruni, Tatyana 205 Dunayevsky, Isaak 163, 265 Burns, Robert 236 Dzhabayev, Dzhambul 176 Carp, The (abandoned project) 194 Eight Preludes op. 2 77 Carpenter, Ellon 313 Eisenstein, Sergey 153, 185, 199, Celibidache, Sergiu 291, 292 200, 225 Cello Concerto no. 1, op. 107 53, 119, 120–2, ‘Eleventh Symphony, The’ (ballet) 211 125, 126–9, 133, 279, 326, 360 Encounter at the Elbe see Meeting at the Elbe Cello Concerto no. 2, op. 126 120, 130–2, Erdman, Nikolay 175 Cello Pieces, op. 9 72 Ernesaks, Gustav 280 Cello Sonata, op. 40 94, 116–19, 138, 170, Execution of Stepan Razin, The, op. 119 319, 320 33–4, 211 Shostakovich’s performances 335–6 Ceremonial March, 3, 261 Factory of the Eccentric Actor (FEKS) 173, 175, Chaplin, Charlie 14, 27, 91, 213, 224 219, 222 Feinberg, Samuil 72 Chekhov, Anton 66, 186, 197 Fall of Berlin, The, op. 82 (film score) 49, 222, 260, Chesnakov, Vladimir 200 267, 269–73, 277, 343 Children’s Notebook, op. 69 76, 330 Fanning, David 54, 314–19 Chopin, Frédéric 72, 99, 100, 309, 344 Fatherland see Native Land Chopin Piano Competition 287, 325 Fauré, Gabriel 117 Chorny, Sasha 245, 360 Fay, Laurel 63, 157, 185, 241, 280 Clark, Katerina 151, 156, 159, ‘Fearless Regiments are on the Move, The’ (‘Song Concertino for Two Pianos, op. 94 342 of a Guard’s Division’) 262 Coulson, Jessie 359 Festive Overture, op. 96 326 Counterplan The, op. 33 (film score) 175, 216, First Echelon, The, op. 99 (film score) 207, 223, 227 223, 227 Five Days, Five Nights, op. 111 (film score) 52, Danuser, Hermann 296 224, 294 Dargomïzhsky, Alexander 85, 192, 245 Five Fragments, op. 42 79 Davidenko, Alexander 167 Five Preludes, op. 2 77–9 Davis, Colin 130 Five Romances on Texts from Krokodil Magazine, ‘Dawn of October’ 263, 278 op. 121 226, 235, 243, 281 Debussy, Claude Five Romances on Texts by Dolmatovsky, Pelléas et Mélisande 350 op. 98 3, 244 Violin Sonata 77 Fleyshman, Veniamin 194, 234 Declared Dead, op. 31 (revue) 3, 160, 161–5, 166, formalism 158, 187, 220 168, 171, 176, 195 Four Monologues on Texts of Pushkin, op. 91 Denisov, Edison 55 246–8, 251 Der arme Columbus see Poor Columbus Four Romances on Texts of Pushkin, op. 46 232–3, Deshevov, Vladimir 157, 179, 184 236–7 Digonskaya, Olga 2, 195, 381 Four Songs on Texts of Dolmatovsky, op. 86 3, Dinamiada see The Golden Age 244, 277 ‘The Directive Bow’ 211 Four Verses of Captain Lebyadkin, op. 146 226, Dmitriyev, Vladimir 163 257–8, 281, 283, 351, 357–9 Dobrovolsky, Iosef 175 Franck, César 345, 348 dodecaphony see twelve-note technique Freud, Sigmund, 354 Dolmatovsky, Yevgeny 176, 222, 243, 262, 268, Friedrichs, Carl 293 280–2 Friends, op. 51 (film score) 218 © 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 Index More information 392 Index From Jewish Folk Poetry, op. 79 69, 131, 231, 234, Hepokoski, James 38, 52 236–43, 267, 343, 363–5 Hindemith, Paul 14, 72, 142, 181, 303, 325 Shostakovich’s performance 332 Honegger, Arthur 182 Funeral March in Memory of the Victims of Hulme, Derek 381 Revolution 73 Human Comedy, The, op. 37 (incidental music) 169–70 Gadfly, The, op. 97 (film score) 223, 226, 269, 275 ‘Hymn to the Bolshevik Party’ 263, 278 Gagarin, Yury 244 ‘Hymn to Moscow’ 277 Gakkel, Leonid 101, 103, 105 ‘Hymn to the SSSR’ 278 Gamblers, The (unfinished opera) 122, 140, 148, Hypothetically Murdered see Declared Dead 180, 191–3 Gauguin, Paul 354 International Bach Competition 343 Gauk, Alexander 203 International Society for Contemporary Music Gedike, Alexander (ISCM) 181, 289 First Symphony 88 Ionin, Georgy 184 Gelber, Noah 212 Iordan, Olga 201 Ginzburg, Grigory 325 Ippolitov-Ivanov, Mikhail 96 Girlfriends, op. 41a (film score) 217–18 ISCM see International Society for Glazunov, Alexander 10, 70, 71, 74, 88, 302 Contemporary Music Symphony no. 6 86 Ivens, Joris 223 Glebov, Igor see Asafyev Ives, Charles 14 Glière, Rheinhold 71 Glikman, Isaak 54, 150, 191, 193, 205, 224, 260, Janáček, Leoš 189 268, 342, 351 Jelagin, Juri Glinka, Mikhail 142 on Hamlet, op. 32 167–8 Glivenko, Tatyana 75 Gogol, Nikolay 27, 140, 153, 166, 184–5, 191, 192, Kabalevsky, Dmitry 297 226, 351 Kamensky, Alexander 96 Gojowy, Detlef 306 Kaplan, Emanuel 201 Golden Age, The, op. 22 (ballet) 164, 168, 195, Karajan, Herbert von 295 200–5, 210, 212 Karmen, Roman 172 Golden Age, The (Polka) 330–1 Katerina Izmaylova (film score) 225 Golden Mountains, op. 30 (film score) 175, 215 Katerina Izmaylova, op. 114 (opera) 148, 191 Goleyzovsky, Kasyan 175, Katyusha Maslova (abandoned opera Golodny, Mikhail 262 project) 196 Gorbenko, Arkady 159 Kay, Norman 315 Gounod, Charles Keaton, Buster 91 Faust 164 Khachaturyan, Aram 118, 262–4, 267, 290 Great Citizen, The, opp. 52 and 55 (film score) Khentova, Sofya 172, 176, 262 196, 218, 227 Khodasevich, Valentina 201, 202 ‘Great Day has Come, The’ (‘Oath to the People’s Khokhlova, Yekaterina 215 Commissar’) 262 Kholopov, Yuriy 109, 313–14 Great Lightning, The (unfinished opera) see The Khovanshchina, op. 106 see Musorgsky Big Lightning Khrennikov, Tikhon 297, 310 Great Patriotic War, The 25, 279 Khrushchev, Nikita 30, 32, 34, 55, 223 Greek Songs 3, 244 King Lear, op. 58a (incidental music) 172–5, Grigorovich, Yury 205, 212 178, 224 Gromadsky, Vitaly 34 King Lear, op. 137 (film score) 63, 173, 226– Grönke, Kadja 232 Kirov, Sergey 218 Gubaidulina, Sofia 55 Kirsanov, Semyon 17 Gypsies, The (abandoned project) 73, 180 Kirshon, Vladimir 171 Klemm, Sebastian 232 Hakobian, Levon 181 Klemperer, Otto 181 Hamlet, op. 32 (incidental music) 160, 161, 164, Kondrashin, Kirill 34, 132, 325 165–9, 224, 269, 275 Konstantinovskaya, Yelena 117, 171–2 Hamlet, op. 116 (film score) 56, 224–5 Körner, Klaus 296 Haydn, Joseph 11, 26 Korshikov, Georgy 205 The Creation 15 Koval, Marian 293 © 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 Index More information 393 Index Kozlovsky, A.
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    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 Magic Flute Programme

    The Magic Flute Programme

    Programme Notes September 4th, Market Place Theatre, Armagh September 6th, Strule Arts Centre, Omagh September 10th & 11th, Lyric Theatre, Belfast September 13th, Millennium Forum, Derry-Londonderry 1 Welcome to this evening’s performance Brendan Collins, Richard Shaffrey, Sinéad of The Magic Flute in association with O’Kelly, Sarah Richmond, Laura Murphy Nevill Holt Opera - our first ever Mozart and Lynsey Curtin - as well as an all-Irish production, and one of the most popular chorus. The showcasing and development operas ever written. of local talent is of paramount importance Open to the world since 1830 to us, and we are enormously grateful for The Magic Flute is the first production of the support of the Arts Council of Northern Austins Department Store, our 2014-15 season to be performed Ireland which allows us to continue this The Diamond, in Northern Ireland. As with previous important work. The well-publicised Derry / Londonderry, seasons we have tried to put together financial pressures on arts organisations in Northern Ireland an interesting mix of operas ranging Northern Ireland show no sign of abating BT48 6HR from the 18th century to the 21st, and however, and the importance of individual combining the very well known with the philanthropic support and corporate Tel: +44 (0)28 7126 1817 less frequently performed. Later this year sponsorship has never been greater. I our co-production (with Opera Theatre would encourage everyone who enjoys www.austinsstore.com Company) of Donizetti’s L’Elisir d’Amore seeing regular opera in Northern Ireland will tour the Republic of Ireland, following staged with flair and using the best local its successful tour of Northern Ireland operatic talent to consider supporting us last year.