6.5 X 11 Double Line.P65

Total Page:16

File Type:pdf, Size:1020Kb

6.5 X 11 Double Line.P65 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.
Recommended publications
  • Shostakovich (1906-1975)
    RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No.
    [Show full text]
  • 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.
    [Show full text]
  • The Musical Partnership of Sergei Prokofiev And
    THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St.
    [Show full text]
  • There's Even More to Explore!
    Background artwork: SPECIAL COLLECTIONS UCHICAGO LIBRARY Kaplan and Fridkin, Agit No. 2 MUSIC THEATER ART MUSIC THEATER LECTURE / CLASS MUSIC MUSIC MUSIC / FILM LECTURE / CLASS MUSIC University of Chicago Presents University Theater/Theater and Performance Studies The University of Chicago Library Symphony Center Presents Goodman Theatre University of Chicago Presents Roosevelt University Rockefeller Chapel University of Chicago Presents TOKYO STRING QUARTET THEATER 24 PLAY SERIES: GULAG ART Orchestra Series CHEKHOv’S THE SEAGULL LECTURE / DEmoNSTRATioN PAciFicA QUARTET: 19TH ANNUAL SILENT FiLM LECTURE / DEmoNSTRATioN BY MARiiNskY ORCHESTRA FRIDAY, OCTOBER 1, 2010 A CLOUD WITH TROUSERS THROUGH DECEMBER 2010 OCTOber 16 – NOVEMBER 14, 2010 BY PACIFICA QUARTET SHOSTAKOVICH CYCLE WITH ORGAN AccomPANimENT: MAsumi RosTAD, VioLA, AND (FORMERLY KIROV ORCHESTRA) Mandel Hall, 1131 East 57th Street SATURDAY, OCTOBER 2, 2010, 8 PM The Joseph Regenstein Library, 170 North Dearborn Street SATURDAY, OCTOBER 16, 2 PM SUNDAY OCTOBER 17, 2010, 2 AND 7 PM AELITA: QUEEN OF MARS AMY BRIGGS, PIANO th nd chicagopresents.uchicago.edu, 773.702.8068 First Floor Theater, Reynolds Club, 1100 East 57 Street, 2 Floor Reading Room Valery Gergiev, conductor Goodmantheatre.org, 312.443.3800 Fulton Recital Hall, 1010 East 59th Street SUNDAY OCTOBER 31, 2010, 2 AND 7 PM Jay Warren, organ SATURDAY, OCTOBER 30, 2 PM 5706 South University Avenue Lib.uchicago.edu Denis Matsuev, piano Chicagopresents.uchicago.edu, 773.702.8068 FRIDAY, OCTOBER 29, 2010, 8 PM Fulton Recital Hall, 1010 East 59th Street Mozart: Quartet in C Major, K. 575 As imperialist Russia was falling apart, playwright Anton SUNDAY JANUARY 30, 2011, 2 AND 7 PM ut.uchicago.edu TUESDAY, OCTOBER 12, 2010, 8 PM Rockefeller Chapel, 5850 South Woodlawn Avenue Chicagopresents.uchicago.edu, 773.702.8068 Lera Auerbach: Quartet No.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • Edinburgh International Festival 1962
    WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry.
    [Show full text]
  • Cultural Heritage, Cinema, and Identity by Kiun H
    Title Page Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity by Kiun Hwang Undergraduate degree, Yonsei University, 2005 Master degree, Yonsei University, 2008 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kiun Hwang It was defended on November 8, 2019 and approved by David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Mrinalini Rajagopalan, Associate Professor, University of Pittsburgh, Department of History of Art & Architecture Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Dissertation Advisor: Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Kiun Hwang 2019 Abstract iii Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity Kiun Hwang, PhD University of Pittsburgh, 2019 St. Petersburg’s image and identity have long been determined by its geographical location and socio-cultural foreignness. But St. Petersburg’s three centuries have matured its material authenticity, recognizable tableaux and unique urban narratives, chiefly the Petersburg Text. The three of these, intertwined in their formation and development, created a distinctive place-identity. The aura arising from this distinctiveness functioned as a marketable code not only for St. Petersburg’s heritage industry, but also for a future-oriented engagement with post-Soviet hypercapitalism. Reflecting on both up-to-date scholarship and the actual cityscapes themselves, my dissertation will focus on the imaginative landscapes in the historic center of St.
    [Show full text]
  • Innovators: Filmmakers
    NBER WORKING PAPER SERIES INNOVATORS: FILMMAKERS David W. Galenson Working Paper 15930 http://www.nber.org/papers/w15930 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 April 2010 The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2010 by David W. Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Filmmakers David W. Galenson NBER Working Paper No. 15930 April 2010 JEL No. Z11 ABSTRACT John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity.
    [Show full text]
  • Folklore and the Construction of National Identity in Nineteenth Century Russian Literature
    Folklore and the Construction of National Identity in Nineteenth Century Russian Literature Jessika Aguilar Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy In the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Jessika Aguilar All rights reserved Table of Contents 1. Introduction……………………………………………………………………………..…..1 2. Alexander Pushkin: Folklore without the Folk……………………………….20 3. Nikolai Gogol: Folklore and the Fragmentation of Authorship……….54 4. Vladimir Dahl: The Folk Speak………………………………………………..........84 5. Conclusion……………………………………………………………………………........116 6. Bibliography………………………………………………………………………………122 i Introduction In his “Literary Reveries” of 1834 Vissarion Belinsky proclaimed, “we have no literature” (Belinskii PSS I:22). Belinsky was in good company with his assessment. Such sentiments are rife in the critical essays and articles of the first third of the nineteenth century. A decade earlier, Aleksandr Bestuzhev had declared that, “we have a criticism but no literature” (Leighton, Romantic Criticism 67). Several years before that, Pyotr Vyazemsky voiced a similar opinion in his article on Pushkin’s Captive of the Caucasus : “A Russian language exists, but a literature, the worthy expression of a mighty and virile people, does not yet exist!” (Leighton, Romantic Criticism 48). These histrionic claims are evidence of Russian intellectuals’ growing apprehension that there was nothing Russian about the literature produced in Russia. There was a prevailing belief that
    [Show full text]
  • 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]
  • 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.
    [Show full text]