Download A Soviet Credo: Shostakovich's Fourth Symphony by Pauline Fairclough PDF

By Pauline Fairclough

Composed in 1935-36 and meant to be his inventive 'credo', Shostakovich's "Fourth Symphony" was once no longer played publicly till 1961. the following, Dr Pauline Fairclough tackles head-on the most major and least understood of Shostakovich's significant works. She argues that the "Fourth Symphony" was once noticeably diversified from its Soviet contemporaries when it comes to its constitution, dramaturgy, tone or even language, and for this reason challenged the norms of Soviet symphonism at a vital level of its improvement. With the backing of trendy musicologists resembling Ivan Sollertinsky, the composer might realistically have anticipated the optimum to have taken position, and should also have meant the symphony to be a version for a brand new type of 'democratic' Soviet symphonism. Fairclough meticulously examines the ranking to notify a dialogue of tonal and thematic techniques, allusion, paraphrase and connection with musical varieties, or intonations. Such research is determined deeply within the context of Soviet musical tradition through the interval 1932-36, concerning Shostakovich's contemporaries Shabalin, Myaskovsky, Kabalevsky and Popov. a brand new approach to research can be complicated right here, the place a number Soviet and Western analytical tools are knowledgeable by means of the theoretical paintings of Shostakovich's contemporaries Viktor Shklovsky, Boris Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, including Theodor Adorno's past due examine of Mahler. during this approach, the ebook will considerably elevate an figuring out of the symphony and its context.

Show description

Read or Download A Soviet Credo: Shostakovich's Fourth Symphony PDF

Best musical genres books

Suor Angelica (Opera Journeys Libretto Series)

A NEWLY TRANSLATED LIBRETTO of Puccini's SUOR ANGELICA, English and Italian side-by-side, with song spotlight Examples.

A Life in Ragtime: A Biography of James Reese Europe

In 1919, the area stood on the threshhold of the Jazz Age. the fellow who had ushered it there, even though, lay murdered--and could quickly plunge from overseas reputation to old obscurity. It was once a destiny few could have estimated for James Reese Europe; he was once then on the top of his profession as a composer, conductor, and organizer within the black group, with the promise of even larger heights to return.

Tom Waits on Tom Waits: Interviews and Encounters

Tom Waits, despite his barnyard growl and concrete hipster yawp, could be what the day-by-day Telegraph calls him: “the maximum entertainer on Planet Earth. ” Over a span of virtually 4 many years, he has reworked his song and personality to not swimsuit the days yet his whims. yet besides Bob Dylan, he stands as one of many final elder statesmen nonetheless in a position to placing out tune that concerns.

How to Hot Rod Your Fender Amp: Modifying your Amplifier for Magical Tone

This guidebook exhibits vendors and dreamers the fundamentals of having the easiest sound attainable out in their Fender amp with basic and complicated adjustments. those contain crucial and primary assistance like deciding on tubes, capacitors, pots, and different digital gear, in addition to biasing and developing your amp.

Additional resources for A Soviet Credo: Shostakovich's Fourth Symphony

Example text

Quoted in Sheila Fitzpatrick, The Cultural Front: Power and Culture in Revolutionary Russia, New York: Cornell University Press , 1 992, 116. 3 See Fitzpatrick, The Cultural Front, Chapter 6 , 'Cultural Revolution a s Class War ' , 1 1 5-48 . 4 As Neil Edmunds points out, the Russian Association of Proletarian Writers (RAPP) did receive considerable official criticism in the years immediately preceding the 1 932 Resolution that ordered the liquidation of all proletarian cultural factions. The fact that RAPM did not probably had more to do with a general perception of music as less important than literature , an attitude which , apart from the attacks on Shostakovich and others in 1936, protected Soviet composers from the worst excesses of the purges of 1 937-39: see Edmunds , The Soviet Proletarian Music Movement, Bern: Peter Lang , 2000 ,.

27 Sollertinsky plainly considered Mahler's symphonies to be ideal models for Soviet composers, but it would have been self-defeating to declare this openly. The idea that European symphonism was in catastrophic and irreversible decline at the turn of the century was treated as a well-established fact in Soviet musicology of the 1930s. How then could Mahler, whose supposed acknowledgement of this fact was a primary component of his own alienated symphonic language, be regarded as a model for composers in the brave new world of socialism?

This balancing-act produces a conceptual vocabulary that, it could be argued, simply cannot function when divorced from the (possibly less appealing) ideological apparatus underpinning it. The potency, for ex ample, of such concepts as Durchbruch, Erfii llung and Suspension [breakthrough, fulfilment and suspension] inight well be reduced when applied to musical language and dramaturgy in a sociologically 'neutral' analysis . This is where another balancing-act must come into play: that between using theory simply as material, divorced from its original ideological context, and using it in a way that imposes ideological meaning upon the music .

Download PDF sample

Rated 4.76 of 5 – based on 47 votes