By Malcolm Hamrick Brown
"A significant event.... This Casebook is not just approximately Volkov’s Testimony, it's approximately tune outdated and new within the twentieth century, in regards to the cultural legacy of 1 of that century’s so much extravagant social experiments, and what we need to research from them, not just what they should examine from us." —Caryl Emerson, Princeton University
In 1979, the alleged memoirs of mythical composer Dmitry Shostakovich (1906–1975) have been released as Testimony: The Memoirs of Dmitry Shostakovich As on the topic of and Edited by way of Solomon Volkov. due to the fact its visual appeal, in spite of the fact that, Testimony has been the focal point of controversy in Shostakovich experiences as doubts have been raised pertaining to its authenticity and the position of its editor, Volkov, in developing the book.
A Shostakovich Casebook offers 25 essays, interviews, newspaper articles, and reviews—many newly on hand because the cave in of the Soviet Union—that evaluation the "case" of Shostakovich. as well as authoritatively reassessing Testimony’s genesis and reception, the authors during this publication deal with problems with political effect on musical creativity and the function of the artist inside a totalitarian society. the world over identified individuals contain Richard Taruskin, Laurel E. Fay, and Irina Antonovna Shostakovich, the composer’s widow. This quantity combines a balanced reconsideration of the Testimony controversy with an exam of what the talk indicates for all song historians, performers, and considerate listeners.
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Extra resources for A Shostakovich Casebook
Shostakovich might have inscribed the picture in a manner both more personal and more pointed, "A reminder of our conversations," which would have implied much more as a document of authentication. The inscription could, in my view, as well be read as a precise reference to the limited content of their conversations and not a blanket acknowledgment. Inevitably, the methodology of Volkov's Testimony must also be ques tioned. The unsystematic organization of the. book effectively disguises the chronology of the reminiscences and obscures the question-answer context in which the reminiscences were evoked in the first place.
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No, of course I sometimes return to an old work. " After all, nearly thirty years had passed since the days of its composition. I wrote my Seventh Symphony, the "Leningrad," very quickly. I couldn't not write it. War was all around. I had to be together with the people. I wanted to create the image of our country at war, to engrave it in music. From the first days of the war I sat down at the piano and began to work. I worked intensely. I wanted to write a work about our days, about my contemporaries who spared neither strength nor life in the name of victory over the enemy.