Shostakovich Studies 2

When Shostakovich Studies was published in 1995, archival research in the ex-Soviet Union was only just beginning. Since that time, research carried out in the Archive of D. D. Shostakovich, founded by the composer’s widow Irina Antonovna Shostakovich in 1975, and the Glinka Museum of Musical Culture has significantly raised the level of international Shostakovich studies. At the same time, scholarly understanding of Soviet society and culture has developed significantly since 1991, and this has also led to a more nuanced appreciation of Shostakovich’s public and professional identity. Shostakovich Studies 2 reflects these changes, focusing on documentary research, manuscript sources, film studies and musical analysis informed by literary criticism and performance. Contributions in this volume include chapters on Orango, Shostakovich’s Diary, behind-the-scenes events following Pravda’s criticisms of Shostakovich in 1936 and a new translation of a memoir by the Soviet poet Yevgeniy Dolmatovskiy, as well as analytical studies from a range of perspectives.

Pauline Fairclough is senior lecturer in music at the University of Bristol, and a specialist in Russian and Soviet music. She is co-editor of The Cambridge Companion to Shostakovich and author of A Soviet Credo: Shostakovich’s Fourth Symphony.

Pauline Fairclough

University of Bristol

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Contents

Illustrations

Notes on contributors

Philip Ross Bullock He is the author of The Feminine in the Prose of Andrey Platonov (2005) and Rosa Newmarch and Russian Music in Late Nineteenth- and Early Twentieth-Century England (2009), as well as of articles on various aspects of nineteenth- and twentieth-century Russian music and literature.

Ol’ga Digonskaya Her recent publications include articles on Shostakovich’s manuscripts for his unfinished operas Orango and Narodnaya vol’ya (People’s Will), and The Black Monk.

Ol’ga Dombrovskaya She has published articles on Shostakovich’s collaborations with film producers, and is author/compiler of Dmitriy Shostakovich: Pages from a Life in Photographs (2006).

Pauline Fairclough She is the author of A Soviet Credo: Shostakovich’s Fourth Symphony (2006) and co-editor with David Fanning of the Cambridge Companion to Shostakovich (2008), and has published articles on Shostakovich’s reception in Britain and Soviet musical life in the 1930s.

David Fanning He was editor of Shostakovich Studies (1995) and has published two monographs on Shostakovich’s music: The Breath of the Symphonist (1988) and Shostakovich: String Quartet No. 8 (2004).

Levon Hakobian works at the Moscow Institute of Arts Research and writes on Soviet and Western music. His publications include Music in the Soviet Age (1998), Dmitriy Shostakovich: An Essay in the Phenomenology of His Oeuvre (2004) and A Concise Encyclopedia of Twentieth-Century Music (2010).

Kristian Hibberd has lectured in music analysis, critical musicology and Russian and twentieth-century music at the University of Oxford and Goldsmiths College (University of London). He received a Ph.D. from the University of London in 2005 with a thesis entitled ‘Shostakovich and Bakhtin: A Critical Investigation of the Late Works’.

Patrick McCreless He has published widely on issues of musical analysis and hermeneutics encompassing Schenkerian theory, Elgar and Wagner. He is also the author of major analytical studies of Shostakovich’s chamber music, including ‘Dmitri Shostakovich: The String Quartets’, in Evan Jones (ed.), Intimate Voices: The String Quartet in the Twentieth Century (2009).

Simo Mikkonen He is the author of State Composers and the Red Courtiers: Music, Ideology and Politics in the Soviet 1930s (2009) as well as several articles on Soviet–American cultural relations during the Cold War period.

Joan M. Titus Her research focuses on cultural politics and policy, particularly in Russian music, twentieth-century music, film music and Native American popular music of the Southwest. She is the author of Silents, Sound, and Modernism in Dmitry Shostakovich’s Score to The New Babylon (1928–1929) (forthcoming).

Acknowledgements

This second volume of Shostakovich Studies has benefited enormously from the generous co-operation of Russian colleagues, especially Ol’ga Digonskaya and Ol’ga Dombrovskaya of the Archive of D. D. Shostakovich. I am very grateful to Irina Antonovna Shostakovich for her kind permission to reproduce unpublished manuscript materials in the archival chapters. Alison Ermolova translated Ol’ga Dombrovskaya’s chapter, Amanda Calvert did the initial translation of Ol’ga Digonskaya’s ‘Mitya Shostakovich’s first opus’, and Will Peters very kindly checked my own translation of her first chapter, ‘Interrupted masterpiece’. As ever, I am indebted to Will for his generous help with all matters relating to translation. Ilona Velichko was a staunch ally in helping me with my rudimentary Ukrainian, and she kindly fine-tuned my own translation of Dolmatovskiy’s memoir of Shostakovich. I am, of course, responsible for any errors that remain.

A very special debt of gratitude is owed to Lidia Ader, whose generosity in searching for materials for me when I was unable to travel to Russia meant that I had access to all the sources I needed. It is thanks to her that I came across Dolmatovskiy’s memoir and decided to present it in this volume. I thank the editor of Muzïkal’noye prosveshcheniye, Irina Bel’skaya, for her kind permission to translate and publish this memoir, which first appeared in Russian in 1981. Lyudmila Kovnatskaya and Ol’ga Digonskaya came to my aid in securing this permission, and I am – as ever – deeply grateful to them for their generosity in helping me in countless ways. Gerard McBurney variously suggested and hunted down appropriate names for the characters in Orango and kindly helped me identify the facsimile pages reproduced here.

Helen Poole kindly processed some of the musical examples, which was a great help in the final stages of preparation. My sincere thanks go to Vicki Cooper of Cambridge University Press for supporting this book from the outset, and to her assistant Becky Jones and my copy-editor Karen Anderson Howes for their work in ensuring a smooth passage through the publication process.

All musical examples are reproduced with the permission of Boosey and Hawkes Music Publishers.

Abbreviations

Russian archival abbreviations