The Cambridge Companion to Shostakovich

doi:10.1017/CCOL9780521842204

As the Soviet Union's foremost composer, Shostakovich's status in the West has always been problematic. Regarded by some as a collaborator, and by others as a symbol of moral resistance, both he and his music met with approval and condemnation in equal measure. The demise of the Communist state has, if anything, been accompanied by a bolstering of his reputation, but critical engagement with his multi-faceted achievements has been patchy. This Companion offers a starting point and a guide for readers who seek a fuller understanding of Shostakovich's place in the history of music. Bringing together an international team of scholars, the book brings research to bear on the full range of Shostakovich's musical output, addressing scholars, students and all those interested in this complex, iconic figure.

'… the Companion is unique, challenging and highly informative - a valuable addition to the Shostakovich-focused bookshelves and an entertaining read …'

Source: DSCH Journal

'This is unequivocally Shostakovich for the scholar and scholarly reader.'

Source: Reference Reviews

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Contents

Frontmatter
pp i-xvi
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Introduction
pp 1-6
- By Pauline Fairclough, David Fanning
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PART I - Instrumental works
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1 - Personal integrity and public service: the voice of the symphonist
pp 7-37
- By Eric Roseberry
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2 - The string quartets: in dialogue with form and tradition
pp 38-69
- By Judith Kuhn
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3 - Paths to the First Symphony
pp 70-94
- By David Fanning
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4 - Shostakovich's Second Piano Sonata: a composition recital in three styles
pp 95-114
- By David Haas
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5 - ‘I took a simple little theme and developed it’: Shostakovich's string concertos and sonatas
pp 115-144
- By Malcolm MacDonald
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PART II - Music for stage and screen
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6 - Shostakovich and the theatre
pp 145-178
- By Gerard McBurney
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7 - Shostakovich as opera composer
pp 179-197
- By Rosamund Bartlett
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8 - Shostakovich's ballets
pp 198-212
- By Marina Ilichova
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9 - Screen dramas: Shostakovich's cinema career
pp 213-228
- By John Riley
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PART III - Vocal and choral works
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10 - Between reality and transcendence: Shostakovich's songs
pp 229-258
- By Francis Maes
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11 - Slava! The ‘official compositions’
pp 259-284
- By Pauline Fairclough
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PART IV - Performance, theory, reception
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12 - A political football: Shostakovich reception in Germany
pp 285-297
- By Erik Levi
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13 - The rough guide to Shostakovich's harmonic language
pp 298-324
- By David Haas
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14 - Shostakovich on record
pp 325-349
- By David Fanning
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15 - Jewish existential irony as musical ethos in the music of Shostakovich
pp 350-367
- By Esti Sheinberg
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Notes
pp 368-386
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Select bibliography
pp 387-389
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Index
pp 390-397
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The Cambridge Companion to Shostakovich

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Contents

Frontmatter
pp i-xvi

Introduction
pp 1-6

PART I - Instrumental works

1 - Personal integrity and public service: the voice of the symphonist
pp 7-37

2 - The string quartets: in dialogue with form and tradition
pp 38-69

3 - Paths to the First Symphony
pp 70-94

4 - Shostakovich's Second Piano Sonata: a composition recital in three styles
pp 95-114

5 - ‘I took a simple little theme and developed it’: Shostakovich's string concertos and sonatas
pp 115-144

PART II - Music for stage and screen

6 - Shostakovich and the theatre
pp 145-178

7 - Shostakovich as opera composer
pp 179-197

8 - Shostakovich's ballets
pp 198-212

9 - Screen dramas: Shostakovich's cinema career
pp 213-228

PART III - Vocal and choral works

10 - Between reality and transcendence: Shostakovich's songs
pp 229-258

11 - Slava! The ‘official compositions’
pp 259-284

PART IV - Performance, theory, reception

12 - A political football: Shostakovich reception in Germany
pp 285-297

13 - The rough guide to Shostakovich's harmonic language
pp 298-324

14 - Shostakovich on record
pp 325-349

15 - Jewish existential irony as musical ethos in the music of Shostakovich
pp 350-367

Notes
pp 368-386

Select bibliography
pp 387-389

Index
pp 390-397

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The Cambridge Companion to Shostakovich

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