By Malcolm Hamrick Brown
"A significant event.... This Casebook is not just approximately Volkov’s Testimony, it's approximately song previous and new within the twentieth century, in regards to the cultural legacy of 1 of that century’s such a lot extravagant social experiments, and what we need to research from them, not just what they should study 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 regarding and Edited by means of Solomon Volkov. considering that its visual appeal, despite the fact that, Testimony has been the focal point of controversy in Shostakovich stories as doubts have been raised relating 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 overview the "case" of Shostakovich. as well as authoritatively reassessing Testimony’s genesis and reception, the authors during this publication handle problems with political impact on musical creativity and the function of the artist inside of a totalitarian society. the world over recognized participants comprise 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 debate indicates for all track historians, performers, and considerate listeners.
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Extra resources for A Shostakovich Casebook
FAY 7,, e recent publication in the West of an apparently "au thorized" memoir by Dmitri Shostakovich1 has created an uproar which extends well beyond the musical community. Rumors about the manu script's existence and its startling revelations were in circulation for at least two years before the book's publication. 5 Since that time Testimony has received a large number of reviews in publications ranging from Time, Saturday Review, and the New Yorker to the [London] Times Literary Supplement, the New York Review ofBooks, and others.
8. Selections 5 and 6 in the present vol ume. 9. Tikhon Khrennikov, "Muzyka prinadlezhit narodu" [Music belongs to the people] , Sovetskaia kul'tura, 2 3 November 1 979, p. 4. I O . Reported by Craig R. Whitney, " Shostakovich Memoir a Shock to Kin," New York Times, 13 November 1 979, p. C7. 1 1 . ct, are Simon Karlinsky, "Our Destinies Are Bad," The Nation, 24 November 1 979, pp. 5 3 3-36; Malcolm Brown, "Letters . . Shostakovich," New York Times. Book Review, 9 D ecember 1 979, p. 3 7; Oleg Pro kofiev, "To the editor .
Xvi). The resultant notes were arranged, by Volkov, into ar bitrary but sustained sections which, presumably, Shostakovich read and signed. Obligingly, Volkov has provided an explanation for almost every possible objection that could be raised. In examining Volkov's evidence, however, there are some indications that his own autobiography may be as misleading as the one he ascribes to Shostakovich. Volkov discusses, at length, the circumstances surround ing his production, in April 1 968, of Skripka Rotshil'da [Rothschild's vi olin] , a one-act opera by Veniamin Fleishman, a favorite student of Shos takovich who was killed during World War II.
A Shostakovich Casebook by Malcolm Hamrick Brown