By Sofia Moshevich
Dmitri Shoshtakovich (1906-1975) is famous as one of many maximum composers of the 20th century, but few humans understand that he used to be additionally a great live performance pianist who maintained a busy appearing agenda. In "Dmitri Shostakovich, Pianist", Sofia Moshevich deals the 1st particular exam of Shoshtakovich the pianist in the context of his lifestyles and paintings as a composer. She strains his musical roots, piano reports, repertoire, and live performance occupation via his correspondence with friends and family, and his personal and his contemporaries' memoirs, utilizing fabric by no means earlier than on hand in English. This biographical narrative is interwoven with analyses of Shoshtakovich's piano and chamber works, demonstrating how he interpreted his personal track. For the 1st time, Shoshtakovich's personal recordings are used as basic resources to find what made his taking part in targeted, and to dispel typically held myths approximately his variety of interpretation. His recorded performances are analysed intimately, particularly his tempos, phraseology, dynamics, pedal, and tonal construction. a few unpublished editions of musical texts are incorporated, and examples of his interpretations are supplied and in comparison to numerous variants of his released rankings.
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Extra info for Dmitri Shostakovich, Pianist
Although Alexander Glazunov and Klavdiya Lukashevich (Dmitri’s godmother) had managed to procure some financial aid for the family, the Shostakoviches had still been forced to sell their precious Diderichs grand piano to pay for the trip. The brother and sister also tried to earn money by giving concerts in cities en route to and during their stay in the Crimea. It was in Gaspra that Dmitri met Tatiana Glivenko, a charming sixteenyear-old Muscovite with whom he fell deeply and sincerely in love.
He wrote a number of dances, music for children’s plays, and an opera based on Pushkin’s Gypsies, and he even tried his hand at to write a symphony and a ballet. The Funeral March, composed by the twelve-year-old Dmitri, is a good example of his earliest style. From the opening measures, we observe the powerful influence of both Beethoven and Chopin. 2). 2 Funeral March in Memory of the Victims of the Revolution: bars 1–6. his student’s compositions. A. ”19 Rozanova’s teaching methods and musical background had little in common with those of Glyasser.
He appeared not only in his piano teacher’s studio recitals but also in the concerts at the Stoyunina Gymnasium, where he studied in 1919. 5 Intermezzo (ca 1919–20): bars 1–4. formed in the Stoyunina concert hall, playing music by Beethoven, Grieg, Schumann, and Chopin as well as his own compositions. Irina Kustodiyev, daughter of the prominent Russian artist Boris Kustodiyev, was one of Dmitri’s classmates and also a fan, so she invited the boy to play for her father. Kustodiyev’s paintings, so abundant with the joys of life – particularly his bold portraits of voluptuous Russian beauties – do not offer even the slightest hint of the fact that their creator was a crippled man confined to a wheelchair.