By Malcolm Hamrick Brown
"A significant event.... This Casebook is not just approximately Volkov’s Testimony, it really is approximately tune outdated and new within the twentieth century, concerning the cultural legacy of 1 of that century’s so much extravagant social experiments, and what we need to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 research 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 concerning and Edited through Solomon Volkov. due to the fact that its visual appeal, even if, Testimony has been the focal point of controversy in Shostakovich stories as doubts have been raised pertaining to its authenticity and the position of its editor, Volkov, in growing the book.
A Shostakovich Casebook offers 25 essays, interviews, newspaper articles, and reviews—many newly to be had because the cave in of the Soviet Union—that assessment the "case" of Shostakovich. as well as authoritatively reassessing Testimony’s genesis and reception, the authors during this ebook tackle problems with political impression on musical creativity and the function of the artist inside a totalitarian society. across the world 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
1 . � .. p He _llO E,. �e;x;ay �. e n . e 1 Tiuto2--:o• .. ;a 6eofl;la. :t Figure 2 . 5 , Page r o6 of the Moscow Typescript top, out of pitch and alignment with the rest of the text on the page. The added text fills in the space normally made by the sinkage noted earlier at the start of each new chapter-the space where the composer always affixed his visa, "Read. D. "22 In the case of chapter 3 , the derivation of the grafted text becomes readily apparent. Above the five lines of text pasted in at the start of the chapter, presumably obscuring Shostakovich's visa, the opening line has been written in by hand, and not the hand of the composer: "I think of Meyerhold too frequently, more frequently than I should.
M. Yarustovsky (Moscow: Sovetskii kompozitor, 1 973), p. 7 28 I Laurel E. Fay original publication, its punctuation and layout identical in every respect to the original; 10 and, d) that this very same passage coincidentally ended up as one of the pages in Testimony which Shostakovich "authenticated" with the inscrip tion "Read. D . " The only page from the original typescript of Testimony to have been published up to now is the opening page of chapter 2, shown in figure 2 . 2 . 1 1 But copies of a complete typescript have been in circulation over the years among some Russians living both within and outside the former Soviet Union, although the book itself has never been published in its original Russian language.
9 Keep in mind these two detailed accounts of how Volkov interviewed Shostakovich and then pieced together the composer's reminiscences to create a coherent text. And keep in mind as well the three propositions Volkov has affirmed for more than twenty years, which were reiterated at the outset of this article. This is the context in which Volkov asks us to accept the following as plausible: a) that he was unfamiliar with the first major Soviet collection of materials about Stravinsky, published in 1 9 7 3 , which led off with Shos takovich's memoir of the Russian master; b) that Shostakovich in this instance managed to convey to Volkov by means of his brief answers no fewer than I 86 words that reproduced his earlier published statement on Stravinsky with perfect word-for-word accuracy; c) that in fleshing out this passage from his own penciled scribbles, Volkov managed by accident to reproduce the opening section of the 26 I Laurel E.