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Piano Quintet (Shostakovich)

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Piano Quintet
by Dmitri Shostakovich
Shostakovich in 1942
KeyG minor
Opus57
ComposedJuly 13, 1940 (1940-07-13) – September 14, 1940 (1940-09-14): Shalovo or Kellomäki; Leningrad, Russian SFSR
Publisher
Durationc. 29 minutes
Movements5
Premiere
DateNovember 23, 1940 (1940-11-23)
LocationSmall Hall of the Moscow Conservatory
Moscow, Russian SFSR
PerformersDmitri Shostakovich (piano)
Beethoven Quartet

The Piano Quintet in G minor, Op. 57 is a composition by Dmitri Shostakovich for two violins, viola, cello, and piano. He composed it between July 13 and September 14, 1940. Sources conflict on where he began to compose it—the location is variously stated to be Shalovo, Kellomäki, or Moscow—but most agree that it was completed in Leningrad.

Shostakovich made an abortive attempt at a piano quintet in his student years, but it was not until after a suggestion from the Beethoven Quartet in 1938 that he successfully endeavored to complete such a work. Originally, Shostakovich had conceived the work as his second string quartet. However, according to Isaak Glikman, an arts critic and close friend, Shostakovich modified the instrumentation because he hoped that demand for his performances as pianist would result in increased opportunities for personal travel.

The Piano Quintet's official premiere occurred on November 23, 1940, at the Small Hall of the Moscow Conservatory. Immediate reactions from critics and audiences was overwhelmingly positive. There was demand from across the Soviet Union for performances, which often resulted in the need to encore individual movements and, occasionally, the entire work.

Even before its official premiere, the Piano Quintet had been nominated for a Stalin Prize. After three rounds of voting by the prize committee, as well as a last-minute personal appeal to Joseph Stalin from a disgruntled CPSU member who sought to deny the work a prize, its successful bid for Stalin Prize, first class was announced in Pravda on March 16, 1941.

Background[edit]

First attempt at a quintet[edit]

Shostakovich first attempted to compose a piano quintet during his student years. This earlier quintet was conceived in the early 1920s; by April 9, 1923, he completed its first movement and designated the work "op. 7".[1][2] A subsequent movement, subtitled "Fantastic Scherzo", was also planned, but the idea of a piano quintet was soon abandoned. Instead, he developed the "Fantastic Scherzo" into the Scherzo for piano and orchestra, which kept the projected quintet's op. 7 assignation, while the remaining music was repurposed in the Piano Trio No. 1.[1]

He also composed music for piano with string quartet in his score to the 1936 film, Girlfriends.[3][1]

Partnership with the Beethoven Quartet[edit]

One of the most enduring professional and personal relationships Shostakovich had was that between him and the Beethoven Quartet. Of the composer's fifteen string quartets, the Beethoven Quartet premiered all but the first and last. Aside from the Piano Quintet, their members also participated in the premiere of the Piano Trio No. 2. Karina Balasanyan, a Russian musicologist, said that the closeness of their partnership, rare in music history, led the Beethoven Quartet to become "emissaries of [Shostakovich's] will".[4]

On December 26, 1933, during their tenth season in existence, the Beethoven Quartet programmed music by Shostakovich for the first time: a joint performance with the Glière Quartet of the Two Pieces for String Octet.[5] It was not until 1938, however, when they played the Moscow premiere of Shostakovich's String Quartet No. 1 that his music became a permanent part of their repertory.[6]

Origins and composition[edit]

Shostakovich's summer dacha in Kellomäki

During a celebratory dinner in Moscow on November 16, 1938, that followed the local premiere of the String Quartet No. 1, the Beethoven Quartet suggested to Shostakovich the idea of composing a piano quintet.[6] A few months later in 1939, Shostakovich replied in the affirmative to the Beethoven Quartet's first violinist, Dmitri Tsyganov [ru]: "I will certainly write a quintet and I will play it with you".[1] Isaak Glikman, an arts critic and close friend of Shostakovich, related that the Piano Quintet had originally been planned as a string quartet, but that external considerations influenced the composer to alter the instrumentation:[1]

His explanation of the change [in instrumentation] was idiosyncratic, to say the least. According to him, his change of heart had not been dominated by artistic considerations at all, but purely practical concerns. "Do you want to know why I wrote a piano part into the quartet? I did it so that I could play it myself and have a reason to go on tour to different towns and places. So now ... the Beethoven Quartet, who get to go everywhere, will have to take me with them, and I will get my chance to see the world as well!" We both laughed. "You are not serious?", I said. Shostakovich replied: "Absolutely! You are a dyed-in-the-wool stay-at-home, but I am a dyed-in-the-wool wanderer!"[7]

Shostakovich's official biographer, Sofia Khentova, said that Shostakovich was also moved to compose the Piano Quintet out of his desire to enrich the field of chamber music with elements of symphonic music.[8]

Enthusiasm for the Piano Quintet notwithstanding, Shostakovich did not find the time to begin work on it until July 1940. He wrote to Vasily Shirinsky [ru], the Beethoven Quartet's second violinist, that he started work on his new composition on July 13. In a subsequent letter to Shirinsky dated August 6, Shostakovich reiterated that he was looking forward to playing the work with the Beethoven Quartet soon, even though he had never played as part of a quintet before.[9]

Sources agree on the timeframe of the composition, but not location. Gerard McBurney,[3] Laurel Fay,[10] Marina Raku, and Vera Zaitseva state that the Piano Quintet was begun in Shalovo (today part of the town of Luga) and completed in Leningrad.[1] Derek C. Hulme cited Moscow as the location of composition.[11] Khentova said that in July 1940, Shostakovich traveled from Gaspra in Crimea, where he completed his orchestration of Modest Mussorgsky's Boris Godunov, to vacation in the village of Kellomäki (present-day Komarovo). There, he rented a two-story cottage and settled in to work. With few residents and visitors, Shostakovich was able to compose the Piano Quintet in secluded surroundings without disturbances.[12] He completed the score on September 14, 1940, in Leningrad and a copy for performance and publication was immediately prepared.[13]

Shostakovich introduced the Beethoven Quartet to the Piano Quintet on September 17. He invited them, as well as the pianists Lev Oborin and Konstantin Igumnov, to listen to his playthrough of the work on the piano.[14]

Preparations for the Piano Quintet's official premiere began on October 22[14] at a practice room in the Moscow Conservatory. Tsyganov recalled Shostakovich's method of collaborative rehearsal: "First, he played his new piece on the piano from the score; then he distributed the various parts to us, always requesting strongly that we not begin rehearsing without him". Rehearsals typically began late at night, usually around 11:00 p.m., and lasted until the following morning.[15]

Music[edit]

Structure[edit]

The Piano Quintet consists of five movements:[3]

  1. Prelude: Lento (quarter note = 72) — Poco più mosso (dotted quarter note. = 72) — Lento (quarter note = 58) (attacca)
  2. Fugue: Adagio (quarter note = 84)
  3. Scherzo: Allegretto (dotted half note. = 84)
  4. Intermezzo: Lento (quarter note = 72) (attacca)
  5. Finale: Allegretto (half note = 96)

The musicologist Michael Mishra said that the structure of the Piano Quintet, with a pair of connected movements pivoting around a central scherzo, superficially resembled that of Gustav Mahler's Symphony No. 5, although he noted that Shostakovich did not imitate its distribution of weight.[16] Each movement, according to Khentova, develops internal emotions within an overall symphonic structure.[8]

A typical performance of the Piano Quintet lasts approximately 29 minutes.[3]

Description[edit]

Shostakovich's Piano Quintet opens with a "Prelude": a construction in ternary form that fuses neo-Baroque and Romantic elements.[15] The choice of title was not invoked out of convenience, but as a token of the composer's deep engagement with Baroque music. Mishra described the movement as "essentially a prolongation of the G tonic". He also likened the movement's close to a "grand cadential 'spinning out' of the sort frequently found at the end of a Bach prelude".[17]

This is succeeded without pause by the "Fugue", the first of four that Shostakovich composed in the 1940s.[17] Khentova characterized it as "philosophical",[8] while Fay wrote that its "polyphonic mastery [was] worthy of Bach".[10] A rising three-note figure that appeared in the closing measures of the "Prelude" resurges in the second measure of the "Fugue", making both movements an integrated unit that anticipates the 24 Preludes and Fugues. Both movements also forecast inflections that Shostakovich would later use in his Jewish-inspired works, such as the Piano Trio No. 2.[17] As the movement builds to a climax, Shostakovich abandons the fugal form in favor of homophonic textures that make a more immediate emotive impact. Recitatives for piano, then cello follow suit, before the fugue resumes in stretto.[18] Mishra wrote of the "Fugue":[19]

The form of this movement may be somewhat unusual, but it does serve a clear expressive goal—setting the inexorable momentum, texture, and procedures into a larger psychological profile that, with its central climax and gradual withering away, is less typically "fugal" and more akin to a Shostakovich symphonic slow movement (that of the Fifth Symphony, for example).[19]

The "Scherzo", which has been described as a "fast ländler" and whose tempo establishes a loose relation to equivalent movements in the String Quartet No. 1 and Sixth Symphony, is the center of the Piano Quintet. Rhythms associated with Spanish dances, which feature regularly in Shostakovich's music, are incorporated into the trio.[19]

Evocations of Baroque music return in the "Intermezzo", which at first gives the impression of a passacaglia before diverging from the procedures used in that musical form. Nevertheless, the music makes allusions to Henry Purcell, the "Air" from Bach's Orchestral Suite No. 3 in D major, and Edvard Grieg's Holberg Suite; the latter itself an homage to musical forms from the past.[20]

Contrasting sharply with the preceding movements is the lighter tone of the "Finale". Mishra said that although its coda does not strive for the transcendence that typifies the work as a whole, the "Finale" can be heard as the first of a type of ending movement that Shostakovich would explore in his later works, "where predominantly lightweight material becomes sublimated in the coda to achieve an enigmatic, but highly poignant sense of resignation".[21] Ian MacDonald, on the other hand, noted that emotionally and structurally the "Finale" was "as disjunctive as that of the Sixth Symphony".[22]

Later amendments[edit]

Tempo marking in the 1940 autograph score[23] Tempo marking in the 1956 published score[23] Tempo in Shostakovich's 1940 recording[23] Tempo in Shostakovich's 1955 recording[23]
Prelude
quarter note = 58 — (rehearsal number 3) quarter note = 52 quarter note = 72 — (rehearsal number 3) quarter note = 72 quarter note = 53 — (rehearsal number 3) quarter note = 45 quarter note = 72 — (rehearsal number 3) quarter note = 61
Fugue
quarter note = 72 quarter note = 84 quarter note = 58 quarter note = 75
Scherzo
quarter note = 160 dotted half note. = 84 dotted half note. = 74 dotted half note. = 88
Intermezzo
quarter note = 72 quarter note = 72 quarter note = 57 quarter note = 71
Finale
Moderato poco allegretto; half note = 72 Allegretto; half note = 96 half note = 86 half note = 96

A number of small alterations were made to the score of the Piano Quintet in the years immediately following its premiere. Valentin Berlinsky recalled that he and his fellow Borodin Quartet members were admonished by Shostakovich for slowing down through a particular passage in the "Prelude" during a 1947 rehearsal of the Piano Quintet. When they protested that a ritenuto was indicated in that passage, he walked up to them, brandished a pen, and crossed out the marking in each one off their parts.[24]

The Borodin Quartet was also the instigator of a more significant modification, this time in the "Finale". Whether it was the result of an accident or direct suggestion is disputed, but it resulted in a portion of music which originally had the viola and cello playing in unison changed to an imitative dialogue.[24]

Tempi were also modified between the original manuscript and the 1956 published edition, possibly to suit Shostakovich's own pianism,[25] which inclined to very fast tempi, an aspect repeatedly criticized by his chamber music partners.[26] These differences in tempi are documented in both of Shostakovich's commercial recordings of the Piano Quintet. As Tsyganov observed:[25]

Shostakovich was an unsurpassed performer of his own solo and chamber work, playing them, as a composer of genius, in his own unique way—his approach then became the ideal for all performers. It was impossible to differentiate his compositions from his interpretations, as was also the case for those of Medtner, Rachmaninoff, and Prokofiev.[25]

Overall, the 1940 recording is slow, often slower than the metronome markings indicated in the score; the musicologist Sofia Moshevich called it a "raw and still imperfect interpretive sketch". Shostakovich evinced a desire to press the tempo in a number of places, but was held back by the "safe" pace set by the Beethoven Quartet. By contrast, the fleet tempi of the 1955 recording, which Moshevich describes as "polished and refined", were subsequently incorporated into the 1956 published score.[23]

Manuscripts[edit]

A preliminary sketch piano score of the first three movements and fair manuscript of the entire Piano Quintet survive. Sketches for the last two movements, however, are presumed lost. The extant sketches consist of four sheets of slightly yellowed music paper that bear the title "Rough Draft of the Quintet" and notations in purple ink. Tempi and ordinal numberings are only accorded therein to the "Fugue". Dating for the sketches of what would become the "Prelude" suggest that the movement was composed in a single day on July 16, 1940. A fragment for an early version of the "Scherzo" is crossed out in black and red pencil.[27]

The fair copy of the Piano Quintet is notated with black ink on 38 sheets of 14-staff music paper that is slightly yellowed. A few errors are crossed out; there are also further markings in pencil and red and green inks.[28] The score is stored in the archives of the Russian National Museum of Music [ru].[11]

Premieres[edit]

Interior of the Small Hall of the Moscow Conservatory in 2019

On November 23, 1940, the Piano Quintet's official premiere occurred at the Small Hall of the Moscow Conservatory; the performers were the Beethoven Quartet, with Shostakovich at the piano.[29] Their performance was part of a ten-day festival of Soviet music.[30]

Preceding that concert was an informal premiere in Leningrad on October 1 at the at the Leningrad branch of the Union of Soviet Composers. On that occasion, Shostakovich was joined by the Glazunov Quartet,[13][15] the ensemble that had premiered his String Quartet No. 1. Another performance with the Beethoven Quartet and Shostakovich followed on November 12, that time in Moscow for the Stalin Prize committee.[15]

The American premiere of the Piano Quintet, played by the Stuyvesant Quartet with pianist Vivian Rifkin, took place at Carnegie Hall in New York City on April 29, 1941. It was part of an all-Russian program sponsored by the American Russian Institute that also included performances by Vytautas Bacevičius, Andor Földes, Benny Goodman, and Paul Robeson.[31]

First recordings[edit]

On December 10, 1940, between 1:30 a.m. and 7:30 a.m., the Beethoven Quartet and Shostakovich recorded the Piano Quintet at the House of Scientists [ru] in Moscow.[32] Their recording, made on magnetic film, was intended solely for radio broadcast. It was not available commercially until it was issued on CD in 1993 by the Czech label Multisonic.[25]

The first commercial recording of the Piano Quintet was a set of four 78 RPM discs made by the Stuyvesant Quartet and Vivian Rifkin for Columbia Records that was issued in February 1942.[11][33]

Publication[edit]

Muzgiz published the first edition of the score in 1941, a photocopy of which was published by the Am-Rus Music Corporation for sale in North America. Subsequent editions were published by Edition Peters, Hans Sikorski Musikverlage, Muzyka, and DSCH Publishers.[11]

Reception[edit]

Popularity in the Soviet Union[edit]

Sergei Prokofiev (pictured here with his second wife, Mira Mendelson) was ambivalent about the Piano Quintet's worth

Tsyganov later said that the premiere "without exaggeration was a triumph"; the audience demanded encores of the last three movements.[15] David Rabinovich, who wrote a biography on Shostakovich that was approved by the composer, was among the audience at the Piano Quintet's official premiere in 1940:[30]

One cannot forget the atmosphere that reigned in the [Small Hall] of the Moscow Conservatory during the premiere of the Quintet. It came at the end of a concert after three new quartets by three leading Soviet composers had been played. The audience was growing tired. But when the Beethoven Quartet, so well-known to Moscow music-lovers, appeared on the stage with Shostakovich himself, and when the first strains of the Quintet resounded, all workaday, dearly-beloved, and accustomed sensations disappeared without leaving a trace. Obviously something important was happening in the hall, something that was outside the scope of "current" musical events.[30]

After the concert, Shostakovich, who was very "very pale, very excited", visited his friend Marietta Shaginyan. "I have been so shaken by the success of the Quintet that I could not go home immediately after the concert", she recorded him saying in her diary. "Instead, I have been wandering the streets of Moscow—my soul filled with bliss".[15]

Critics and audiences alike received the Piano Quintet enthusiastically; demand for performances from all over the Soviet Union was intense.[34] Tickets for performances sold out before posters advertising the events could be set up. Audiences at the work's early performances often requested individual movements as encores; occasionally, they insisted that the entire work be repeated.[35][13][36] Encores of the "Scherzo" and "Finale" were so commonplace that wags referred to the work as "a piece in five movements of which there are seven".[37] Shostakovich became so busy with performances of his Piano Quintet, that in the period from its premiere until mid-1941 he managed to compose only a single work.[38]

Within the Soviet musical establishment, occasional suspicion and hostility to Shostakovich's Piano Quintet mingled with general approval.[39] One of the composers who publicly stated their ambivalent feelings was Sergei Prokofiev, whose remarks were published in the February 1941 issue of Sovyetskaya Muzyka. He commented favorably on the work's architectural clarity[40] and balancing of instrumental voices.[41] Of all the movements, Prokofiev held the "Fugue" as the "best and most interesting" in the Piano Quintet. "One has to hand it to Shostakovich: in his fugue, as far as the general impression it makes, there is an unusual amount that's new", he said. "I don't even know whether it's a good fugue from the technical standpoint. But musically it's good". Prokofiev interspersed his compliments with objections against the Piano Quintet's length, accusations that Shostakovich trafficked in clichéd mannerisms and sounded geriatric in spite of his youth,[42] and insinuations that the work's rapturous reception with Soviet audiences betrayed their unsophistication.[37] He concluded that the Piano Quintet was "a remarkable composition", but in the same closing sentence added that it "lacked momentum and climaxes".[41]

A contrasting article by the musicologist Daniel Zhitomirsky was published in the same issue of Sovyetskaya Muzyka. Acknowledging that the Piano Quintet "aroused in certain musicians a spirit of opposition toward Shostakovich", he criticized the work's detractors for their simplistic expectations of Soviet music. He also addressed misgivings he heard from some of his colleagues concerning the work's "great and authentic feelings" being filtered "through a prism of thought":[39]

This type of art may of course provide the highest aesthetic enjoyment, but not always with blazing immediacy, nor will it be attainable at all levels of musical discernment. This last [point] is very important. Sometimes we tend to equate the idea of what is democratic (or belonging to the people) in art with what is immediately comprehensible. But from that standpoint many of the greatest achievements of human culture will seem antidemocratic, for far from all of them, even in our country, the most democratic in the world, are truly accessible (in the sense of being capable of complete inner assimilation) by a wide audience. Do we need this intellectual type of art? Of course we do: it is needed and deeply to be valued, as a particular artistic genre, alongside other genres, neither replacing them nor contradicting them.[43]

Maximilian Steinberg, Shostakovich's former composition teacher, noted in his diary that the Piano Quintet was "an outstanding work of the Soviet chamber music literature"[44] which throughout displayed "wonderful mastery".[15]

Stalin Prize[edit]

After the initial performance of the Piano Quintet by the Beethoven Quartet and Shostakovich for the Stalin Prize committee, another performance for members of the Union of Soviet Composers occurred on November 19, 1940.[45] Shostakovich's Piano Quintet was in contention for the prize along with Nikolai Myaskovsky's Symphony No. 21. Alexander Goldenweiser, one of the committee's members, tempered his cautious praise of Shostakovich with criticism of the "Scherzo" and "Finale". He specifically drew attention to "deliberately grotesque passages" in the former that he negatively likened to the composer's earlier work prior to his 1936 censure.[46] Another committee member, the painter Igor Grabar, refuted his colleague's criticisms:[47]

When I was listening to Shostakovich's Quintet, I had the feeling that I was not among contemporary composers, but among the great masters. I was completely shaken—no, I was crushed. I had the feeling that I was back in Mozart's time... This work is stamped with the seal of genius. How could we not give it a prize! At the dawn of my life, I was lucky enough to have known Tchaikovsky ... and at my life's sunset, I live in the time of Shostakovich.[47]

On November 25, two days after the Piano Quintet's official premiere, it was praised as the "best work of 1940" in a brief article by Alexander Shaverdyan [hy] published in Pravda. Because of Shaverdyan's position as editor of Sovyetskoye Iskusstvo, his endorsement was interpreted by readers as representing the official opinion of the Committee on Arts Affairs and its chairman, Mikhail Khrapchenko [ru].[48]

Even so, further developments imperiled Shostakovich's nomination for the prize. The prize committee momentarily considered swapping the Piano Quintet for the Symphony No. 5, but this idea was quickly discarded because the committee believed that the former work better exemplified Shostakovich's musical reformation since 1936.[49] A more serious threat came in the form of a letter dated January 7, 1941, addressed to Joseph Stalin from Moisei Grinberg, a CPSU member born in Rostov-on-Don who at the time worked as a junior editor for Sovyetskaya Muzyka.[50] Grinberg protested to Stalin that "certain unhealthy tendencies" were emerging in Soviet music[51] and attacked the "deeply Western orientation" of Shostakovich's Piano Quintet:[52]

...So much of the Piano Quintet is contrived and there are so many abstract formal quests and so little of genuine beauty and strength ... [It] may stand out for its formal perfection, but this form is nourished by rationalism and the air of the hothouse, rather than by any living human energy. This is music that lacks any connection with the life of the People.[52]

Grinberg closed his letter pleading for Stalin's personal supervision of Soviet music.[53]

In spite of these uncertainties, Shostakovich's Piano Quintet persistently was voted among the finalists in the first two rounds of voting. A third and final round of voting awarded it a Stalin Prize, first class; the results were publicly announced in Pravda on March 16, 1941.[54]

References[edit]

Citations[edit]

  1. ^ a b c d e f Shostakovich 2016, p. 173.
  2. ^ Digonskaya, Olga (2013). "Опусники" [Opus Numbering]. Шостакович в Ленинградской консерватории: 1919–1930 [Shostakovich at the Leningrad Conservatory: 1919–1930] (in Russian). Vol. 2. Saint Petersburg: Композитор [Composer]. p. 274. ISBN 978-5-7379-0726-6.
  3. ^ a b c d McBurney 2023, p. 122.
  4. ^ Balasanyan 2005, p. 45.
  5. ^ Balasanyan 2005, p. 48.
  6. ^ a b Balasanyan 2005, p. 49.
  7. ^ Glikman, Isaak (2001). Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman, 1941–1975. Ithaca, New York: Cornell University Press. p. xxxiii. ISBN 0-8014-3979-5.
  8. ^ a b c Khentova 1985, p. 499.
  9. ^ Moshevich 2004, p. 94.
  10. ^ a b Fay 2000, p. 116.
  11. ^ a b c d Hulme 2010, p. 215.
  12. ^ Khentova 1985, p. 498.
  13. ^ a b c Khentova 1985, p. 500.
  14. ^ a b Balasanyan 2005, p. 50.
  15. ^ a b c d e f g Moshevich 2004, p. 95.
  16. ^ Mishra 2008, pp. 128–129.
  17. ^ a b c Mishra 2008, p. 129.
  18. ^ Mishra 2008, pp. 129–130.
  19. ^ a b c Mishra 2008, p. 130.
  20. ^ Mishra 2008, pp. 130–131.
  21. ^ Mishra 2008, p. 131.
  22. ^ MacDonald, Ian (1990). The New Shostakovich (1st ed.). Boston, Massachusetts: Northeastern University Press. pp. 148–149. ISBN 1-55553-089-3.
  23. ^ a b c d e Moshevich 2004, p. 97.
  24. ^ a b Shostakovich 2016, p. 174.
  25. ^ a b c d Moshevich 2004, p. 96.
  26. ^ Moshevich 2004, p. 98.
  27. ^ Shostakovich 2016, p. 200.
  28. ^ Shostakovich 2016, p. 201.
  29. ^ McBurney 2023, p. 149.
  30. ^ a b c Taruskin 2019, p. 30.
  31. ^ "Programs of the Week: New Series at the Museum of Modern Art". New York Times. April 27, 1941. pp. X8. Retrieved July 2, 2024 – via ProQuest.{{cite news}}: CS1 maint: url-status (link)
  32. ^ Balasanyan 2005, p. 51.
  33. ^ Kastendieck, Miles (February 22, 2024). "Overtones: Columbia Releases Shostakovich Quintet and Some Old Favorites". Brooklyn Daily Eagle. p. 33. Archived from the original on July 3, 2024. Retrieved July 3, 2024 – via Newspapers.com.
  34. ^ Fay 2000, pp. 116–117.
  35. ^ Moshevich 2004, pp. 95–96.
  36. ^ Balasanyan 2005, pp. 52–53.
  37. ^ a b Taruskin 2019, p. 43.
  38. ^ Mishra 2008, p. 132.
  39. ^ a b Taruskin 2019, p. 37.
  40. ^ Taruskin 2019, p. 40.
  41. ^ a b Taruskin 2019, p. 41.
  42. ^ Taruskin 2019, p. 42.
  43. ^ Taruskin 2019, p. 38.
  44. ^ Khentova 1985, p. 502.
  45. ^ Frolova-Walker 2016, pp. 40–41.
  46. ^ Frolova-Walker 2016, p. 41.
  47. ^ a b Frolova-Walker 2016, p. 42.
  48. ^ Frolova-Walker 2016, p. 43.
  49. ^ Frolova-Walker 2016, p. 48.
  50. ^ Frolova-Walker 2016, pp. 52–53.
  51. ^ Frolova-Walker 2016, p. 53.
  52. ^ a b Frolova-Walker 2016, p. 54.
  53. ^ Frolova-Walker 2016, p. 56.
  54. ^ Frolova-Walker 2016, pp. 56–57.

Sources[edit]

  • Balasanyan, Karina (2005). "К истории исполнения камерной музыки Д. Д. Шостаковича" [On the Performance History of D. D. Shostakovich's Chamber Music]. In Yakubov, Manashir; Kovnatskaya, Lyudmila (eds.). Дмитрий Шостакович: Исследования и материалы [Dmitri Shostakovich: Research and Materials] (in Russian). Vol. 2. Moscow: DSCH Publishers. ISBN 5-900539-01-6.
  • Fay, Laurel (2000). Shostakovich: A Life. Oxford: Oxford University Press. ISBN 0-19-513438-9.
  • Frolova-Walker, Marina (2016). Stalin's Music Prize: Soviet Culture and Politics. Yale University Press. ISBN 9780300208849.
  • Hulme, Derek C. (2010). Dmitri Shostakovich: The First Hundred Years and Beyond. Scarecrow Press. ISBN 9780810872646.
  • Khentova, Sofia (1985). Шостакович. Жизнь и творчество [Shostakovich: Life and Works] (in Russian). Vol. 1. Moscow: Советский композитор [Soviet Composer].
  • McBurney, Gerard (March 2023). "Shostakovich: Work List" (PDF). Boosey & Hawkes. Archived (PDF) from the original on April 28, 2023. Retrieved July 2, 2024.
  • Mishra, Michael (2008). Mishra, Michael (ed.). A Shostakovich Companion. Westport, Connecticut: Praeger Publishers. ISBN 978-0-313-30503-0.
  • Moshevich, Sofia (2004). Dmitri Shostakovich, Pianist. Montreal/Kingston: McGill-Queen's University Press. ISBN 0-7735-2581-5.
  • Shostakovich, Dmitri (2016). Ekimovsky, Viktor (ed.). Dmitri Shostakovich: New Collected Works. Xth Series: Chamber Instrumental Ensembles. 99th Volume: Two Pieces for String Octet, Op. 11; Quintet for Two Violins, Viola, Cello, and Piano, Op. 57; Two Pieces for String Quartet, sans op.; Mili Balakirev: Polka (arranged for two harps by Dmitri Shostakovich), sans op. Explanatory article by Vera Zaitseva and Marina Raku. Moscow: DSCH Publishers. ISMN 979-0-706364-22-3.
  • Taruskin, Richard (June–December 2019). "How to Win a Stalin Prize: Shostakovich and His Piano Quintet in G-minor (1940)". International Review of the Aesthetics and Sociology of Music. 50 (1/2). Croatian Musicological Society: 19–46 – via JSTOR.

External links[edit]

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