dmitri shostakovich: surviving fear and turmoil of...

DMITRI SHOSTAKOVICH: surviving fear and turmoil of the times through his inner world of music -

a world of unlimited fantasy and imagination

Debra G. Andreacchio, Anna Essipoff Piano School

The Russian Revolution precipitated one of the most significant political changes in human history. Yet how did individuals, particularly artists, survive in a time when one million of the Intelligentsia disappeared in less than three years? Shostakovich’s music has been described as ‘a secret history of Russia’1. With a great love of his country and people above politics, Shostakovich captured insights into a period that was full of turmoil and incredible extremes. His music was his refuge. His fantasy was his salvation. Connected to Bach, Mozart and Chopin, Shostakovich left behind a musical legacy that bursts with imagination and profound depth. This paper looks specifically at the pianistic and compositional elements of eight of the Preludes Op.34 (Nos. 1, 2, 10, 15, 16, 17, 19 and 24) and their connection to musical and non-musical influences, including historical events.

Historical Context

Dmitri Dmitriyevich Shostakovich was born in St Petersburg in 1906 into a family of the Intelligentsia, the educated class of artists, doctors, lawyers, engineers and teachers. This class of society was persecuted to a greater or lesser extent from the time of the Bloody Sunday massacre outside the Winter Palace in St Petersburg in 1905, onwards.

In 1918, Shostakovich began his Conservatorium studies in two Diplomas, both Piano and Composition. This followed the pivotal year of the Russian Revolution. World War I was at its close and the Russian Civil War beginning. Shostakovich was 12 years old. He was considered to be a prodigy with talent equivalent to that of Mozart.2

Shostakovich completed his Conservatorium Piano studies in 1923, aged 17 and Composition studies in 1925, aged 19. He was also a laureate of the first Chopin Competition in Warsaw in 1927, reflecting his pianistic capacity and understanding, especially of the repertoire of Chopin.

By 1928, Stalin was supreme leader of the Soviet Union. In 1929 he instigated the Cultural Revolution, during which time a huge number of the most educated and talented members of society suffered persecution and insecurity. Millions of people were expropriated and political prisoners taken to labour camps (gulags).

By 1932-33 when the Preludes Op 34 were composed, Russian society had already experienced great turmoil. There had been a World War (1914 to 1918) and Civil War (1918 to 1922), the Revolution of 1917 and the Cultural Revolution (1929 to 1933). The capital of Russia had moved from St Petersburg to Moscow in 1918. St Petersburg had been renamed Petrograd in 1914 and then Leningrad in 1924 and the system of government had changed from Monarchy to Communism.

1 Ian MacDonald, The New Shostakovich London: Pimlico, Random House, 2006, p72 Volkov, Solomon. SHOSTAKOVICH and STALIN, Translated from the Russian by Antonina

Bouis, New York, USA: Alfred A Knoff, 2004, pp 97 & 170

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Shostakovich was 26 years old when he composed the Preludes Op 34. He composed one Prelude nearly every day between December 30th, 1932 and March 2nd, 1933. He commenced them just a couple of weeks after completing his opera, Lady Macbeth of Mtsensk District, only weeks after the suicide of Stalin’s wife. Shostakovich described it as a satiric, tragic opera. It exhibits signs that he was at odds with Communism in his mind as well as his heart.3 In 1936, Shostakovich was reprimanded after Stalin saw this opera. Consideration of these political and social upheavals are paramount in understanding the underlying meaning of Shostakovich's musical texts.

Musical and Theatrical Influences

Bach and Chopin are the major musical influences referred to in this paper. Bach was influential philosophically and definitely polyphonically. Bach's polyphony inspired Shostakovich to create his own unique style of polyphony. It is reflected not only in the 24 Preludes Op.34, but also in his later set of 24 Preludes and Fugues Op.87. Preludes 1, 18 and 19 particularly, have extensive use of Shostakovich’s own style of polyphony. Prelude No 4 is completely Fugal. Chopin’s influence is openly apparent in the key structure of the 24 Preludes, Shostakovich using the same pattern of keys as Chopin’s Preludes, Op 28. The basis is the ascending circle of 5ths of the major keys with the associated relative minor: i.e., C Major, A Minor, G Major, E Minor etc. Therefore there is a Prelude in each major and minor key. Chopin’s influence is seen in many pianistic elements – the lyrical melodies, the improvisational fluency and his honest, personal involvement in the music.

The major theatrical influences on Shostakovich were ballet, the theatre, the circus and film.

Many of the Preludes have features of specific dances - the Waltz, in Nos 2, 15 and 17, the Tarantella in No 9 and the Gavotte in No 24 being easily identifiable.

Meyerhold, the renowned theatre director, was influential in supporting Shostakovich's theories of human conditioning, evident and explained further in Prelude 15.

The medium of film was a more general influence. Shostakovich scored many Russian films. Music from his symphonies eventually became the standard score for Sergei Eisenstein’s landmark film of the Revolution, Battleship Potemkin. In the 1920’s, Russian filmmakers developed revolutionary editing techniques, particularly the intercutting of parallel contrasting sequences. The process of intercutting sequences in film has the effect of visual polyphony - virtually layering story-lines one on top of another. This technique, fundamental to film language today was initiated in Russia in this period. Given that Shostakovich accompanied silent movies in the mid-1920’s, it is not surprising that his music is very dramatic. It is widely believed that as a celebrated composer for many popular and significant Communist films, Shostakovich may have been protected against being sent to a labour camp, even though he had been reprimanded by the Soviet regime.3 MacDonald, The New Shostakovich, p 111

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One frequent technique Shostakovich used when improvising and composing, was to include sudden interruptions, reflecting the unpredictability of life under the Communist regime. As seen below in Fig.1, towards the end of Prelude No.10, at bar 49, the melody is suddenly interrupted with a fermata, rest and then a somewhat alarming contrasting passage.

The third theatrical influence is that of the Circus. Traditionally this was a very important category of entertainment in Russia. Leningrad had its own, permanent circus building and Moscow’s Circus was also renowned. Shostakovich indicated his fondness for the circus in a letter to his mother 1925.4 He also said, "I love the circus very much and often attend (the gymnastic performances especially attract me, and the jugglers...)"5 Preludes 2, 6, 8 and 24 all refer to the circus and clowns.

Shostakovich was referred to as a yurodivy6 - the Russian equivalent to the English court jester. The yurodivy had the gift to see, hear and reflect many things that some others may know but because of political fear, were unable to say. This was significant in the era of the Tzars, then inherited by Shostakovich and reflected in his own visions of reality. The yurodivy told the world about his insights in a paradoxical way - in code and often using Aesopian language.

Fantasy

Fantasy is very significant in Shostakovich’s music, indicated by his references to Fantasy in the titles of several early works. In 1920, at the age of 14, he composed Three Fantastic Dances, Op.5. Next was a Suite for Two Pianos Op.6, in which the 2nd movement was a Dance Fantastique. In 1924, being open to contemporary culture, Shostakovich collaborated with Maria Ponna, a follower of Isadora Duncan, the famous founder of modern Dance. In several performances, Shostakovich accompanied Ponna with the music of Mozart, Rachmaninoff and his own Three Fantastic Dances.7 Fantasy is manifest in Shostakovich’s whimsical style. He used it like a shield to survive and to escape reality.4 Fay,Laurel E. SHOSTAKOVICH and his World, Princeton, New Jersey, USA Princeton

University Press, p.115 ibid, p326 Volkov, Solomon. Testimony, the Memoirs of Dmitri Shostakovich, Translated from the

Russian by Antonina Bouis, New York, USA: Limelight, 2004, p.xxv7 Moshevich, Sofia. Dmitri Shostakovich PIANIST. Montreal, Canada: McGill-Queens

University Press, 2004, p. 33

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Figure 1: Bars 42 to 53 of Prelude #10

24 Preludes, Op 34 (1932-33)

Shostakovich reportedly called these Preludes a "series of psychological sketches"8. Therefore, when studying the Preludes, a performer is obliged to understand the the psychology of his musical texts. The Preludes are miniatures - one to three pages in length. They are intimate and personal. They combine satire and tragedy and reflect Shostakovich’s musical fantasy - his inner freedom to express his response to his repressive surroundings.

Many Preludes are underpinned by a particular musical genre or character such as a dance, a march or a song. Although not titled as such in the score, the musical language has clear indicators. For example, Prelude No.16, with its 2/4 time signature and strong dotted rhythmic patterns, conveys a March. Prelude No.19, in 6/8 time, with song-like melody and style of accompaniment, implies a Barcarolle.

The Preludes are often in Binary Form. The First Section is usually clear, containing quite traditional and consonant harmonies. The sectional ending may have an irregular chord progression, but still has the sound of a logical cadence. A Developmental Section follows, with more unusual and dissonant harmonies, consistent with expressing fantasy.

There is usually a Coda and an Epilogue. A Coda is the traditional ending in a musical score. An Epilogue is "a short addition or concluding section at the end of a literary work, often dealing with the future of its characters or where the author makes some comment".9 Shostakovich takes this literary concept and applies it to many of the Preludes. This practice could be said to reflect the role of the yurodivy, who was accepted in society to comment on the political and social environment. The Epilogue concept is also reminiscent of the endings in many of Chopin’s compositions.

This paper has musical examples from eight Preludes, selected as representative of the set of twenty four. The first and last were chosen as they provide context to the preludes between. Shostakovich's concept of the beginning (No.1 being calm and peaceful), proceeds to the end (No.24 being whimsical and clown-like and incorporating an extended Coda). The remaining six Preludes reflect a spectrum of the musical genre presented in the set of Preludes - Dances, Marches and Songs.

Prelude No 1

Prelude No.1 demonstrates Shostakovich’s polyphonic style where several melodic layers begin and end asynchronously. In Bach’s polyphonic style there were many voices working together in a spirit of community and harmony, whereas Shostakovich’s polyphony reflects isolation within society, with outward agreement but inner discontent. The frequency of the asynchronous phrases is a reflection of this atmosphere.

8 MacDonald, The New Shostakovich, p1019 http:/www.answers.com

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Fig.2 below, illustrates Shostakovich's polyphonic style of phrases in the voices continually overlapping. This asynchronized use of melodic voices is a hallmark of Shostakovich’s polyphonic style.

One musical manifestation of this concept is that there is the effect of consonance, but inside harmonies and sustained pedal markings, there are dissonant notes. The consonant effect is achieved through listening to the underlying harmony while tailoring the touch to accommodate the resonance of an extended pedal. The music needs a unique pianistic approach. Unlike Bach, the voices are not equal and require variety of timbre, colour and volume of sound production to create a larger perspective. This is reflective of Shostakovich's highly intellectual approach.

Often Shostakovich marks clear harmonic pedal, as is seen in Paderewski and Urtext Editions of Chopin. However, to communicate the concept of dissonance inside consonance, he indicates that the pedal should be held over many dissonant notes. In Fig.2 bars 12-13, a pedal is held over a D flat major chord and then E flat major - two major chords a tone apart. Theoretically these two chords are dissonant but in performance should sound completely acceptable.

The marking espressivo, as seen above in Fig.2 bar 8, occurs frequently throughout the Preludes, first appearing in this Prelude and applied to the beginnings of many of the melodic phrases. The first few notes are expressive and melodic, at times transforming into a broken chord as another melody emerges in a different voice. The marking espressivo indicates that these few notes should be intensified.

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Prelude No 2

This Prelude is full of the freedom of musical fantasy. The character is a combination of whimsical, clown-like motives and a Dance. It is also reminiscent of the emotional escape in his Three Fantastic Dances Op.5.

Prelude No.2 is built up on repetitions of a two bar motive, seen below in Fig. 3. Harmonically, a conventional A minor chord is followed by a chord which combines D natural with D sharp. This is traditionally regarded as highly dissonant. In this motive, the order of consonance followed by dissonance results in lack of resolution. It has an effect of questioning, and together with the dynamic marking of 'p', evokes the atmosphere of 'uncertain possibilities'. As such, this could be described as a 'fantasy chord'. Shostakovich used the word 'fantasy' in the title of two of his compositions from this early period, indicating that this concept of 'unrestrained imagination' was prevalent in his creative thinking. Fantasy has been described as 'an imagined or conjured up sequence filling a psychological need'.10 This has resonance with the view that Shostakovich used his compositions as a means of escape and survival.

In the developmental section, this harmonic motive becomes even less certain by substituting ‘f’ at the end of the A minor chord, seen in Fig.4 bars 32-33.

This motive underpins very fluid melodic phrases, often using a flashing legato technique (see Fig.3 bar RH), and improvisational fluency reminiscent of Chopin. Tonal resolution arrives in the final two bars where the order of consonance and dissonance is reversed. Here the penultimate bar is highly flattened to form an irregular cadence with a final chord of A Minor.10 http://dictionary.reference.com/browse/fantasy

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Rhythmically, the Fig.3 motive has the effect of being habitual and becomes the rhythmic life of the score. The metronome marking shows one beat per bar. With the first beat of each bar being staccato, and pedalled, the effect is quite percussive. It is used many times over with harmonic variations. However, in the Epilogue, seen in Fig.4 bars 37-38, the staccato bass notes are replaced by long sounds. In bar 37, a quaver rest interrupts what has been a very stable rhythm. It suggests a rhythmic reflection of the possibility of serious interruption in daily life. This motive is an example of Shostakovich's effective and economical use of musical material.

Prelude No 15

Shostakovich was highly aware of dramatic timing and the emotional effects of rhythm. He was experienced as an accompanist for silent movies and also in composing for theatre, ballet and opera. The renowned theatre director, Meyerhold invited Shostakovich to Moscow to collaborate with him. Shostakovich lived with Meyerhold’s family for several months. He was exposed to Meyerhold’s theories of biomechanics.

Shostakovich also had his own theories of human conditioning, pouring 'particular scorn on the Soviet policy towards the arts,..."a man has no significance in a totalitarian state. The only thing that matters is the inexorable movement of the state mechanism. A mechanism needs only cogs. Stalin used to call all of us cogs. One cog does not differ from another, and cogs can easily replace one another. You can pick one out and say, ‘From this day you will be a genius cog’, and everyone else will consider it a genius. It doesn’t matter at all whether it is or not. Anyone can become a genius on the order of the leader".'11

The character of Prelude No.15 is established by the opening two bar motive as seen below in Fig.5. It is reminiscent of the Russian sharmanka, a hurdy-gurdy or barrel organ. This rhythmic, harmonic figure establishes a repetitive, mechanical atmosphere, reminiscent of Shostakovich's description of human cogs.

The time, rhythm and construction of this figure is somewhat paradoxical. The 3/4 time signature indicates that this is a Dance, particularly a Waltz. However, Shostakovich's Metronome marking shows one beat in a bar. When this is coupled with the skeleton of the first beat of each bar, the possibilities of a March is also implied.

11 The New Shostakovich, p. 2

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In 1949, Shostakovich repeated this figure in the opening of Waltz-Scherzo in Dances of the Dolls, as is evident in Fig.6.

Shostakovich used the same underlying rhythmic and harmonic pattern to achieve different psychological effects. In Waltz-Scherzo, the score indicates a real dance with levity. Prelude 15 is more philosophical, with the accompaniment pedantic, mechanical and implicatively bureaucratic. The brisk tempo, staccato articulation and scalar rise and fall of the melody effectively projects sarcasm.

Adding to the character is an espressivo marking in the middle of some phrases, just for three or four notes and providing sudden contrast of articulation – an interruption. This is evident in Fig.7. These are details important for a stylistic performance to convey the humour of the music.

The characteristic harmonic figure is interrupted at Bar 28, shown in Fig.8 by a contrasting passage of six bars. To this point it has the loudest dynamic indication. The contrast of the arpeggiated chords, the dynamic climax and the RH accentuation for the first time, suggest that this is an interruption to the original musical material. Eventually the harmonic motive of Fig.5 and original melody resume.

Shostakovich uses unconventional harmonic progressions that eventually resolve to the tonic key and arrive at the Coda. Shown below in Fig.9, the coda begins in Bar 43 with the same character as the rest of the piece. However, the melody stops at bar 49 and only the rhythm remains. There is a rest on the strong beat of bar 52 as if everything, including the happiness of life has finished. The Dance has suddenly ended. Adding to the uneasiness is the use of pedal on this rest, preparing a unique acoustic response to the following phrase.

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Figure 6 : Bars 1 to 4 of Waltz-Scherzo from Dances of the Dolls

Figure 7: Bars 6 to 11 of Prelude #15, LH


What follows is the starkly contrasting Epilogue, surely an example of the musical commentary that led Shostakovich to be known as yurodivy and fundamentally a letopis (chronicler). The dynamics have suddenly shifted from fortissimo to pianissimo, the articulation from staccato to legato and the melodic interval from seconds to thirds and along with the elongation of the melodic rhythm, provide an eerie contrast to the happy atmosphere of the preceding music. The contrast of the musical elements of the Epilogue convey a mood of 'hushed uncertainty'. The Prelude finishes with octaves on D. The following fermata chord fills the emptiness.

Prelude No 16

One of the hallmarks of dictatorships is frequent parades and displays of military power. This Communist government was no exception, and celebrated the Revolution regularly, creating an atmosphere of victory. This is reflected in Prelude No.16, a March, characterized by Simple Duple time, dotted rhythms and the marcato expression indication, seen below in Fig.10. Marcato is used in association with military motives in this music. The soft, opening Dominant chord on the third beat of the bar is imposing and the repetitive dotted rhythm reflects the hypnotic effect on the masses. The melodic and rhythmic nerve imply that life is a circus.

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The March is associated with celebrations and optimism, so it is significant that this Prelude is in B flat minor, (the key of Chopin's so-called Funeral March). By using the minor key to portray an outwardly happy event, Shostakovich conveyed black humour and satire.

Indeed, there is a parody of the Russian National Anthem in the Coda. The opening melody of the Anthem Fig.13 is characterized by the strong ‘cry’ of a perfect 4th and sets of three ascending notes.

Being a parody, there are rhythmic and melodic changes to the anthem, but the essence remains. In Prelude 16, as seen in Fig.10, the opening melody uses three descending notes. In the Coda, the melody returns to an ascending motive (bars 25 to 28) as in the Anthem.

Bars 23 to 24 of Fig.12 are an interesting example of Shostakovich's unorthodox use of pedal. There are three layers - melody, bass octaves and inner harmony. The pedalling is syncopated against the strong beats of the bar. The pedal is co-ordinated with the inner harmonies on the fourth and second beats of the bar, rather than the first and third.

The preface to the Epilogue is a short rhythm in the Left Hand (bar 29). It is reminiscent of a snare drum. The use of snare drum became significant in

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Figure 13: Opening bars of the melody of the Russian National Anthem


Figure 11: Theme of the Russian National Anthem

Shostakovich's later Seventh Symphony. Maxim Dmitriyevich Shostakovich has "recalled the symphony's premiere 'I remember the standing ovation, my father and mother and sister being there. And this theme in the symphony with a small drum that gave me a feeling, even as a small boy, that something evil was approaching.'" 12

In Prelude 16, this drum motive is on G flat (the sub-mediant), with marcato indicated. This adds to the indications through Aesopian language, in the final two bar Epilogue, that life is not as joyful as the celebration infers.

Prelude No 17

The characteristics of Prelude No.17 imply a Slow or Boston Waltz. It is nostalgic and reflects the relative decadence of the 1920’s when the New Economic Policy (NEP) of the USSR was in force. NEP was introduced by Lenin to stimulate a very desperate economy. He viewed NEP as capitalism inside socialism. In this period, people were able to produce and sell food and consumer goods more freely.

Prelude 17 employs several rhythmic techniques that reflect the changes and instability of the times. There are changing Time Signatures. The opening hypnotic, rhythmic, harmonic accompaniment (Fig.13), establishes the slow Simple Triple time of the Waltz, but within the first line, the time stretches through the addition of an extra beat to create a bar of 4/4. This happens a total of three times in the first three lines.

This mood of decadence or indulgence is further indicated musically through the variations in tempi (there are eleven changes in just two pages - the opening being largo, but including modifications of accelerando, ritenuto and a tempo), laconic accompaniment and lengthy flexible melodic lines.

Syncopation is another rhythmic device utilized by Shostakovich to convey instability (Fig.14). The following example captures the character of one of the dance steps of the Boston Waltz that gave the effect of holding back the beat.13

Of particular melodic attention is the tension created by the leaping of chromatic intervals – D to D flat and B to B flat. These can represent the possibility of imminent unpredictable changes.

12 Shannon, Sarah, 'It's in My Blood' - Maxim Shostakovich on Conducting His Father's 'Leningrad' Symphony: The Independent [London] - 3 May 2005

13 http://www.streetswing.com/histmain/z3bostn1.htm

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The use of pedal held over several bars is also indicative of dissonance inside of consonance. Another innovative approach to this concept is the holding of the pedal over the end of a melodic phrase and into the beginning of another. Inside each holding of the pedal, the chordal effect is that of a foundation harmony, first A flat major, then E flat seventh, ending with dissonance in the next melodic phrase.

The Coda (Fig.16, bar 33) begins with the original melody and then becomes dissonant and unaccompanied, inside a long pedal. Finally D major interrupts - D being the traditional dissonant augmented fourth above the tonic, A flat. The melody drifts away as if life is fading - indicated by the pedal held on over two beats of rest. There is silence. The Waltz has finished.

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Figure 15: Bars 9-12 of Prelude #17

Figure 16: Bars 28-40 of Prelude #17

The Epilogue (Fig.16 bar 35) is like a memory, with two statements of the opening melody. The penultimate phrase is soft, based on an A flat minor harmony and including F flat from the melodic minor form of the scale. Together, these musical elements suggest deep thoughts and lost possibilities. The final statement (bar 37) is very soft and based on A flat major, melodically using F natural. The final major statement is softer than the minor, and with the rhythmic elongation, implies a lack of choice and the need to focus on survival.

In an interview, Maxim Shostakovich has said that his father: 'hated the Communist philosophy but was forced by the rules of the game..... It's hard to understand now, but for the safety of his wife and children he had to do some things. Others who were not so careful were shot.'14

Prelude No 19

With its 6/8 time signature and lyrical melody, the character of this Prelude is a Barcarolle. Its style was typical of songs of the gondoliers in Venice, Italy. The rhythm of the harmonic accompaniment simulates the motion of the boat moving through the waves of the water with the rowing of a gondolier. Shostakovich was very much linked to the city of Leningrad so this Prelude is like his reflections of that city. Leningrad is known as Venice of the North. It was built by slave labour on logs on the marshy Neva River. With its canals, white nights and Italian architecture it is known as a city of beauty and fantasy.

The traditional, peaceful character of the Barcarolle is projected by the space and harmonic structure of the LH accompaniment (Fig.17). However, the melody has whimsical elements - extensive use of chromatic intervals, unusual articulation and syncopation. Prelude 19 also displays Shostakovich's unique polyphonic approach. The opening melody and accompaniment give way to two asynchronous voices at the start of Developmental Section (Fig.18 bar 13).

Shostakovich, original and innovative, has made this Prelude paradoxical through bringing together two contrasting idioms – whimsical, exotic, eastern melodic patterns supported by a stable, conservative, western accompaniment.

14 Shannon, S, It's in my Blood, The Independent May 2005

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Prelude No 24

Prelude No 24 is the conclusion to the set. Emphasizing the finality is the recurring, yet subtle, dominant to tonic statement at the end of many phrases. The opening section is reminiscent of a Gavotte through its Simple Quadruple time and beginning on the third beat of the bar. However, the atmosphere is that of the circus and can be heard as Shostakovich’s final statement that humour must prevail to survive. Again, the character is satirical - brisk, playful rhythms in a minor key.

In Fig.19, it is possible to identify several musical references to clowns. In bars 14 and 15, there are two harmonies played melodically as broken chords. The combination of the use of a single voice, the fortissimo dynamic and staccato articulation, can imply the responding "ha, ha, ha, ha" laughing of two clowns. In bars 18, 19 and again in bar 25, there are acciaccature at the interval of a 9th against the main notes. These are examples of Shostakovich's use of the grotesque. In performance they are rhythmic and jarring.

The dance is interrupted by a whimsical change, mid-bar in Fig.20. Shostakovich’s experience of watching acrobats is reflected in the aerobic, gymnastic velocity of the bridge to the Coda.

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The Coda is extended, also giving the end definition. The final Epilogue is interesting in that it repeats the opening phrase of the Prelude. While the pitch of the melodic notes is the same in both statements, the meaning is transformed through the alterations of musical detail. The articulation has shifted from playful staccato, seen in Fig.21, to more contemplative legato as in Fig.22. The dynamic level has changed from carefree forte to reflective piano. The third harmony altered from tonic to sub-mediant, sounding quite questioning, with its move to an E flat minor chord before reaching the final cadence. As seen in Fig.21, the use of G flat in the opening is loud and as the first note of the bar, definitive. G flat is dissonant inside the accompanying D Minor harmony. In Fig.22, the final statement, the use of enharmonic F sharp, falling to F natural, coupled with the soft dynamic and articulation changes, is harmonically consonant, but with the indecision of major and minor tonality, is a reminder of the uncertainty of the era.

Opening phrase

Epilogue

Conclusion

There is an overall structural arch to this set of Preludes. The first Prelude is peaceful yet alert and sets the scene for the following psychological sketches. The culmination is the final Prelude, reminiscent of clowns. It can be perceived as a statement that although everyone has a level of facade in their behaviour, survival under this regime was dependent upon having the persona of a clown.

The Preludes Op.34 of Shostakovich is an encyclopedia of incredible fantasy and imagination, assisting survival under a repressive regime. Shostakovich was a chronicler of his era, letopis – a genius with a sense of the future. His compositional trademarks, imaginative rhythm, individual polyphony, unorthodox pedal and meaningful chromaticisms in melody and harmony, support the concept that he was Mozart of the twentieth century. His musical vision opened the way for a new generation of pianists and composers.

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About the Author

Debra Andreacchio, B.Mus.Hons(Piano Performance) Grad Dip T. has over thirty years experience as piano teacher. In 1990, Debra founded the Anna Essipoff Piano School, establishing Piano Programmes in several schools with six teachers working under her guidance. Debra is examiner in Piano and Advisor in Theory for the AMEB and Vice-President of the MTASA. She has conducted masterclasses and convened and presented lecture/demonstrations at conferences. For 25 years Debra has extended her piano studies with the internationally acclaimed Piano Pedagogue, Eleonora Sivan, who was personally inspired by the musical genius and philosophy of Dmitri Shostakovich.

Contact

Debra AndreacchioDirectorAnna Essipoff Piano School13 Emily Avenue, Clapham, SA 5062email, [email protected]

References:

Fay, Laurel. SHOSTAKOVICH A Life. New York, USA: Oxford University Press, 2005

Fay, Laurel. SHOSTAKOVICH and his world. New Jersey, USA: Princeton University Press, 2004

Freeze, Gregory. RUSSIA A History. New York, USA; Oxford University Press, 2002

MacDonald, Ian. The New Shostakovich. London: Pimlico, Random House, 2006

Montefoire Simon. Stalin, The Court of the Red Tsar. Great Britain: Phoenix, 2004

Moshevich, Sofia. Dmitri Shostakovich PIANIST. Montreal, Canada: McGill-Queens University Press, 2004

Shostakovich, Dmitri. 24 Preludes Op 34, United Kingdom: Boosey & Hawkes

Shostakovich, Dmitri. Dances of the Dolls, Great Britain: Anglo-Soviet Music Press Ltd, 1965

Volkov, Solomon. SHOSTAKOVICH and STALIN, Translated from the Russian by Antonina Bouis, New York, USA: Alfred A Knoff, 2004

Volkov, Solomon. Testimony, the Memoirs of Dmitri Shostakovich, Translated from the Russian by Antonina Bouis, New York, USA: Limelight, 2004.

Wilson, Elizabeth. SHOSTAKOVICH A Life Remembered. New Jersey, USA: Princeton University Press, 1995

http://www.streetswing.com/histmain/z3bostn1.htmhttp://dictionary.reference.comwww.answers.com

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