By Malcolm Hamrick Brown

"A significant event.... This Casebook is not just approximately Volkov’s Testimony, it really is approximately track outdated and new within the twentieth century, in regards to the cultural legacy of 1 of that century’s such a lot extravagant social experiments, and what we need to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 examine 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. when you consider that its visual appeal, although, Testimony has been the focal point of controversy in Shostakovich reviews as doubts have been raised touching on its authenticity and the position of its editor, Volkov, in growing the book.

A Shostakovich Casebook provides 25 essays, interviews, newspaper articles, and reviews—many newly on hand because the cave in of the Soviet Union—that evaluate the "case" of Shostakovich. as well as authoritatively reassessing Testimony’s genesis and reception, the authors during this booklet handle problems with political effect on musical creativity and the function of the artist inside of a totalitarian society. the world over identified members 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 talk indicates for all track historians, performers, and considerate listeners.

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Then I showed these sections to Shostakovich, who approved my work" (pp. xvi-xvii). Nowhere does Volkov suggest that any of his "collected material" for the book was obtained in any other way than from Shostakovich directly in private conversation. Is this unacknowledged "borrowing" from earlier pub­ lications how, in the words of Irina Shostakovich, "he could have gath­ ered enough material . . for such a thick book"? 19 What is most disturbing about these borrowed reminiscences, how­ ever, is the fact that all seven occur at the beginning of chapters.

All four pages display two sets of pagination similar to what has been described earlier. But typed in­ ternal numbering is not visible on any of the first three of these pages. Afl [CHAPTER ONE] , which has been marked through. Stamped page number "00 1 " is placed in the top right-hand corner. irna� m:J,lll'l"l(: , O Rae n:e o tta,i:rnmyr JJ;pyra e . }l , p o6a. n:eJJo . m1 aTb . :t · n:a r0Bop11'lib 3TOT Tpyn o-a . H . R l! l! ii'. n:ep eBHa . BpyT c o . 11£11!. l),[ . l . l 3'l'BlC paa:aaJmHax HOBtie Ha noTeM- .

The average lengths of the quoted passages and the fidelity of their translations can be conveyed most effectively here by the juxtaposition of a representative passage from Testimony with a direct translation (my own) of its source: Shostakovich versus Volkov: Whose Testimony? 1 Correlation of Passages from "Testimony" with Previously Published Sources Testimony Original Source [D Shostakovich] in B. M. F. Stravinsky: stat'i i materialy [I. F. Stravinsky: Articles and materials] (Moscow: Sovetskii kompozitor, 1973), pp.

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