Lady Macbeth of Mtsensk Introduction - Welcome to this course on Shostakovich's opera Lady Macbeth of Mtsensk - U3A Site Builder
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Lady Macbeth of Mtsensk
Introduction
Welcome to this course on Shostakovich’s opera Lady Macbeth of Mtsensk.
This introduction has several objectives:
Advocacy… why it is worth spending time exploring this opera.
Explanation of the format of the course, and how the material can be used.
Suggested recordings.
An appendix of resources which will be useful throughout the course:
Plot summary
Timelines
Bibliography
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 2
Enduring interest of Lady Macbeth of Mtsensk
From January 1934 to January 1936, Lady Macbeth of Mtsensk was a smash hit in the USSR.
There were nearly two hundred full-house performances. It was broadcast on Soviet radio six times.
It was performed abroad – sometimes fully staged, sometimes in concert performance.
I think it is fascinating to explore how Shostakovich reworked Nikolai Leskov’s nineteenth century novella,
turning a cold-blooded murderer into a “talented, clever, and exceptional woman”,
creating a Soviet story which addressed contemporary concerns:
the position of women in society
sexual mores
class war…
On 26 January 1936 Stalin went to see the new Bolshoi production.
He wasn’t impressed. A devastating critique was published in Pravda – Muddle instead of Music
“Love is smeared all over the opera in the most vulgar manner”
Muddle instead of Music was a firm statement of the proper objectives for Soviet artists,
and marked the beginning of a major campaign in the arts.
Shostakovich managed to progressively rebuild his reputation. By March 1941 Pravda was covering him again,
but this time as a poster boy for Soviet culture – one of the first recipients of the prestigious Stalin Prize.
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 3
Enduring interest of Lady Macbeth of Mtsensk /2
With the Khrushchev Thaw, Shostakovich strove to rehabilitate Lady Macbeth
He revised the libretto and the score, toning down the erotic aspect of the opera
He promoted the opera, travelling widely to advise on productions
Shostakovich’s concern to revise the work is unusual; he wasn’t by nature a reviser…
he often deflected peer criticism by saying he’d correct any errors in his next work.
After Shostakovich died in 1975 opera houses reverted to the original 1934 score of Lady Macbeth.
His music gained in popularity in the West – in no small part due to concert promoters focusing on his struggles within the
Soviet system… a story readily applied to this opera.
It is now often performed; surprisingly often for a twentieth century work.
Since 2000 London has seen two productions at English National, and one production at Covent Garden, recently revived.
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 4
Course structure
Sessions One to Four each cover one act of the opera.
My translation of the libretto, and comments on the music and action.
The translation is simple English phrase by phrase.
This doesn’t make great literature – but it helps match text with music.
Session One: Act One, plus… Session Three: Act Three, plus…
Shostakovich’s previous opera experience Leskov’s original novella (discussed here, where
Original plans for an opera cycle novella and opera diverge most radically)
Women in Soviet Society Silent movie music
Pornophony Police corruption
Realism Anticlericalism in the USSR
Session Two: Act Two, plus… Session Four: Act Four, plus…
Opera aware opera – heterogeneous / collage style Initial reaction to Lady Macbeth
Sex and marriage in the USSR Muddle instead of Music – what does it mean?
Progressive mellowing of text and music
Session Five:
Aftermath of the Muddle instead of Music crisis:
how Shostakovich recovered his career
how Shostakovich rehabilitated Lady Macbeth.
In depth exploration of Fourth and Fifth Symphonies – major milestones on the road to recovery.
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 5
How to use this course material
The sessions progress through the nine scenes of the opera, surrounding them with biographical, historical, ideological
and social exploration.
Use the material as a travel guide.
Feel free to flick through some of the pages if you find yourself yawning… focus on what interests you!
I have two suggestions (…which probably say more about my personal preferences than about objective reality):
1 Acquire a CD set of the opera.
This should cost £10 to £15.
This will give you excellent sound, which you can share with the neighbours.
I will be providing YouTube links to Rostropovich’s recording for each scene of the libretto,
so having your own CD is not a prerequisite for this course.
2 First time through the libretto sections... listen and read.
Don’t watch a staged performance!
The visual effects of a staged production can easily distort our own sense of what is happening.
Don’t be distracted by a director’s interpretation of the actions and the relationships.
Ask yourself
How would I stage this music?… these words?
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 6
How to use this course material: the libretto
I have marked the libretto with detailed CD track information, to help you locate where you are.
At the very beginning this is simple – the opera starts at CD 1, track 1.
1-1 (CD 1 T 1 // CD 1 T 1) (EMI & DG // Warner)
The first section of Scene 2 is marked
2-1 (CD 1 T 5 // CD 1 T 9) (EMI & DG // Warner)
This track information takes account of the two different versions of the Rostropovich CDs:
The EMI 1990 release of Rostropovich has 15 tracks on CD 1 and 13 on CD 2
From 2002 it was released with 25 tracks on CD 1 and 28 on CD 2. This is currently under the Warner brand.
If you have the DG Myung-Whun Chung CDs, use the 1990 Rostropovich track information
(track breaks are identical, and most mid-track timings are very close).
Occasionally I give a mid-track reference, which adds the time after the track number. Example…
2-5 (CD 1 T 6 4’20 // CD 1 T 11 1’56) (EMI & DG // Warner)
Katerina and Sergei fall to the ground.
Boris comes in at this inopportune moment, raising his suspicion
Борис: Что это? Boris: What’s this?
Катя: Проходила мимо, зацепила ногой за мешок, Kate: I walked by, snagged my foot on the sack,
упала, он хотел поднять и сам упал… fell, he tried to help me up, and he fell too…
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 7
CD recordings
Two excellent sets are widely available:
Rostropovich
Recorded 1979 with Galina Vishnevskaya (his wife) as Katerina. Orchestra London Philharmonic.
Often described as Rostropovich’s finest recording as conductor.
Myung-Whun Chung
Recorded 1992. Opéra Bastille with Maria Ewing as Katerina.
DVD recordings
I have seen three interesting DVD versions
Katerina Izmailova – a 1966 Soviet Film of the 1962 score.
Shapiro’s film lip syncs actors to a Kiev Opera performance conducted by Simeonov
Vishnevskaya sings and acts Katerina.
The performance shortens the opera slightly – the whole of the police station scene is omitted.
Shostakovich apparently admired the acting, but thought the orchestra was underpowered on the sound track.
The whole performance can be found on YouTube, subtitled in English
www.youtube.com/watch?v=7A6K2BeCMz0
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 8
DVD recordings /2
Martin Kušej, conducted Mariss Jansons De Nederlandse Opera, 2006
Kušej internationalises the opera – smart suits for leading men, a magnificent shoe collection for Katerina.
Boris expresses his frustration with Katerina by kicking her shoes.
Sergei kills Zinovy with a final blow of a stiletto heel.
This production stresses mob misbehaviour and sexual abuse.
Acts 1 & 2 (only) are available online with Dutch subtitles
www.youtube.com/watch?v=ldRJQfES8hA
Lev Dodin, conducted James Conlon Florence (1998 production, recorded 2008)
Dodin is a leading Russian director; his brilliant Maly Theatre Uncle Vanya came to Brighton Festival in 2005.
His Lady Macbeth is a very powerful production, amazing sexual electricity.
Consummation of Sergei and Katerina’s relationship occurs out of sight; represented on stage by a swinging light.
The action sometimes ignores the libretto and the music; in Scene Eight the wedding guests don’t drink or eat, and the
music heralding arrival of the police makes little sense, since they have been on stage from the beginning of the scene.
Short extracts are available on line. Here are two extracts from Scene 5:
www.youtube.com/watch?v=MIFdaMcZgo0
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 9
Online only productions
There are several productions on YouTube.
Here’s a recommendation for a production that may sound eccentric – but try it.
It really brings out the multi-dimensionality of the score.
Ole Anders Tandberg, conducted Oleg Caetani Co-production Norwegian National Opera and Deutsche Oper Berlin
Tandberg has relocated the action to a fish farm – there are fish everywhere.
Everyone holds a fish. You can tell Boris is head of the household – he has two fish.
Usually fish are just fish… but sometime they are babies, sometimes they are phallic symbols…
Sergei kills Zinovy with a fish.
Tandberg found a role for the optional on-stage brass band, participating in the action as a cross-dressed marching band.
So far this may sound insane.
But the interaction between the characters is outstanding.
Act Three is played for laughs; the police station scene is inspired by The Full Monty; the guests at the wedding reception
drink their vodka from plastic jerry cans until they all pass out.
The YouTube performance comes from Helsinki – with Finnish subtitles.
www.youtube.com/watch?v=GMibxRwrPrk
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 10 YouTube links to the Rostropovich recording (sound only) ACT ONE Scene 1 www.youtube.com/watch?v=L1IjZIM89Aw&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=1 Scene 2 www.youtube.com/watch?v=uD9V3pR0xOc&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=9 Scene 3 www.youtube.com/watch?v=lUFOFEgXX_c&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=13 ACT TWO Scene 4 www.youtube.com/watch?v=8WARCIW1KZE&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=17 Scene 5 www.youtube.com/watch?v=nTsTT2xHdLw&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=26 ACT THREE Scene 6 www.youtube.com/watch?v=wzq5k1XXMcw&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=34 Scene 7 www.youtube.com/watch?v=PBdzLsDxSBo&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=37 Scene 8 www.youtube.com/watch?v=G62brPqA4o4&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=41 ACT FOUR Scene 9 www.youtube.com/watch?v=4MV5UnUXNjI&list=OLAK5uy_mTrlEpaBqCkGH1rDzEZBe2R1REv7CK6Yg&index=44 © 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422
Soviet Music: Lady Macbeth of Mtsensk Introduction Page 11 APPENDIX MATERIAL 12 Plot Summary 15 Timeline for Lady Macbeth of Mtsensk 19 Timeline for Great Terror and Shostakovich’s Fourth and Fifth Symphonies 21 Lady Macbeth / Katerina Izmailova performance history in twentieth century 22 Bibliography © 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422
Soviet Music: Lady Macbeth of Mtsensk Introduction Page 12
PLOT SUMMARY
Setting: the house of a rich provincial flour merchant.
Katerina Izmailova is married to Zinovy, and they live with his father Boris head of the household.
Time: mid nineteenth century.
ACT ONE
Scene One: Introduces the main characters and their relationships.
First we meet Katerina, alone. She can’t sleep, she’s bored.
Boris, the father-in-law, enters. There’s an antagonistic relationship between him and Katerina;
Boris blames Katerina for still being childless after five years of marriage.
Zinovy, the husband, comes in with a group of workers. There’s a problem at a distant mill, so Zinovy needs to go away for
a few days. He’s hired a new worker, Sergei.
Aksinya, the cook, warns Katerina that Sergei has a reputation as a womaniser
Scene Two: Katerina intervenes when a group led by Sergei, are sexually harassing Aksinya.
Katerina lectures the men on female capability. Sergei turns this into a wrestling challenge with Katerina.
Boris appears, just as Sergei and Katerina have fallen to the ground… Boris suspects Katerina is up to no good.
Scene Three: At night, Sergei comes to Katerina’s bedroom.
Sergei is bored – can he borrow a book? Katerina admits she too is bored, and longs for a child. They become lovers.
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 13 PLOT SUMMARY ACT TWO Scene Four: Boris can’t sleep – we hear about his prowess as a lover. He’d sort Katerina out! Then he spots Sergei leaving Katerina’s bedroom. He whips Sergei and locks him up. Katerina poisons Boris’s mushrooms. Workmen find Boris dying and call a priest. Katerina blames Boris’s death on eating mushrooms late at night. Scene Five: Sergei and Katerina are in bed discussing the future. Katerina resolves to make Sergei her husband. Boris’s ghost curses Katerina while Sergei sleeps. Zinovy returns unexpectedly. Katerina and Sergei strangle him and hide his body in a cellar. ACT THREE A few months later, Zinovy has been declared missing presumed dead, so Katerina and Sergei can marry Scene Six: While everyone is away at the church ceremony, a drunken peasant breaks into the cellar searching for vodka. The peasant finds Zinovy’s corpse. He runs to the police station. Scene Seven: At the police station the bored policemen are lamenting their lack of invitations to the wedding. They taunt a nihilist teacher who has been arrested. News of a corpse in the Izmailovs is a godsend… a reason to gatecrash the wedding. Scene Eight: At the wedding feast Sergei and Katerina notice the cellar door ajar. Realising they have been found out, they plan to flee once the guests are inebriated. Too late the police arrive. © 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422
Soviet Music: Lady Macbeth of Mtsensk Introduction Page 14
PLOT SUMMARY
ACT FOUR
Scene Nine: Katerina and Sergei are prisoners en route to Siberia.
Katerina despairs as Sergei blames her for his fate, and pursues as young convict – Sonyetka.
Katerina is humiliated when Sonyetka persuades Sergei to trick Katerina out of her stockings.
Katerina pushes Sonyetka into an icy river, and then leaps in after her. They both drown.
The column of prisoners moves on singing:
The steppes are endless, the days countless, our thoughts cheerless, and the guards are heartless
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 15
APPENDIX: Timeline for Lady Macbeth of Mtsensk
Date Lady Macbeth of Mtsensk Cultural policy Political events
1928-9 “Great Turning Point”:
Introduction of centrally
Cultural Revolution as planned economy (5 Year
consequence of “Great Plans) / Collectivisation of
Turning Point”. Various agriculture / Trotsky exiled
levels of intensity till 1932.
14 Oct 1930 Shostakovich [DDS] begins Act 1 – Leningrad
Late Oct 1930 DDS discusses plans with Smolich (trusted
Maly Opera Leningrad director).
At this stage Lady Macbeth part of a planned
three opera cycle
7 Oct 1931 DDS completes Scene 2 (letter to Sollertinsky
from Gudauta – resort in Georgia)
30 Oct 1931 DDS completes Act 1 piano score (letter to
Sollertinsky from Batumi – resort in Georgia)
5 Nov 1931 DDS completes orchestration Act 1 – Tiflis
19 Nov 1931 DDS begins Act 2 – Leningrad
8 Mar 1932 DDS completes Act 2 – Moscow
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 16
Date Lady Macbeth of Mtsensk Cultural policy Political events
March 1932 Work-in-progress shown to Smolich (Maly
director) and independently to Mordvinov
(Nemirovich-Danchenko Theatre Moscow
director)
“Almost next day” Mordovinov signs contract
with DDS… on basis of two complete acts
5 Apr 1932 DDS begins Act 3 – Leningrad
23 Apr 1932 Restructuring Literary and
Artistic Organisations –
Union of Soviet Composers
formed… ending Cultural
Revolution
25 May 1932 Socialist Realism announced
as official policy… but not
defined
15 Aug 1932 DDS completes Act 3 – Gaspra, Crimea (on
honeymoon)
Mid Oct 1932 First publicity to wider world via article in
Sovetskoye iskusstvo
Late Oct 1932 DDS begins Act 4
17 Dec 1932 DDS completes Act 4
Mar 1933 Maly Opera approves decision to stage.
Same team as Nose: conductor Samosud,
director Smolich, designer Dmitriev
Apr 1933 DDS auditions work in Sverdlovsk
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 17
Date Lady Macbeth of Mtsensk Cultural policy Political events
May 1933 Orchestral run through full opera at
Nemirovich-Danchenko. Bubnov
(Lunacharsky’s successor as Commissar)
approves on basis some sanitization of
libretto
Aug 1933 DDS signs contract with Bolshoi
22 Jan 1934 Opening night Maly Leningrad
24 Jan 1934 Opening night Moscow production under
alternative name Katerina Izmailova.
Directed by Nemirovich-Danchenko (the
man, after whom theatre named)
Aug 1934 First attempt to define
Socialist Realism at Writers’
Union congress
Dec 1934 Kirov assassinated
Feb 1935 Composers Union
conference mapped Socialist
Realism definition onto
Symphonic Music
26 Dec 1935 Opening night Bolshoi production: conductor
Melik-Pashayev, director Smolich (modelled
on Maly production)
Jan 1936 Three simultaneous productions playing in
Moscow: Bolshoi, Nemirovich-Danchenko,
and Maly (visiting from Leningrad)
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 18
Date Lady Macbeth of Mtsensk Cultural policy Political events
26 Jan 1936 Stalin attends Bolshoi production
28 Jan 1936 Pravda article Muddle instead of music
Feb 1936 Lady Macbeth removed from repertoire
By this point Maly had performed 83 times (1
of which broadcast on radio) and
Nemirovich-Danchenko had performed 94
times (5 broadcast)
Aug 1936 Great Terror.
to Mar 1938 First Show Trial: Zinoviev and
Kamenev
5 Mar 1953 Stalin dies
Khrushchev Thaw
commences soon after
Stalin’s death
Mar 1955 Lady Macbeth revised as Katerina Izmailova,
op 114
Mar 1956 State commission rejects Katerina Izmailova
“impossible to stage”
1962 Katerina Izmailova score published, and stage
production authorised
8 Jan 1963 Official premiere Katerina Izmailova at
Stanislavsky Nemirovich-Danchenko Theatre
Moscow
Lady Macbeth of Mtsensk column based on Fay + Wilson + reprint 1932 libretto
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 19
APPENDIX: Timeline for Great Terror and Shostakovich’s Fourth and Fifth Symphonies
Date Great Terror event Shostakovich activity
December 1934 Kirov assassinated
Zinoviev and Kamenev arrested
January 1935 Zinoviev and Kamenev tried for moral
complicity in Kirov’s death. 10 year sentence
September 1935 DDS completes 1st and 2nd movements of
to January 1936 Fourth Symphony
28 January 1936 Muddle instead of Music
February 1936 DDS completes Fourth Symphony
to April 1936
August 1936 First Show Trial: Zinoviev and Kamenev.
“Leftist Deviationists and Trotskyites”
September 1936 Yagoda replaced by Yezhov as head of NKVD
October 1936 Security organisations reformed in preparation
to February 1937 for major purge
January 1937 Second Show Trial: Trial of the Seventeen
(included Radek) .
“Anti-Soviet Trotskyite Centre”
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 20
Date Great Terror event Shostakovich activity
March 1937 Elite purge April to July 1937
to June 1937 DDS writes Fifth Symphony
22 May 1937 DDS patron Marshal Tukhachevsky arrested
June 1937 Army commanders, including Tukhachevsky,
tried in camera, and executed as members of
“Trotskyist Anti-Soviet Military Organisation”
July 1937 Kulaks, saboteurs and military main target for 21 November 1937
to October 1938 purge – this is the first purge of large numbers Fifth Symphony premiere
of “ordinary” people
October 1937 Boris Pilyak arrested (shot 1938)
March 1938 Third Show Trial: Trial of the Twenty One
(included Bukharin and Yagoda). “Rightists and
Trotskyites attempting to restore capitalism”
May 1938 Osip Mandelstram arrested (shot December 1938)
Had earlier been arrested 1934 for Stalin poem
November 1938 Purge gradually halted by repressing the
to 1939 repressors
May 1939 Isaac Babel arrested (shot 1940)
June 1939 Meyerhold arrested (shot February 1940)
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 21
APPENDIX: Lady Macbeth / Katerina Izmailova performance history in twentieth century
Year Lady Macbeth of Mtsensk Katerina Izmailova (published 1962)
1934 Leningrad, Moscow
1935 Cleveland, Philadelphia, Zurich, Buenos Aires,
New York, London, Prague, Stockholm
1937 Zagreb
1947 Venice
1958 Poznan, Dusseldorf
1963 Moscow, Riga, London
1964 Milan Zagreb, Helsinki, Nice, Pecs (Hu), San Francisco
1965 Vienna, Kazan, Kiev, Rousse (Bg), Leningrad, Budapest
1966 Florence, Tartu
1967 Belgrade, Sarajevo
1969 Leipzig
1973 Berlin, Copenhagen
1976 Warsaw
1977 Tallinn
1980 Spoleto
1982 Osnabruck
1987 London
1992 Milan
1994 Amsterdam, Minsk (hybrid version)
1995 New York, Paris Yekaterinburg, St Petersburg (Leningrad)
1996 St Petersburg (Leningrad)
Based on reprint 1932 libretto (which attributes information to 1997 book by Dimirin)
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 22
APPENDIX: Bibliography
Edward Braun Meyerhold a revolution in Theatre 1994
Malcolm Hamrick Brown A Shostakovich Casebook 2004
M D Calvocoressi Mussorgsky (Master Musicians Series) 1974
Elliott Carter Collected Essays and Lectures 1937-95 1997
Friedrich Engels The Origin of the Family, Private Property and the State 1884
Pauline Fairclough The Perestroyka of Soviet Symphonism 2002
Pauline Fairclough A Soviet Credo: Shostakovich's Fourth Symphony 2006
Pauline Fairclough Classics for the Masses 2016
Pauline Fairclough Dmitri Shostakovich 2019
Laurel Fay Shostakovich: A Life 2000
Laurel Fay (ed) Shostakovich and his world 2004
Marina Frolova-Walker Russian Music & Nationalism from Glinka to Stalin 2007
Marina Frolova-Walker Music and Soviet Power 1917-32 2012
& Jonathan Walker
Marina Frolova-Walker Stalin’s Music Prize 2016
Isaak Glikman Story of a Friendship 1993 / 2001
Trans A Phillips Letters of Shostakovich to Glikman, with Glikman commentary
Levon Hakobian Music of the Soviet Era (2nd Edition) 2017
Owen Hatherley The Chaplin Machine 2016
Slapstick, Fordism and the Communist Avant-Garde
Geoffrey Hosking A History of the Soviet Union 1917-91 1992
Michael Kennedy Britten (Master Musicians Series) 1981
Nikolai Leskov Lady Macbeth of the Mtsensk District 1865
trans AE Chamot
Charity Lofthouse Mahlerian Quotations, Thematic Dramaturgy etc 2015
Marx & Engels The Communist Manifesto 1848
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422Soviet Music: Lady Macbeth of Mtsensk Introduction Page 23
Krzysztof Meyer Dmitri Schostakowitsch: 1995
Sein Leben, sein Werk, seine Zeit
Simo Mikkonen "Muddle instead of music" in 1936: cataclysm of musical administration 2010
(In Fairclough (ed) Shostakovich studies 2)
D M Mirsky Contemporary Russian Literature 1926
Monsaingeon (ed) Sviatoslav Richter Notebooks and Conversations 1998
Christopher Norris (ed) Shostakovich: the man and his music 1982
Sabrina Ramat (ed) Religious Policy in the Soviet Union 1992
Victor Seroff Dmitri Shostakovich: The Life and Background of a Soviet Composer 1943
Boris Schwarz Music and Musical Life in Soviet Russia 1917-1970 1972
Vera Stravinsky & R Crafts Stravinsky in Pictures and Documents 1978
Richard Taruskin Interpreting Shostakovich’s Fifth Symphony 1995
(In Fanning (ed) Shostakovich Studies)
Dmitri Volkogonov Stalin: Triumph and Tragedy 1988
Solomon Volkov Testimony: The Memoirs of Dmitri Shostakovich 1979
Elizabeth Wilson Shostakovich: A Life Remembered 1994
Elizabeth Wilson Through the looking glass 2016
(In Ivashkin & Kirkwood (eds) Contemplating Shostakovich
Elizabeth Wood The Baba and the Comrade 2000
Terry Metheringham asserts his right to be identified as the author of this work
in accordance with the Copyright Designs and Patents Act 1988.
© 2021 Terry Metheringham terrymetheringham@btinternet.com +44 7528 835 422You can also read
