DMITRI SHOSTAKOVICH: surviving fear and turmoil of the times

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
2
Ian MacDonald, The New Shostakovich London: Pimlico, Random House, 2006, p7
Volkov, Solomon. SHOSTAKOVICH and STALIN, Translated from the Russian by Antonina
Bouis, New York, USA: Alfred A Knoff, 2004, pp 97 & 170
1
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
2
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.
Figure 1: Bars 42 to 53 of Prelude #10
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
5
6
7
Fay,Laurel E. SHOSTAKOVICH and his World, Princeton, New Jersey, USA Princeton
University Press, p.11
ibid, p32
Volkov, Solomon. Testimony, the Memoirs of Dmitri Shostakovich, Translated from the
Russian by Antonina Bouis, New York, USA: Limelight, 2004, p.xxv
Moshevich, Sofia. Dmitri Shostakovich PIANIST. Montreal, Canada: McGill-Queens
University Press, 2004, p. 33
3
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
9
MacDonald, The New Shostakovich, p101
http:/www.answers.com
4
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.
Figure 2: Bars 5 to 12 of Prelude #1
Figure 2: Bars 5 to 16 of Prelude #1
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.
5
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.
Figure 3: Bars 1 to 4 of Prelude #2
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.
Figure 4: Bars 32 to 38 of Prelude #2
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
6
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.
Figure 6: Bars 1 to 2 of Prelude #15
Figure 5: Bars 1 to 2 of Prelude #15
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
7
In 1949, Shostakovich repeated this figure in the opening of Waltz-Scherzo in
Dances of the Dolls, as is evident in Fig.6.
Figure 6 : Bars 1 to 4 of Waltz-Scherzo
from Dances of the Dolls
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.
Figure 7: Bars 6 to 11 of Prelude #15, LH
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.
Figure 8: Bars 28 to 33 of Prelude #15
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.
8
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.
Figure 9: Bars 43 to 59 of Prelude #15
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.
Figure 10: Bars 1 to 5 of Prelude #16
9
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.
Figure 13: Opening bars of the melody
of the Russian National Anthem
Figure 11: Theme of the Russian National Anthem
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.
Figure 12: Bars 23 to 31 of Prelude #16
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
10
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.
Figure 13: Bars 1 to 4 of Prelude #17
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
13
Shannon, Sarah, 'It's in My Blood' - Maxim Shostakovich on Conducting His Father's
'Leningrad' Symphony: The Independent [London] - 3 May 2005
http://www.streetswing.com/histmain/z3bostn1.htm
11
Figure 14: Bars 24 to 27 of Prelude #17
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.
Figure 15: Bars 9-12 of Prelude #17
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.
Figure 16: Bars 28-40 of Prelude #17
12
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.
Figure 17: Bars 1 to 5 of Prelude #19
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).
Figure 18: Bars 11 to 23 of Prelude #19
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
13
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.
Figure 19: Bars 10 to 25 of Prelude #24
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.
Figure 20: Bars 26 to 28 of Prelude #24
14
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
Figure 21: Bars 1 to 2 of Prelude #24
Epilogue
Figure 22: Bars 42 to 43 of Prelude #24
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 Andreacchio
Director
Anna Essipoff Piano School
13 Emily Avenue, Clapham, SA 5062
email, debra@pianoschool.com.au
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: McGillQueens 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.htm
http://dictionary.reference.com
www.answers.com
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