Some of the heroic symphonies make less than convincing wholes. It might fit things neatly to say so, but the deep mourning that pervades the work is not despair in the conventional sense. After all, notes on a page and the corresponding vibrations in the air that the human brain turns into tones are not innately happy or sad, or straightforward or ironic, political or nonpolitical, or have a story or secret messages, unless the composer explicitly says so. The stylistic touchstones for the quartets are not, curiously enough, Béla Bartók, Arnold Schoenberg, or Paul Hindemith, the three most influential European composers in the genre at the time. That said, there was not great deal present to augment an appreciation for the chamber music of the embattled Soviet. But what price did they have to pay? Product Description Most previous books about Dmitri Shostakovich have focused on either his symphonies and operas, or his relationship to the regime under which he lived, or both, since these large-scale works were the ones that attracted the interest and sometimes the condemnation of the Soviet authorities. No composer, not least Shostakovich, sits down consciously to write about the individual versus society.
Kesler At a press conference shortly after the 2008 election, President-elect Obama was asked if he was appointing to his administration too many Washington insiders and retreads from the Clinton Administration, including Hillary Clinton as secretary of state. Wendy Lesser has constructed a fascinating narrative in which the fifteen quartets, considered one at a time in chronological order, lead the reader through the personal, political, and professional events that shaped Shostakovich's singular, emblematic twentieth-century life. Most of it has been assembled in Shostakovich Reconsidered, a book written and edited by Allan Ho and Dmitri Feofanov, published by Toccata Press in 1998. It's as if Shostakovich had to push the idea of repeating something as far as it could go before he could break through on the other side. The ghostly dances and songs that pass through Shostakovich's quartets are from a world that Lenin and Stalin attempted to destroy—the world of the human soul, from which emanate the most basic impulses to sing praise and dance in delight.
Again, I must claim a bias; I already love this music, so I am probably inclined to be generous here. Wendy Lesser is a not particularly lithe dancer about architecture. He was always waiting for the sound of the mailed fist on his apartment door. You can discover a compilation of various other books after the register. Although she sets out to examine Shostakovich the man through the lens of his string quartets, she recognizes the elusiveness of her subject, the many uneasy contradictions between what he said publicly and what he felt privately. With Stalin's death and with the eventual changes or softening of policy against the arts Shostakovich regained his status and has been influential in music since that time.
He is playing with us; or maybe he is just playing. One cannot come away from having concentrated on these quartets side-by-side with Lesser's explications of them without a deeper understanding and appreciation of them. Is this the cross without Christ, or Good Friday without the Resurrection? In her musical analysis, the author struck the ideal balance between what you typically read in liner notes and what you read in a biography. To read more click the web link listed below How to download book Music for Silenced Voices: Shostakovich and His Fifteen Quartets? Wendy Lesser has constructed a fascinating narrative in which the fifteen quartets, considered one at a time in chronological order, lead the reader through the personal, political, and professional events that shaped Shostakovich's singular, emblematic twentieth-century life. Ever since the Eighth Symphony of 1943, Shostakovich had chosen the form of the passacaglia - a set of variations on an unvarying ground - as a symbol of grief and remembrance.
Interesting reading experience considering that I have really looked into Music for Silenced Voices: Shostakovich and His Fifteen Quartets a number of times. Also, their messages usually do not have to be decoded. In the course of the book Lesser explains this choice: 'If the full orchestra can be seen as a mass society in which the performers risk losing their individuality, while the solo recital represents an essentially narcissistic arrange, then the string quartet might be viewed as an ideal society in which the musicians look to each other for guidance. Lesser is giving Shostakovich back to his listeners. The Epilogue discusses people's interaction with these quartets, how their emotional power comes out when performed before an audience, and includes sections on truth and irony in Shostakovich's music; his use of allusions; his sense of shame; of humor; recurrent melancholy; and the silences in the music, which Lesser likens to white areas on a painting's canvass.
While I hardly agree with them all, they have the value of mandating intense listening. He introduced it as a tiny, small symphony, as a toy shop, so they couldn't understand what they were hearing. This book, published in 1979, was assaulted in some quarters as a fabrication. In the course of the book Lesser explains this choice: 'If the full orchestra can be seen as a mass society in which the performers risk losing their individuality, while the solo recital represents an essentially narcissistic arrange, then the string quartet might be viewed as an ideal society in which the musicians look to each other for guidance. She proceeds in chronological order by interweaving biographical information with meditations upon the quartets.
The E-mail message field is required. All that is beautiful will triumph. It has all the advantages of public communication without having its greatest disadvantage—capital punishment for the author. It is enlightening to trace the master's artistic achievements against the events of his lifetime. Yeah, the Entertainment and Culture book you're searching for is posted here. Lesser intersperses her meditations on the quartets with remarks from musicians who have actually played them, including from members of the Emerson String Quartet and the Fitzwilliam Quartet.
I think this book is not just fun, however educational likewise. First, I'll admit that I stopped reading about halfway into the second chapter, so this review is not as thorough as some. Learned a lot about the artists and what it was like to be an artist under the communist regime. I do not know of anyone who has not lived in such a period, but the version of it that Shostakovich experienced was more extreme than most. Lesser does indeed understand music and has found a manner in which to evaluate in words her perceptions of the various aspects of the compositions she address in a way that even novices will find understandable.
Are the incongruities lapses of judgment or failures of talent? Shostakovich's quartets, held by many including this writer to be his greatest music, deserve this kind of attention. Lesser for her passion for the quartets and simultaneously wish she had kept that passion private. One thing becomes obvious as you go through the pages, and that is Lesser's love for the quartets, an impression that only intensifies the further you read. The quartets are more homogeneous and more easily grasped than the symphonies, perhaps because of the inherently intimate nature of their form, which also precludes their use, or abuse, as de rigueur hymns to the Russian Revolution. Why does the meaning of Shostakovich's symphonic music seem so elusive? Lesser does indeed understand music and has found a manner in which to evaluate in words her perceptions of the various aspects of the compositions she address in a way that even novices will find understandable. But if you're interested in an accessible overview of the pieces placed in the context of the composer's life, without all the musicological apparatus, this is an excellent and up to date study that draws on a large number of sources for both its observations of and its conclusions about the composer.
Highly recommended for both modern history buffs and those intersted in classical music. Her writing style approaches conversation and that is an aspect that makes this volume such a pleasure to read. Even at their best, the symphonies can be enigmatic; at their worst, they inexplicably degenerate into bombast. Still, I would say that if you want to know what Wendy Lesser's opinions are regarding Dmitri Shostakovich and his 15 string quartets, then you may want to buy this book. Grady Harp, April 11 I was very disappointed with this book and, in fact, read only the first half before giving up.