How To Use Shostakovich In A Sentence
-
I think most young composers have suffered through this: nothing sucks more than watching musicians roll their eyes and mutter and declare bits 'unidiomatic' that, of course, they'd woodshed if the name in the upper-left corner was 'Shostakovich'.
Reading Session
-
His discography has included Scriabin, Shostakovich, Beethoven, Chopin, Liszt, Milhaud, and Rodrigo.
-
He counts work on Shostakovich's quartets with Rostropovich as among the high points of his musical life.
-
The Shostakovich 5th, after the interval, brought the house down so he encored the last couple of minutes of it.
-
Pianist Alexander Melnikov's brilliant new recording should convince any holdouts that Shostakovich's massive 150-minute set is far from what has occasionally been called dour and academic.
On CD: Melnikov's Shostakovich
-
Of course, Shostakovich's biting and grotesque satire rears its head as well, particularly in the 3rd Movement Allegro non troppo.
-
Broadly, people seemed to be fairly sure about the emotion a piece was meant to communicate - for instance 91 per cent agreed that a clip from one of Shostakovich's work was meant to convey sadness.
-
Shostakovich's seven Alexander Blok settings embrace a bleak, uncomfortable musical language, even when expressing some sort of serenity.
-
Any view of Shostakovich is seriously incomplete without knowledge of these recordings.
-
However, it is not a complete cycle, for it was recorded (in collaboration with the composer in Moscow in the late 1960s) before Shostakovich had composed his 14th and 15th quartets.
-
Alexexander Lazarev conducts the orchestra in performances of works by MacMillan, Shostakovich and Mahler.
-
His Mahler Tenth is still viable as a recommendable choice, as are his accounts of Shostakovich symphonies.
-
It is beautifully played, and the haunting conclusion has rarely sounded more mournful; but the Latvian conductor is no less coruscating than his colleagues in Shostakovich's bitter, raucous humour.
-
As his close friend Ivan Sollertinsky remarked, Shostakovich was ‘perhaps the first among Russian composers to make his heroes speak not in conventional arias and cantilenas but in living language, setting everyday speech to music’.
-
The notes say nothing about the orchestration, which to my ears sounds like Shostakovich's 1940 instrumentation rather than Mussorgsky's rougher original.
-
So I think it has further, kind of canonized, if you will, this incredible world of Shostakovich in these 15 quartets.
The Decade In Classical Recordings
-
Shostakovich's music is certainly not at all conventionally beautiful or appealing, and not a few critics and listeners are repelled by its banalities, raucous sonorities and obsessive rhythmic drive.
-
It is often said to portray the German tanks rolling unstoppably into the city; but by this time Shostakovich was communicating covertly in his music with those who were really listening, and it is more than just that.
-
It was an almost slapstick comedy in which Stalin and his cultural henchman Zhdanov confront Prokofiev and Shostakovich.
-
Also like Shostakovich, Tishchenko has scored his symphony for a large orchestra, which he nevertheless uses sparingly.
-
Like Shostakovich, Schnittke relied on film music as a source of income at a time when concert music was liable to be banned.
-
Shostakovich's slow movements always represent the composer at his most eloquent and deeply personal.
-
And so to the evening's highlight: Shostakovich's extraordinary Trio No 2 in E minor.
-
Again, the harsh conditions under which Shostakovich was compelled to represent himself are often found transposed to the prosaic sphere of paranoid nostalgia.
-
Like his film scores, this is Shostakovich in a populist vein.
-
In a beautiful and affecting way, Shostakovich evokes the sounds of the Moonlight Sonata, the triplet arpeggios and the dotted rhythm of the main theme, without really quoting it.
-
Pianist Damon Denton scampers through Shostakovich's figurations with a keen ear for melody and texture.
-
Actually I can tell you my plan to choreograph the other Shostakovich ballets.
-
Boldly modern trumpet fanfares (à la Shostakovich's First Piano Concerto) resound in the ‘Dance of Poison’.
-
In the spirit of Shostakovich's last symphony, Vainberg quotes trumpet fanfares from well-known works by Rimsky-Korsakov, Bizet, and Mendelssohn.
-
It was an almost slapstick comedy in which Stalin and his cultural henchman Zhdanov confront Prokofiev and Shostakovich.
-
Oleg Marshev is a fine interpreter of the Piano Concerto having already recorded excellent accounts of the Shostakovich and Prokofiev concertos.
-
Yet several works were commissioned for smart urban dance, music-theatre and performance-art events; five of the 22 tracks are clever transcriptions of Shostakovich piano pieces.
-
This is like Shostakovich without his satiric, acerbic side.
-
Any view of Shostakovich is seriously incomplete without knowledge of these recordings.
-
The relentless energy and fury of the Allegro non troppo recalled the Scherzo of Shostakovich's Tenth Symphony.
-
Shades of Mahler and Shostakovich flit through the texture in which dissonances set against a tonally referential idiom and allusions to earlier styles are set within absolute musical structures.
-
His tinkling take on Karma Police, for instance, calls to mind Mozart's piano concertos, while Everything in Its Right Place, with its bottom-end minor notes, is dourly reminiscent of Shostakovich - and all free of Yorke's watery squall.
-
I left feeling a bit cheated, but in the following days renewed my acquaintance with the Shostakovich concerto - encouraged by the memory of an inspired performance.
-
Shostakovich himself never saw the film, so it was presumably under orders from the Stalin regime that his name soon appeared on a copyright infringement suit filed in this country.
Lewis Hyde: Hold the Line: Stop Copyright Rendition!
-
Shostakovich's dread of death he shared with like intensity, although it now found little expression through drawing.
-
The Beethoven Violin Sonata in C minor is admirably played, and arrangements of Shostakovich piano preludes make an attractive opener to a stimulating programme.