Skip to main content
Taylor & Francis Group Logo
    Advanced Search

    Click here to search products using title name,author name and keywords.

    • Login
    • Hi, User  
      • Your Account
      • Logout
      Advanced Search

      Click here to search products using title name,author name and keywords.

      Breadcrumbs Section. Click here to navigate to respective pages.

      Book

      A Soviet Credo: Shostakovich's Fourth Symphony
      loading

      Book

      A Soviet Credo: Shostakovich's Fourth Symphony

      DOI link for A Soviet Credo: Shostakovich's Fourth Symphony

      A Soviet Credo: Shostakovich's Fourth Symphony book

      A Soviet Credo: Shostakovich's Fourth Symphony

      DOI link for A Soviet Credo: Shostakovich's Fourth Symphony

      A Soviet Credo: Shostakovich's Fourth Symphony book

      ByPauline Fairclough
      Edition 1st Edition
      First Published 2006
      eBook Published 25 October 2017
      Pub. Location London
      Imprint Routledge
      DOI https://doi.org/10.4324/9781315097725
      Pages 296
      eBook ISBN 9781315097725
      Subjects Arts
      Share
      Share

      Get Citation

      Fairclough, P. (2006). A Soviet Credo: Shostakovich's Fourth Symphony (1st ed.). Routledge. https://doi.org/10.4324/9781315097725

      ABSTRACT

      Composed in 1935-36 and intended to be his artistic 'credo', Shostakovich's Fourth Symphony was not performed publicly until 1961. Here, Dr Pauline Fairclough tackles head-on one of the most significant and least understood of Shostakovich's major works. She argues that the Fourth Symphony was radically different from its Soviet contemporaries in terms of its structure, dramaturgy, tone and even language, and therefore challenged the norms of Soviet symphonism at a crucial stage of its development. With the backing of prominent musicologists such as Ivan Sollertinsky, the composer could realistically have expected the premiere to have taken place, and may even have intended the symphony to be a model for a new kind of 'democratic' Soviet symphonism. Fairclough meticulously examines the score to inform a discussion of tonal and thematic processes, allusion, paraphrase and reference to musical types, or intonations. Such analysis is set deeply in the context of Soviet musical culture during the period 1932-36, involving Shostakovich's contemporaries Shebalin, Myaskovsky, Kabalevsky and Popov. A new method of analysis is also advanced here, where a range of Soviet and Western analytical methods are informed by the theoretical work of Shostakovich's contemporaries Viktor Shklovsky, Boris Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, together with Theodor Adorno's late study of Mahler. In this way, the book will significantly increase an understanding of the symphony and its context.

      TABLE OF CONTENTS

      chapter 1|45 pages

      The Soviet Symphony in the 1930s: Political and Aesthetic Background

      chapter 2|28 pages

      Analytical Approaches to the Fourth Symphony

      chapter 3|67 pages

      First Movement: Allegretto poco moderato

      chapter 4|29 pages

      Second Movement: Moderato con moto

      chapter 5|59 pages

      Third Movement: Largo-Allegro

      chapter 6|14 pages

      Conclusion

      T&F logoTaylor & Francis Group logo
      • Policies
        • Privacy Policy
        • Terms & Conditions
        • Cookie Policy
        • Privacy Policy
        • Terms & Conditions
        • Cookie Policy
      • Journals
        • Taylor & Francis Online
        • CogentOA
        • Taylor & Francis Online
        • CogentOA
      • Corporate
        • Taylor & Francis Group
        • Taylor & Francis Group
        • Taylor & Francis Group
        • Taylor & Francis Group
      • Help & Contact
        • Students/Researchers
        • Librarians/Institutions
        • Students/Researchers
        • Librarians/Institutions
      • Connect with us

      Connect with us

      Registered in England & Wales No. 3099067
      5 Howick Place | London | SW1P 1WG © 2022 Informa UK Limited