By Sofia Moshevich
The piano works of Dmitri Shostakovich (1906–1975) are one of the so much precious musical compositions of the twentieth century. during this quantity, pianist and Russian track student Sofia Moshevich offers designated interpretive analyses of the 10 significant piano solo works through Shostakovich, conscientiously noting very important stylistic info and particular how you can conquer the varied musical and technical demanding situations awarded via the track. every bit is brought with a quick old and structural description, by way of an exam of such interpretive facets as pace, phraseology, dynamics, voice stability, pedaling, and fingering. This booklet can be a useful source for college kids, pedagogues, and performers of Shostakovich's piano solos.
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Extra info for Shostakovich’s Music for Piano Solo: Interpretation and Performance
I don’t want to say right now what idea that was. ”35 In a letter to his friend Boleslav Yavorsky, dated 10 March 1927, Shostakov ich wrote: “I’ve completed four pieces, which can by no means be called joyous. The dreams I see are for the most part melancholic. But at the end of the day it’s not as significant as eternity. ”36 This was maybe a reference to the fact that his affair with Tatiana Glivenko was on the rocks at around this time. The title Aphorisms was suggested by Yavorsky. 26 Shostakovich's Music for Piano Solo Aphorisms belongs to a small group of Shostakov ich’s modernist compositions that also includes the Piano Sonata No.
Tension rises as the register descends through mm. 56–60. Give the left-hand quarter notes in mm. 59–60 a bright accent, but shape the entire passage in a continuous line as it descends— crescendo and marcatissimo—to the low register. Through mm. 61–62, the left-hand octaves and chords triumphantly quote the A motive (m. 3) accompanied by right-hand four-note chords. In mm. 63–64, the opening of the A motive (mm. 1–2) appears in three-note chords (middle staff) in the right hand, while the left hand continues to reiterate the ascending fourth motive.
48–49, beats 1–3, and the right hand lighter from the fourth beat of m. 49. The fff markings on the first beat of mm. 52 and 56 should be treated as momentary accents; it is not until m. 61 that the fff marking indicates a general dynamic level. 18 Shostakovich's Music for Piano Solo Look for variety of color, and, using judicious dynamic balance and pedaling, avoid a colorless loud tone. For example, minimal use of the damper pedal through mm. 48–51 will enhance the percussiveness, while more frequent pedals will intensify the contrasting color in mm.
Shostakovich’s Music for Piano Solo: Interpretation and Performance by Sofia Moshevich