By Sofia Moshevich
The piano works of Dmitri Shostakovich (1906–1975) are one of the such a lot valuable musical compositions of the twentieth century. during this quantity, pianist and Russian song pupil Sofia Moshevich presents specific interpretive analyses of the 10 significant piano solo works through Shostakovich, conscientiously noting very important stylistic info and particular how you can triumph over the various musical and technical demanding situations awarded by way of the track. every piece is brought with a short ancient and structural description, by way of an exam of such interpretive points as pace, phraseology, dynamics, voice stability, pedaling, and fingering. This e-book could be a useful source for college kids, pedagogues, and performers of Shostakovich's piano solos.
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Extra resources for Shostakovich’s Music for Piano Solo: Interpretation and Performance
9–16), try fingers 5 and 1 throughout. The right-hand leaps in these 5 measures can be fingered 5–2–1, 4–1–5, 1–2–5, 4–2–1, 5–1–2, 1–5–1, 5–2– 1. 16. Maintain the rhythm with mechanistic precision, particularly in the left hand, through mm. 33–40 and 49–56. In the autograph, the left hand in m. 33 is marked Early Works 35 & 35 œ. œ œ . œ œ œ. 13. “Dance of Death,” op. 13, no. 7, mm. 35–36, rhythm. mf, and the left-hand notes on the first beat of mm. 33–40 and 49–55 are marked with wedges. The cross-rhythm in mm.
223, present in the autograph, is missing from all published scores. It is unfortunate that these errors reappeared in the latest DSCH paperback edition (1988). In the autograph, the pedal indications in mm. 211, 213–220, 222, 225, and 227–228 appear on the first melody note (not the first bass note) of the measure; there are no pedal markings in m. 221. The autograph also reveals that in m. 218, the pedal release is on the melody D-natural (the second eighth note of beat 3), and the next pedal is on the following half note D-flat.
12–23), some of the “ostinato” chords are shortened to sixteenth notes, for instance, the chord that follows the D-sharp (between mm. 12 and 13). Do not hold these chords longer than their sixteenth- note value; in this example, the D-sharp must sound alone going into the first beat of m. 13. Keep the rhythm as precise as possible; with the frequent changes of time signature and the capricious rhythmic figures, there is no need for additional rubato. Build the dynamic culmination toward the indicated “hairpins” in m.
Shostakovich’s Music for Piano Solo: Interpretation and Performance by Sofia Moshevich