Search Results for: Moshevich

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as can be gleaned from the list of contents: Roots, 1906-1923 At the Crossroads, 1923-1933 Composer-Performer, 1933-1945 Return of Fear, 1945-1953 Recognition, 1953-1975 Although Moshevich seeks pianistic links wherever possible as she plots the composer's life and career history, she includes a host of non-keyboard instances, such as work on the symphonies and quartets, his operatic and film music and

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LP—French Columbia FCX 771—was reissued in Russia as Melodiya 33D 034479-80. 15. For a detailed analysis, see Sofia Moshevich, “Russian Revelation a Forgery: Who is Really Playing Shostakovich’s F minor Prelude and Fugue?” DSCH Journal 12 (2000), pp. 66-69. 16. On Prelude and Fugue no. 17 in A-flat major, see Raymond Clarke, in DSCH

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as such on disc. Of course a recent book on the subject (Dmitri Shostakovich – Pianist by Sofia Moshevich, McGill-Queen’s University Press, see review in DSCH Journal No. 21) covers an equivalent ground, but necessarily in greater detail (222 pages as opposed to 25). Ultimately this is an enjoyable chapter, with several titbits of

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historical context, commentary on published editions, and detailed performance suggestions for each relevant work in the composer’s catalogue—which Moshevich organises chronologically and divides into four chapters: “Early Works,” “Mature Works,” “The Masterpiece,” and “Works for Children.” The “Early Works” comprise Shostakovich’s brief foray into the “Schoenbergian cosmos”—a poetic image put forth by pianist Vladimir

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throughout, contribute to the documentary aura of these discs. This set is a treasure for any collector. Sofia Moshevich Top / Lady Macbeth of Mtsensk, opus 29. Mstislav Rostropovich, London Philharmonic Orchestra, John McCarthy (chorus master), Ambrosian Opera Chorus, Galina Vishnevskaya (Katerina Ismailova), Nicolai Gedda (Sergey), Dimiter Petkov (Boris Ismailov), Werner Krenn

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on the disc, and contribute to making it a good buy overall, especially at the budget price. Sofia Moshevich Top / / / / / / Twenty-four Preludes, opus 34, arranged for violin and piano by Alexander Blok (Nos. 4, 7, 9,

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comes with the added bonus of enlightening programme notes from DSCH Journal contributor Louis Blois. As reported by Sofia Moshevich in Dmitri Shostakovich: Pianist, Shostakovich considered his Second Piano Sonata to be his finest work for the instrument. Written while the composer was in evacuation in Kuibyshev in 1943, it can perhaps be heard as

DSCH Journal Index

REMEMBERING SHOSTAKOVICH Moyseevich Gershov, Solomon 02 Winter 4 1994 Tempo in DS’s Performances of his own works   Moshevich, Sofia 02 Winter 8 1994 Shostakovich. A life Remembered – Elizabeth Wilson BOOK REVIEW MacDonald, Ian 02 Winter 21 1994 Three New Books by Sofia Khentova     02 Winter 26 1994 A Little Bit

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of the best and most authentic performances of this work I’ve heard. Don’t miss this remarkable issue! Sofia Moshevich Top / Shostakovich String Quartets 1-13 Disc 1: String Quartets No. 1 in C major, opus 49[a]; No. 3 in F major, opus 73[a]; No. 12 in Db major, opus 133[b] Disc 2:

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counterpoint. This is a strong, intellectual performance. Overall, this is a fantastic disc, not to be missed. Sofia Moshevich Top / / Chamber Symphonies Chamber Symphony, arrangement of String Quartet No. 8 in C minor by Rudolf Barshai, opus 110a; Georgy Sviridov: Chamber Symphony, opus 14[a]; Weinberg [listed as Vainberg]: