The Features of Late Style of Dmitri Shostakovich in His Piano Concerto No.1

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Published: Mar 16, 2010

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Anna A. Zondereger
Petrozavodsk State Conservatory named after A. K. Glazunov

Abstract

The article considers typological features of Shostakovich’s style in the First Piano Concerto. The author analyzes this concerto from the point of view of the general imaginative concept, genre specificity, dramaturgic qualities and composition, the principles of modal language and texture, style and thematic thinking, as well as methods of concertizing and instrumental-ensemble writing. Upon supporting her ideas on the results of systematic analysis on the one hand, and the views of famous Shostakovich scholars, such as Levon Akopjan, Mark Aranovsky, Michael Druskin, Henry Orlov, Marina Sabinina, the author comes to two major conclusions: 1. the Concerto has to be considered not as a junior experiment but as an important landmark of individual composer’s style; 2. the first half of the 1930th, chronological centre of which is occupied by the Concerto, deserves special place in the general periodization of Shostakovich’ creation work and special studies intended to explain the specificity of this stylistic period.

Keywords: D. Shostakovich, periodization, stylistic features, Piano Concerto No.1

Article Details

How to Cite
Zondereger, A. A. (2010). The Features of Late Style of Dmitri Shostakovich in His Piano Concerto No.1. Music Scholarship / Problemy Muzykal’noj Nauki, 6(1), 151–156. Retrieved from https://musicscholar.ru/index.php/PMN/article/view/620
Issue
No. 1 (2010): Music Scholarship / Problemy Muzykal'noj Nauki
Section
Musical Style and Genre

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Author Biography

Anna A. Zondereger, Petrozavodsk State Conservatory named after A. K. Glazunov

Associate Professor at the Department of Music History

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