Dimitri Schostakowitsch und Clare Fischer
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Abstract
The American multi-instrumentalist and composer Clare Fischer has
been a leading representative of the linear chromatic approach within the
harmonic evolution of tonal jazz music. All of his original music as well
as his successful collaborations in the popular music sector with artists
such as Prince and Chaka Kahn are characterized by an original harmonic
orientation. Fischer’s large oeuvre draws from many sources in jazz, classical
music and Brazilian music.
Among his main influences, the Russian composer Dmitri
Shostakovich stands out in a particular way. Fischer himself has not only
declared his appreciation of Shostakovich’s complex harmonic approach
in general but also his strong emotional bond to a particular passage in
Shostakovich’s first symphony.
This article investigates the relationship between Fischer and
Shostakovich and reveals surprising similarities in their music as well as
parallels regarding their seemingly diverse socio-cultural context. For
instance, both artists found similar strategies in order to maintain their
artistic integrity within the forces of the Western capitalism, respectively
the socialist dogma. Within this bipolar framework of Shostakovich’s and
Fischer’s life and work, the article also discusses the notion of the passus
duriusculus, which has been described in semiotic studies as a historic
musical topic that conveys dysphoric meaning.
The similarities uncovered in this article account for the transcultural
transformation and acculturation of Russian artistic and aesthetical
values across the borders of the cold war period as well as for the
universality of artistic values despite cultural interpretations.
Keywords: Music of Dmitri Shostakovich, music of Claire Fisher,
Jass, commercial music, trans-cultural transformations, acculturation,
chromatic linear progressions, pianto, passus duriusculus, dysphoric
meanings
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References
2. Fischer C. Alone Together – Just Me. Solo Piano Transcriptions / transcribed by Bill Dobbins. — Rottenburg, 1997.
3. Fischer C. Suite for Cello & String Orchestra. — Rottenburg, 2000.
4. Guter G. Interview 1a, segment 10 (17:32-21:13) [Electronic resource]. — URL: http://www.csulb.edu/voaha (currently unavailable, accessed and transcribed 22.08.2007).
5. McPartland M. Marian McPartland’s Piano Jazz with Clare Fischer. — Program 010220 (unreleased recording from a radio show, originally broadcast on 20.2.2001).
6. Monelle R. The Sense of Music: Semiotic Essays. — Princeton, 2000.
7. Schostakowitsch D. 1. Symphonie Op. 10: Taschenpartitur / Pocket Score. — Hamburg, n. d.
8. Sheinberg E. Irony, Satire, Parody and the Grotesque in the Music of Shostakovich: A Theory of Musical Incongruities. — Aldershot, 2000.