Dmitri Sollertinsky - Pages From The Life of Dmitri Shostakovich - Harcourt Brace Jovanovich (1980)

April 26, 2023 | Author: Anonymous | Category: N/A
Share Embed Donate


Short Description

Download Dmitri Sollertinsky - Pages From The Life of Dmitri Shostakovich - Harcourt Brace Jovanovich (1980)...

Description

$5  

'  a e" t  L  L f   if  e  e  o 

SH�OI H DM

DMITR &LUMI EK

Here is the storypublic of Dmitri Shostakovich-the gur, the pivate an, the gian of n tiethcentry music. Shostakovich extraordary al ent ad ispiration, his work, his lie, ar seen through the urbuln o h tie. He was a proigy at   pino i 7; a restran young man who kep cose to his motr ad sisters whe earing his liveli hood play playg g  a sientlm sientlm thatr; a idely recoged composr r his First Symphony i 1926. In th

Shostakovich was th arge o Stai criticism r his opra

30

Macbeth ofMtssk Disic, and  r his Fourth Symphony, no pr red ut eiht years ter Sta li death. I 4 he went on o wite his mos Seventh Sym ·

 phoy,, or whi  phoy which ch he as acclaimd Translated by Graham Hobbs and Charles Midgley

  back p)

 

Pages from

e Life o Ditri Shostl�ovch

 

Pages from the Lif  o Ditr Shostal�ovich &

by mitri Ludmia Soertnsy TRANSLATED Y RAAM OS & CARES MIDEY  arcour race ovanovch ovanovch New ork an Lonon

 

Original Russian version copyrght© copyrght©  979 by Novsi Press Agency Publhing Hus English ransaion copyright© 1980 by Hacourt Brace Jovanvich Inc. All righs reserved No pat of thi publicaton may b eprodced  tansmited n any fom  by any mans, eectronic  mechanical cdig phtcpy, ecng o an inrmation sorage and rieval sysem wihut permission in wriing from he publish.  Requests for permission to mak cope f any t f th work should be mailed : Permssons Hacot a Jovanovich Inc 757 Third Avenue New York NY 00 Th quotaon fm Ca Sandbug o pag 0 s fom h Wag P July 26 1942, ©  Wag P Prnted n he Unied Staes of Ameica Lbay f Congres Catagng n Publican Data Stinsky Dmit. Pages from he ife f mir Shosavich. ansain f Stanitsy zhz Dmt Shstakvicha Includes index  Shosakvch Dmrii mitievch 906-1975 2. CompssRussiaBiograpy. D. Sollrtinsky Lmila jont auth I. e. 793364 785'092'4 [B M40.S53S643  015707308 St in Linope Gajn Firs dition 

 

Contents]  Contents]

AUTHOR OT 02 222 22 23 0 230 93034 34 444 4449 945 95590 03 39 9  7 7  97097 297  7 7297 7 7 INDE

X

3 2 37  54 

3 75 97  30

1 39 

  77 92 203 23 227 235 

 

ILLUSTRATIONS

 BETWEEN PAGE 118 ND 119) Shosaochs ohr, Soa Vaslya Shosaoch amy arche

Dr  914 Shoso Sh osoch ch amy ache

Dr wh hs ssrs, Mara a Zoya, 1911 Shosa Sh osaoc ochh amy arche

Shosaoch  193 Shosaoch amy arche

Shosakoch a Ia Sollrsky, 199 Auhh ors Au ors coec coecon on

Shosaoch Shosao ch Vsolo Myr Myrhol, a Vlar V lar Mayaosy Mayaosy Noos Pres Presss Aen Aen  Pub Pu bs shh n n  House

Shosakoch a hs rs wf, a Vaslya 943 Noos Press Aency Pubshn Hous

Coposon class a h Moscow Cosraory 94 Noos Press ency Pubshn Hous

Shosakoch urg u rg h h arly ar ly 1940s 1940s Noos Press Press Aency Pubshn Hous

hosaoch a hs chlr, Mam ad Gal

a h faly acha n Koaroa, Koaroa, 1948 Shosaoch amy arche

Shosako ch a h po Y g Shosakoch g Yshk  h Gra all al l of h Moscow Moscow Cosraor Cosraor 1962 Phoo by V. Ahomo

Shosakoc Shosa kochh a Bjamn Bjam n Brn Phoo by 0 aaro

Shosakoch a hs so, Ma, urg rharsals of h Ffh Syphoy Syphoy 1972 Phoo by V Ahomo

Dr Shosaoch Phoo by 0 Maaro

 

Note] e]   Authors' Not  Augus 1975 Dmiri Shosakovich he comoser ie Mankin ha os one of is geaes ceaive musica sis A goo ea has een wie aou Shosakovich mos suies of his work u some ouar ooks as we Our book ors ors he reaer an ouine o uine of he ife of his gra gure gure i wniehcenu music Those eisoes which as chance wou hav i we have manage o earn aou in eai we ora in eai he incue his as ears his frienshi

wih Ivan Soerinsk an his reaionshis wih his su ns Aar from auoiograh he arge nume uishe sources Shosakovichs oher ofeoes reminiscencs of him an his eerswe have rawn eensive on ma eia from ou archive eia archivess  he comoses eers o I van So Soe e insk an o Oga an Dmiri Soerinsk; oher wok from his ha; Ivan Soerinsks noeooks; maerias from he Shosakovich archives o which we were given access  Shosakvichs wife Irina; her recocions an hose of hi chiren; an reminiscences  hi siser Zo an nehew Diri Frriks To a he aove an o Shosakovich friens an suens who share heir memories an achve wih us w xen ou ee graiue fo hei invauae he

 

Pages om te ie o Dmiti Sosta�oc

 

96-922]

S Peers S Peersurg urg a he eg egnnng nnng of he en eneh eh cenur  o eher se of a roa sragh ron of  gavecvere ouevar san a smar ungs an here an here  hansome manson The ros of eegan faaes are occa sona nerrue  a square h a monumen surroune  a ie garen or a rge ecorae h gros of scu ures or he roa coonnae of a magncen ccahera ahera Ths s Nevsk Prosek  e o n a sao su ofen ws here accomane  hs aun eanra an hs wo ssersMara he eer an a Za The o ves n far from he Nikoaevsk Saon near Nevsk Prosek o Nkoaevsk Sree hich s sragh an reguar h  rows of amos enica houses Nevsk Pros Prosekr ekresen esenen en n summer uores sern an goom on wner evenngss one of hs rs memores mem Anoher of his memores s of a ca evenng a ome  he rawng room Some frens ave come  see hs a ens Afer ea as aas he muscmakng egns s moher So V asevna ss own a he gran ano Ther neighbor oris Sssesovs an engineer an que a goo amaeur ces unes hs nsrumen an cks u hs bw Somemes one of he visors haens o a he von a hen hs moher ges ou some of her favore musica r  Tchaiovs or Rachmaninov s faher on he ohe han oves sngng an erforms o Russan romances  rea feeing accomaning accomaning hmsef on he guar

 

 vaansee v the  Cons ie d  a    the  tuddied Sh e  had s tu e.   She ye d  we. plaa yed H i s mother he r  pl ni s t, pi anis a   pia si o n a ofess sio g a  profe ing co min ht of  becom ought houg y an ncee  h y  andd o nc no   n   S. ork k- no nc e r wor so e conce ing g  so oin ha ps o perrhap hi ng  an an   pe eaachin e fo r  nouugh for ene  eno a lene ce she w as no al s ince sburg g o f co couurse, sin Peerrsbur Pee ha,,  bu   n a o ha ow wn   n   he rov rovnce ncess . Sh Sho o  be beffoe ns nsh hn ng g  an   ss an ch e youu ng che oweever, she  e a  yo or,   how a      h ervaor, Connserva hee Co ha  wh  ha ch,   wh sakv vch, Sh sak ovch h  Sh leslavvovc Bolesla nee  na e D  r Bo ng n gnee e   D ma r  verss y;  n   1 902 she mar uae   from S  . Peers ersuurg Un ver gr uae gr Theer a . Th   he fa. en  rel  e h h erself u en h    an gave herself 190  an r n  n  190 Dr hen  D orn  n 190 ugherr  Ma aughe a Marria was orn 19 03 hen

hree years aer her augher Zoya Dr oleslavovch worke a he Cena Dearen f Weghs an Measures uner Meneleev, he aus ches who ha oune  an who ha evse he eroc ale of he eleens Follwng eneleevs eah he wen  work a he Mnisry of Trae an Inusr e was a goo engineer a caale organzer, a man conen wh lfe e was oservan, aer an uisive an  no conne hs neress o hs o, u se his sare e workng selessl n a coee o hel he coasal wellers f he Russan Norh, anUnversy wh a socey o asss Seran suens a S Peesurg The Shsakovches were an ornar faml  he Rus san neligensa who like o celerae rhas an sans as wih resens an reas an who saw he ew Yea n wh grea cereon On Sunays he whole faml woul g  he heaer vs frens, or have coany a hoe The fen enerane vsors, an when hey  hee woul generaly e usc On such evenngs le Dr woul  everyhng he cul o sa n he rawng ro as long a ossle e coul no e aken o a ee whou a

errle scene Usuall he re o he n soe ouofhe way corner n he nave hoe ha he woul e ogoen an lef n eace o eno he sic



 

u  was no only he souns of he rawng roo an he oera house where he chlre were ofen aken for a mane erorance whch ae u hs earles uscal ressons e lsene eagerly o all he any an vare souns aroun h he nanny genly sngng a smle une as she u he chlren o e; he souns he hear urng her walks silling ou of he cnemas whch ha recenly oene on evsky Proseksouns ha were rs hay, hen sa rshing healong one oen hen slow an en er he ex An here was he gran awesome son of he chor n he hansoe chrch wh he colorele exeror Trny Church near heirhouse homeself rove a goo any The couryar of he higs o lse o Lae n he S Peersrg srng when he sun egan o shne more warmly an he wnows seale shu hroughou he wner were ung we oen a os neresng collecion of eole gahere n he yar The cranerry seller a srghly ol woman n a rgh shawl, woul cry ercngly o an nrcae rhyhm "Cranerres, cranerries resh from he snow! eore long he grl fro he neares asry sho woul ake over "Fresh es, fancy uns! The hurygury an was also a freuen vs or when he egan o urn he hanle on hs rghly ane ox he enre yar woul e eafene wh sren, okey olkas an walzes These eores of hs chlhoo remaine wh Shosakovch all hs lfe More han ha he ore fri fri en an even ory years laer

When he eler augher Maria reache he age of en, her oher egan o gve her usc lessons er sal roher was generally no far away e lsene nenly  he ieces she was suying an o his oher's coens, looking a he usc in fron of Mara an rememerng how she hel her hans over over he keys e exresse no esre o ake lessons hsel an no one



 

suggesed i is moher held he view ha sic lessons oo earlyy did nohing u ha earl harm rm  "I don don  alog alogehe eherr a arove rove of eole who ormen a gied child simly in order o creae a sensaion y ushing a scared lile creaure ou ono a con cer sage and giving i he awesome ile o a rodigy Is os unusual in my view or such a child o devel laer no anyhing really ineresing For he mos ar hey cause a sir a he age o ve or six ecause o heir recocious ailiies  a hiry hey seem erecly ordinary; heir cre aive owers have dried  heir sysem is drained and hey are urn ou eore eore heir ime True o her convicions rs Shosakovich sa her son own a he iano only in he summer o 195, shorly e ore his ninh irhday A ha ie o course she had no idea o he msical career ha lay eore him; she iagined hi going ino engineering like his aher As a resul his arens did no even send him o a high school where he woul have received an educaion in he humaniies; insead he o he o and Commerce whereIn he waswen on he exacCollege sciences accouning acemhasis he re ceived msic lessons only ecause i was he cusom among he inelligensia I was generally acceed ha whaever his roession an educaed man should e ale o sighread

simle ieces accomany a singer or lay music or dncing if asked wh when en am amon ongg comany u on he ay o his rs lessonuie lierally during he rs ew minues o his sudiesrs Shosakovich re alized ha her son had henomenal musical ailiy To egin wih he announced ha he did no wish o learn aou he "lile lines as his siser had done a her rs lessons; he waned a iece o lay is moher smiling o hersel de cied o damen his ardor y seing an arrangemen o an ndane fro a aydn symhony on he music sand Al hough no echnically dicul he iece reuire a knowl 

 

ege of usical noaion an a leas a lile keyboar rain g rs Shosakoich hough he boy wou e u o n sa, he erely aske her o exlan wha he shars, as, an naurals ean (he ha long since comie o eor wha noe lay on wha line, as a resu of waching his sisers lessons), an hen, frowning wih concenraion, he began o lay slowly bu wih absolue accuracy, coensaing uainly for his lack of failiariy wih he keyboar by eansorofwo ngerings aeareay u as helay wenhealong Afer one lessons ha he hecoul whole of Chle e's 's Album Alb um wih ease Tchaikosk's Chl rs Shosaoich soon becae aware ha her eaching skills were no aeuae o working wih so gife a u She ecie o sen her son o one of he bes eachers in S Peersburg, Igna lyasser, wih whom her eler agher was area suying aria was aking signican rogress, bu i no san ou aong he oher uils n her class Conseuenly, lyasser reace soewha ronically when

rs Shosakoich resene her son o hi, saying roul, "I bringing ou a rearkable uil! "All ohers have rearkable chilren, he ree wh a sile u once he ha hear he boy lay he reaily aie ha rs Shosa koich igh be righ Young Diri began o aen his classes lyasser, once a uil of he wellknown eran ianiss Kullak an Klin worh, iare o his uils a ne echniue wih enviable nibleness of he ngers an a sure, r ouch e evienl ai oo lile aenion, howeer, o he arisic sie of ian laying e was an excellen echnician a he iano bu no a grea uscian, being nclne o rness an an nfeeng raiona aroach For he sensiie young Shosakovich, who was eeoig a an asonshing rae, i ecae ncreas ingy icul o n a coon language wih his eacher eacher 7

 

Shosakoch was also greatly atrace o coosng e loe o eel sehng ersonal soehng neer eor hear grow eneath hs ngers The oy le usc I cease o e just a leasure or h  ecae a necessty e neee usc o exress hsel hs eelngs hs sll ery aure an oen clsh eas lyasser coul no unersan hs e el cooson srace hs ul ro he an ask at han whch was o eeo a goo ano echnue e een tre to ake the oy ge u coosng The resul he achee was coleely eren eren  as Shosakoch laconcally rrecalle ecalle at a laer ae suyng wth lyasser "got orng Realzng hs rs Shosakoch urne o anoher teacher Proessor Rozanoa of he Conseratory wth who she herself ha

aken lessons lessons The lessons wh Rozanoa were a success er aroach was strkngly eren ro lyassers She worke atenly whout losng her eer or akng young Dr work on endess echncal exercses; nsea she concenrae on  eren kns o ouch an he oo o a ece Wth her he learne o lsen o usc wh he ecuous sensy o a oet Rozanoa also encourage hs exerens n coos on an e hat he shoul ursue he serously wh a teacher Those were Those were stor stormy, my, anxious anxious   years. years . Firs Firs there  there  was World World Warr I, wih bad Wa bad nes nes from the from the front and a nd persisen persisentt rumors rumors of  of   beray eraya a and and tr treason eason   " a t   th thee  hi hig g hes level levelss  w ithin ithin   he Tsr 's family. family.   Th Theen  ca cam me po popular pular   uprisings uprisings :  e em monsr onsraions aions   i n h hee srees srees dispe dispersed rsed by mou ounned police police,, sounds sou nds of shooting, in g, a n d coum oumns ns o  worker orkerss marchi arching ng  ow ownn   Nevsky Ne vsky   Pr Proospekt l lm most i n ron rontt of  of   wh where ere he Sh Shoosak sakovich oviches es live live.. Once, duri during ng a  c l a s h with s o m e worke orkers, rs, a  a  pol po licem iceman an kille killedd a boy befo forre young Dmit itrri's i' s v  vee ry  e y es . 8

 

Shosakovch s  ness o he Feruay Revoluon ha overhrew he Tsas govenmen. n n r 1917 hen Lenn reurne fo aoa o S. Peersurg an housan h ousans s ooff workes workes we wen n o gee hm a he Saon, Dm Dmr r oo was here. e an hs classmaes from he College of Commece on Shaleny See, a sone's hrow fom he Leiny rige, one he coumn of workers crossng he rige suare ears Lenin's ove name.he e Neva coul owa no heahe ha Leninha saoay ecause he ha o san a long way o on he ege of he sure, aove

whch ose a releness clamo of voices. u he secace of  illowing sea of eole, he elemenal force of he evens aking ace, an he gue of Lenina his was mrne forever n his memory, o ou ou lae n sweeing symhonic canvases. Even a ha me, in 197, he com ose he chien's ieces The Soler, Hm of Freeom, an Fuerl Mrh for the tms of the Revoluto.  e ha wien oher hings as well.  he age of en an eleven, young Dmiri was no nerese solely in he hisoric eves whch wee akng lace. e wroe an oera cae Tsg The ysies) afe he oem y Pushki; a ale calle Ruslohk The ermai) ase on a sory y nersen;  riogy for for iano eni enile le I the Forest; a fanasy fo wo anos an oher oher iano ieces. e also foun ime for ohe hoies.  uie, nese, nosecive chil, he never ike rowy oys' games wih los of shouing an unnng aou. Whe sil very young, he woul lay for hours uiing imroae srucures wih hs locks. Lae he ecame houghful an aloof, whrawig no his reecions an forgeing aou everyhig ese. Then he me came w when hen he grew ass assionaely ionaely fon fon of ooks ooks..  rs he ea oinay chiren's ooksfairy ales an so ies aou Thenevens. he wasFnay rawni owasooks on Leskov, fmous eole anaimas. ousaning ogo, 9

 

Chekho a Dosoevskyauhors he woul love all his lie Even in his early ees however Dmiri looke on his favorie auhors rom a acive an creaive oi of view The images which caure his aeio egge o e recreae i musical erms Early in 1918 in a le  r o his

favorie auhis mohers Naezha Kokouiahe wroe  "I "Ive ve ecie oo se siser Lermoo Lermoovs vs oe oem m aou aou Ts Tsar ar V asilyevich h hee youg guarsma a he earless mercha Kaashnikov o music A he mome Im wriig musc or Gogos rful Rvg." From he age o aou eigh o youg Dmiri ha also eoye wriig oery All her life his her reasure a iy homemae oscar o which he ha wrie i a chilish ha I' seig se ig yo a ew poe poe Morig peeps hrogh he wio, The s is alreay p The wiow is brigh wih a gole ligh, The s' playig gaes gaes wih he pp. p p.

Amusig naive a chilish u roo o  eurig ier s "A new oem imies ha here ha bee earier a ems; urher eors wou oow The enveoe coaiig his leer o his au also hel wo log oems Th To Brs a A rovrb. The youg auhor viewe he criicaly  "he rhymes rhymes aare re a i i sraie The To Brs is righ u A rovrb is eer Aou ha ime his years o suy a he College of Com merce came o a e is eachers his ares a he himse ha al reaize ha he was o in he leas ierese i a career i i he egieerig aoe icommerce A aha amiy coferece summer e o 1917 was ecie he oy shoul e se o he amous high school foue y he IO

 

weknown acher Maria Soyunina, a frien of he Dos

oevsky faiy The schoo owe s euaion o s rian eaching sa, any f wh were universy rofessors, an o he hgh sanars  se for is us The schoos ue ineigensia aoshere hee o rng ou h uis ni iua aiues eveo heir aes aes Concers werean given reguary, a eas once a onh, in he schoo ha, where gues usicians an Conservaory su ens ook ar, an chiren a he schoo aso efore A hese concers Dri Shosakovich aye usic y Schann, Choin, an rieg e was a goo i, ese ciay in he ars e cou resen his hoghs n a cea, orery, erse, recise anner, an was renowne for hs nviua an ofen araoxica w an hs wonerfu sense o huor is eachers eeve ha he igh ake a schoa of oe Diri was very on o anias e wou ay haiy wih he ogs a he faiys acha in he counry, an ook ouching care o newy hache irs faen ro heir ness his ove o ving creaures, "our ie rohers, reane wh he cooser a his ie e aways ke ogs an cas an rie o ake vacaions where he cou e cose o an as As ie wen y, Dis aens egan o see or ceary ha heir sons uure ay in usic His aying eve oe a auriy an originay eyon hs years Whenever he aiy was invie ou or ha coany, Diri wou e aske o ay soe reg, Chon, or occasonay soehn of his own Perhas  was his own ieces whch os  resseKonsani hs seers A rief own o s ro Konsa ninn Fein, henescrion s s sari saring nghasocoe in he wor o eers, on who he young uscan ae an nee  ressn 

 

It wa woerfl o b aog he gess whe he o boy wh h lps presse ogeher, a sall, arrow, fal Roa os, a olfashoe specacles wh brgh eal fraes    ere he large roo a, rsg o poe, sat ow a he hge pao Worfl, for  soe obscre law of coracos he boy bo was rasfore t he pao o a bol usca wh a a' sregh  hs gers a a arrsg rhyhc re e playe hs ow coposos, whch were full of he ces of he ew scepce works whch force oe o lse as f oe were  he heaer, where eeryhg s so clear ha oe st laugh or weep s sc alke, chaere, wa soees que ouspoke Aog cofse ssoaces t sely reeale sch eloes hat all eyerows were rase Th he by go p a we qely o jo hs oher, who blsh a sle as f he applase were for her a o her worlss so Laer, whe he sca was bese fro all ses wh reqss to play aga a he jst sa here, eyes lowere agrly h hs specacles, has o hs sharp bosh kees, hs oher sa, Well go o, Dr, play soehg soehg else I a sa Dr obeel soo p a walke wh a chl's awkwarss o he pao As he oche the k he brskly regae hs al sare a ook o he pr posefless whout whch grea sc s cocable Those wh a gf for preco col alreay se  he wb of hs sglar aggs he fre Dr Shosakoch Shosakoch

Tis descipion efes to one of e soi�es eld a te ome of e eminen S Peesug sugeon Ivan Gekov, hee te ceam of e capial's inelligensia gaeed egu la visios incuded e wie Aleei Tolso a lage sou, enevolenlooking ussian noleman opposie Aleei eizov a so oken and man is woeact woe of msical and diaolic ings and imself esemled e Devi of popua imaginaion Te eminent dieco and eaica pesonali Vladimi NemiovicDancenko ould appea

1

 

there wheever he came up from Moscow The poeess Anna Akmaova would e there lisei kidl o he praises avised on her an rekov's rekov's med medica ica  colleagues gladl came o forget heir professiona concerns. The oung ass Pavel Adreev aer a sooist at he Kirov Theaer ad the pianist Vladimir Sofronisk oe of the est ierpreters of Scrai appeared at hese improvised soi�es just for the hoor of atedig. Possi the most esteemed amog Grekov's guests was Aeader Glazouov. A major ssia composer ad the ouger coemporar pupil ad fried of imsk Korsakov he was an udispued auhori in musica circles. He had heard Dmiri severa imes at the Grekovs' an had ee ierested i this ucomol gifed o for some time. It was o him that Mrs. Shosakovich tured for advice "Having satised himself as to Dmitri's knowledge and aili ties she aer recaed "Gazouov decided that he cou easil go straight io the composito departmet ad omit all the heoreical courses. He said somehig to me he that I wrote down and that remains amog m most precious memories cannot a tie when as gifed s Iour so atrecal he oserva oservaor.' or.' here were cidren Dmitri took the entrace eaminatio i te fa of 1919 For ma ears now he onservaor has een an institute of higher educaio ateded  oug me ad women of etween seveeen ad twe afer completig their sec ondar education. But things were dieret in 1919: o ge into te onservator it was necessar on to have a certain degree of talet a kowedge of musical disciplie ad e aili o work like a professioal. Bearded oug men with

degrees i egieerig or medicie ad girs i pigtails frequent sat net to oe aother in cass. Oe ear for eample a miiar egineer named Nikolai Miaskovsk

 

ho as almost thi sudied in he same class as a phenomenall gifed teneaold named Segei Pokoev At he enance eaminaion theefoe he on Shostakvich looking even ounge han his thiteen eas found hself in he compan of sudents fa olde than he The eaminaion ent easl  he plaed a nume nume of his compos compos tions anseed quesions testing his ea and his theoeica knoledge and hen s alloed to go A fe hus lae the od had spead hough the enomous uiding n Teaaln Squae he Consevato had accepted a student hose talens ee as Glazounov put it "on a eve ith Moza's Those ee ve dicult eas fo ussia and fo evoluiona Peogad The coun la in uns a pe to savage famine avaged  the man eas f a and the ensuing foeign inevention aion cads ee intoduced ut not much coud coud e otane otanedd ith he hem m  millet vegea vegeale le oi an ccasiona sadine Thee as no utte suga o meat in the ci Fuel as sho Insead of thei tadiina ussian o Dutch a lagefo amount eod people usedstoves in hich castionneeded ones hich some of eason ee knon as bourzhouk. The could e stoked up ith a hand ful of shavings ut did not sta hot fo longust enough to o o a kele kele o heat up some thn mille soup sou p Cit tanspot as not functioning e the seecas ael an Peope ho needed to get o the othe side of the enomous cit ich spead out aon oth anks and

the man anches f the Neva ould de on the steps  he cas hanging on  thei ngenais Eve da Dmii had to go a susantia distance fom his house nea the Mos co Saion to Teatan Squae hee e enngad Cnseva si stands toda In all eathe eve da he oveed that distance oh as n foo and eve da ithut fail he appeaed at his classes

 

Te onservaor ad admied im o o facuies a e same imecomposiion and piano. He coninued o sud e pano w oanova and for coosiion wen  imskKosakov's reaive and favorie pupi Maimiian Seinerg. Seinerg was a marveous eacer a riian profssna wo coud aso insi a ig degree of professionaism in is ppis. He was ver conscienos. In spie of  cod (e onservaor oo was wiou ea) e awas arrived in e cassroom puncua and as painsaking in is work w is sudens. I canno e said a e reaed im n ike manner for e cod e prospec f working on an emp somac and e ong disances pu man of em o. We Senerg's reguar cass was fu in e fa  e sprng ver few sudens si came o i u among ose few nvaria was Dmiri. Te casses proved mos ineresing. Besides academic discipines and pracica composiion Seinerg aaced grea imporance o genera musica deveopmen. His casses awas dd a o of fourand paing and en anazed e form of e pieces paed and e wa e were arranged for e insrumens. Seinerg ep epaned aned evering o ddoo wi wi e armon cear and concise drawing is pupis' aenin

o neresing passages and nururing n ururing eir armonic ase. Dmiri's feow cassmaes were sruck  ow quick and compee e pcked up and assimiaed aning reaed  e musc. Te principes of armonizaion e pecariie of modaion and eure e ogc of counerpoin e wiss of armon rtm and imrein a is e was enire a ome. In aura ess e coud ake down e mos compicaed passages from dicaion quick and wiou  misake. His ear in e sensiiv and accurac w wc  denied sounds was ike a pece of sopisicaed acousica equipmen and is musica memor insan capured wa e eard. Indeed is capaci f is so deiged is cm

 

ades a e wen ou of ei wa o devise moe and oe new ess fo im Appaenl is ea fo music was no onl asolue wic in iself is impoan fo a musician u also inenala is visual o concepuasince i did no depend on wa e ead e could pick up e inies deails of e music jus fom looking  e pages of a piano educ ion o scoe He could sigead an piece wi ease no mae ow dicul as well as ocesal scoes wi a lage nme of ansposed pas In e sping and fall wen e empeaue in e Consevao's classooms pemied musicmaking e consanl laed aangemens of smponic and came woks Dmii ad oe uos esides Seineg in e composiion facul He sudied polpon wi Pofesso Nikolai Sokolov a gifed compose and eace wo also ad un ommon liea alens On e eeio Sokolov looked sen and foidding u in fac e was gea fun and a wi

ineausil invenive Hs casses alwas Soko coined ad wok wi soelle anecdoes jokes and panks lov's aonic and polponic ecnique was supe and e could coec eecises quckl and well puing is pupils on e ig ack He lied close o e Consevao in Mai milanovsk Passage u unlke e puncilious Seineg ofen skipped lessons Tis did no wo e oe sudens undul fo e oo wee glad o ge o of a lesson Dii oweve found a wa o o ousma is eace : no nding im in e classoom e would seek im ou a is oe In is wa e managed o acquie a ne solidl ased od of knowledge Afe Sokolov's dea in 9 Dmii compleed e couse in polpon unde Seineg wi wom e also sudied fom fom and ocesaion Fo music iso Dmii wen o e leues given  Aleande Ossovsk s a pofesso and lae in 9,

 

recto of the onsevato who gave clea and accuate de sciptions of istoica peiods and related musical develop ments to the oveall oveall cultua cu ltua and poli politica tica agound. Soon Dmiti the oungest of the composiion students was te cente of attention thougou the facult. The on servato ha hadd a oung composes' clu  meetin meetings gs wee no mall eld in the onsevato canteen and pofessos and even Glazounov himself would look in. Thee would e a lot of plaing  anmaed discussions The suject followed of the discussion often poved to eofa the new pieces. wok  Shostakovich. He took along is piano peludes and his st ochestal composition a schezo dedicated to his teache Maimilian Steineg late he plaed the Ftst s fo piano and the Theme and Vaiations fo Oches

ta dedicated to the memo of Pofesso Sokoov. (Almos all the compositions dating fom his cildood and out ae dedicated to someonea teache a fiend or a elative. I appeas that he oung musician shaed the teasues of his heat and imagination geneousl with those dea to him. As fa as composition was concened then evething was ne. Things wee moe dcult with th thee pia piano. no. At st he was happ studing with ozanova. He ad gown accustomed to e methods and was attached to he as  peson. B the end of his s ea at te onsevato howeve it had ecome plain to him that he ust change teaches ozanova's esseniall feminine ened and deli cae u esticed piano stle was too oppessive fo a musi cian with his phenomenal talents. Afte agonies of dout as to wh whet ethe he iitt wa wass ehica ehicall Dmiti Dmit i eventu eventuall all m made ade the de decisi cisio. o. In his second ea he was taking lessons fom anothe po fesso Leonid Leonid Nkolaev Nkolaev.. Nikolaev was the most popula teache i te piano fac ult. Maia Yudina and Vladii Sofonitsk oth state 

 

usans stuie with hi. Eve ianist tie to get into his classes but he accete ve few; of couse he agee to take Diti ithout hesitation ikolaev an his lasses his own wa. e i not give lessons to one uil at a tie; evebo who wishe to oe cae. Man knowing what was to be lae bought te usic with the so as to unestan ette an ee e his coents The atoshee in the classoo was like a concet hall. o one even consiee leaving uing a les

son (an not onl when soeone was laing). atecoes (the wee ve ae) stoo til in the sal aea etween the two sets of oos iviing the classoo fo the coi o thei eas to the naow cack between the inne oos. The "chosen few whose tun it was to la et in the classoo an hou befoe ikolaev aive The checke with one anothe to see if the ha eebee his instuc tions coectl an woul all but ght fo the chance to la fo a few inutes efoe the lesson began Both gan ianos oul be going at once each laing soething ieent an ach lae ting o outla the othe in oe to hea hi self bette. This iobable concet continue until a stuent oste b the ofessos cloakoo an in cing "es hee! Eveone ushe to sit in the ee oilcloth chais an o ove thei usic. ikolaev entee suce elegant an aiable an the lesson began began At the stat it was so col in the classoo that the lae in coats boots an gloves with no nges At st thei nges foze on touching the ic kes an coul hal ove but gauall the stuents wae u an thei la in beca oe u an uent It was bette when the bourzhouk aive The stuents bought fuelne a g anothe a lank fo a cuboa the leg of a chai o a section of ictue fae The net one to la sat b the little

 

90922 stove an wae his hans. When he went to the iano, the follow following ing uil took his l lace. ace. Stuents ought ieces the alea kn e well an ha woke on all the coul  theselves. ikolaev listene fo stat to nish neve inteuting to coent. When the iece was ove he woul geneall sa "e nice. Then the

ok egan an"ve whennice he eoance. a nishe ikolaev nothing sought as a ule eaine of the to ake his uils listen intentl to the usic an n eaning in eve a eve note. e ew thei attention to the iece's tetue to its haonic an hthc featues the wa the elo eveloe, the constucton of the caences an how the wee eache. e analze all these etails. Soeties having nishe a set iece Diti woul sho ikolaev his coositions. ikolaev was hiself  co ose having witten a nue of woks which enoe soe liite success in thei tie. The ee logical, efect in fo an ve leasant to listen to. Unfotunatel the ha no iniviualit o life of thei own. ikolaev a ne an sensitive usician was well awae of this an a as it as fo hi to enue the isait etween his ofessional ail it an his ceative owes he foun the stength to give u coosing an evote hiself entiel to iano laing an teaching. But fo that ve easonas one who coul feel the usic "fo the isie fo te oint of view of a ceato athe than a ee listenehe as ale to give Diti ul valuale avice aking enetating an sensitive coent on what he hea. The o value these coents highl. Much late einiscing aout hs eas at the Conseato, he egette that ikolaev ha not given a secial couse in coosition. Glazounov ket a caeful watch ove the ai evelo ent of this billiant oung an. e alwas took a atenal

 

[906922] neres in he students and was invarably present at  at   al he

xaminations held a he Conservaory for musicans of dier xaminations n specalizaions. specalizaio ns. For all his busy imeabe, e never ired of isening o pianis, violiniss, celliss, sngers, and wind nd brass players. Afer everyhing e isened o, e woud  woud  o dow a shor commen on survved. a piece concerning Shosako Shosakovich vich have surv ved.f paper. Hs commens In he spring of 920, a he end en d of Dmiri's rs year o sdes : "Ousandingy gifed gifed as  muscan and viruoso. viruoso . Presention already highly individual and mature. 92 : "An 92 "An   excellen musican despie is young age. Suc eary developmen is remarkabe. 1 92  " . . . a musician with alens quie ou ou  of he ordinary and a echnique advanced beyond is years. . . . houghful presentation, ful of atmosphere. And of o f is developmen as a composer : "Excepional "Excepional gi gifts which have bossomed eary. Somehing o  o  be astonished and delighed at. Fine echnical workmanship, inerest ineresting ing and orig origina ina conen. ( 5+)* A year aer, wihou waiing for him to concude concud e his erm  the Conservatory, Glazounov was caling Dmir "already a compleely compleely maure musician. musician.  Gazounov's ineres showed n more han jus is comments and enhusiasic enhusiasi c acclaim for a brilliany unfolding an. He did everyhing in is power o ensure ha during hose dicu years of meager meager raions and severe resrictions, when cothing and od were consanly in shor supply, Dmitri go wha e required. The young y oung boy needed o de velop physicaly a a ime when  when   he burdens he carriedbo e menal ones associaed with hs rapid deveopmen and incessan absorption absorption of knowledge, and physica ones, oo (a panis's life nvoves oo muchlife  for  also his frail bodyhard pyscal work)were amos "5

is the highest mark warded war ded under the system used in the Sovet Union.-Trans

20

 

lazounov arranged for Dmitri to receive a gran from he Borodin und, hich as nanced  receits from er formances of Borodins oera e Igo. nder a covenan  Borodins friends, ho had comleed the oera and succeededent in getting due studen them under co right ino theit staged, fund othe helmone talente comosers lazounov also alied for secial academic rations of sugar, utter,, and meat to e iss utter issued ued o Dmitri Dmitri In 19, recognizing ha even this as not enoug, lazounov rote a leter to the Peoles Commissar for Education, Anatol Lunacharsk, under hose authorit the Conservaor oerated a tat time Mos seee Sir, In he S. Persbrg Sae Conseraory here s a higy gife ppil nae Diri Shosakoich who wil nobtely becoe a coposer, an who is takig casses in the heory of coposiion an he pianofe. He s aking phe oenal progress b this, nfornaey, s hang a ee erious eec o his frai healh, which has been weakene by lack of norishe. I hbly reqes yo o sppor y pea hat his ost alenehisboy be h. prie wih norishen in orer o n crease srengh. sreng

When Dmitri fell ill to ears later, lazounov again a ealed to Lunacharsk for hel his time his leter closed ith the ords "he death of such a man ould e an irremediale loss for for te arts the orld over over  he mos remarkale hing is ha here as no creaive anit eteen he venerale musician and his oung charge it ould dicult o as imagine to more strikinglIndeed, dieren artiss eheir musc as dieren as the themselves diered hsicall from each other lazounov massive, imressive, rather corulent, delierate, and hlegmaic, reminiscen of a khan; and Shosakovic, a

1

 

shap cons, tn ight, and nkmpt lik a sparo laounov's msic as alancd, classicall autiful, and forhigt, ha his oung contmpoas as alrad angla somtis dramatic and u nv rtfl, as if gathring into somtims itslf all hsacastic, storms and passions of its ag his msic, novl in vr a, as foign to laounov t h as ll aar of h talns possssd  th oung studnt or a hil Dmiti continud to go to school hil stding in to facultis at th Consrvato ru, th Consvato od class in gnal sjcts for th f ppils ho, lik him, had not t compltd thir sconda dca tion, t th standard of tching as gnrall poo, attntion ing dvotd mainl to th spcialid disciplins is parnts rsolvd tha h ould no tak th as a ou thi son mst no onl hav a scur grounding in msic, u co a gninl cltivatd pson ll infom infomd d iinn man sujcts So Diti li oth his sits, contind to go to th old Stounina ig School Evon qickl ralid, hovr, tha this doul lif mad impossil dands on th stil immatu and going o Profsso fanasv, h dirco of th high school askd Dmitris fathr to com for a alk is vi as tat, sinc Dmitri had ml dcidd on a futr as a musician, it as nonsnsica and vn dangous to mak him std in a school ith acting rquirmn and a road curiclum dsignd for futu scintists hi convrsation long ith ovrdu dcisioncuriculuma Dmitri a transfrrd tohastnd anothr aschool a normal

school that in addition, as vr clos to his hom on Kuntsk Lan o Ditr Ditrii had mor im for for music and kn kn  ho o us 

 

i o es avaage; is irs for knoege an ne msi ca eeriences as insaiae fer a f a of s, in e evening, e ou rs o o e Pilarmonic a,  Oera, or sim visi friens an mak mic "W sens ere forever going o erformances a e Piarmonic,  cael, or  Oera, e comosr recae aer "W a as aene  reearsas aing no mone,  urne sneaking ino  a fre  io crang a scen ino  ne armainaining aearances  riving e icke oce an  aer aminisraion o isracion u s ite misees re comlee usie  e range of ms ical knoege  acqire  suc nesirae means In sie of  arsis of   erio, e earica an concert if of S Peersrg as fu an arie e oera oses resene e es rocions o  or reeroir oeras  eri an caikovsk, Wagner an Rimsk Korsakov, ck, Mozar, Weer, an inkai  onerfu acorsingers oor Caiain an Ivan Yerso erforming Music  nineeencenr Rssian comosers an e iennese masers,  rams, an r ioz co  ear amosanver a in Wagner, e Piarmonic al  acie msicmaking reominae mark or assiv acqainance Te ong o   Conseror o ofen mee a someones os o a an nfamiiar ice as a iano e Sc as ir nsiasm a 

ere reare o ak mies an go io ser in  argain On Mona vnings  sa gar a  om of a eknon msic ovr, nna og Msicians   arg room, ic as ii  n arc i mar c mns Comosrs, cnucrs, an ianiss o  r s  as rofssors an sns rom  onservor

 

he progam for the evening as never announced in ad vance, ut everone aited impatientl for Monda to come rond People plaed their on compositionspeces the had ust completed, o sometimes even unnished orks; he ere keen to shae thei ieas and hea constuctive and nformed criticism t ogts the also encounteed modern music from aoad  orks  lan Beg and rnold Schneg, the rench goup "Les Si, and Hindemith, and ne pieces  Igor Stravinsk Bt Dmitis nteests etended eond ust music He as keenl ineested in allet and enoed going to the cinema, hee the st Soviet pictures  Pudovkin, Eisenstein, and other ne directos ee shoing He sa lms ith such ellknon stars as Emil Jannings, Konrad eidt, Piscilla Din and sta Nielsen He ead a great deal, too and eing interested in painting, as friendl ith students at the cadem of ts Like other Conservato students he as often to e seen in the handsome cadem uilding on the ank of theevening eva, and notasonl ehiitions since thee ee often events ellat he cadem stdents old put on plas the had ritten themselves, poviding thei on scene, for hich te sudents at the Consevator

composed music ll in all, Dmit achieved a supising amount With him, tie seemed to strech and accommodate an unheadof numer of activitiesa caacteistic that ould remain ith him all his life It clearl reects the inuence of his famil nd the haits acquied thogh his upinging  his mother in accordance ith strict pedagogical pinciples hough enormousl us ith to Consevato faculties, studies at school, and his etensive msical interests and contacts, Dmiti still had time for a ide cicle of friends s in the past, his famil often ent visiting and constantl receivd guests at home amil celerations ere particu

 

90922] larl enjoale; a relaed and merr mood revailed. aria, vivacios et gentle, femnine and attractive, and Zoa,  strange, rovocatie schoolgirl ith an anlar and uncomromising characer, conrasted ith te serious, sometimes distant Dmitri, ho seemed to hide ehind his shining sectacles. Bt he too could e mischievous at times, surrising eole ih his not alas unimeachale humor Dmitris father as he life and sou of the ar, u he giding force ehind i as undotedl the intelligent, strongilled, dilomatic, imeccal Shostak Sho stakovic ovich. h. he he  e in and the ddin ining ing roo room, m, ellred hich hich asrs.  o narro hat the laden ale, at hich the guests sa almos sholder to sholder, seemed to take u all the sace. he the ent into the draing room. rs. Shostakovichsmall u ver erec, seeing everthing ith her iercing lue ees led the conversation and made sure hat everone felt a ease. r. Shostakovich, of medium heigh and a it ortl, oined one or another of the grous in the room, smiling a

elcome here as msic and the laed charades. he acting as full of humor and quirk details, and as accom anied  itt muscal imrovisations. Dmitri sat at the iano, a michievos gleam in his ees. ll resent ere geninel ha.

 

922926]

eruar 9 rough grea grief to he Shosakovic fam il he Dmitris father died a the age of forsi I as a errie ad ueected lo Youg Dmiris life had ee

goig smoothl a is accusomed if hectic ace; he fuur had seemed rgh ad secure en in he course of a fe das everthig chaged His father caught a cold ad he cold develoed i to do dole le eumoia he docors did all the could u earl i he ceur he there ere still o atiiotics or sulfoilamides tha as ot much Professor rekov visited he atie regularl ad durig the critical eriod did o leave his edside all ight But the atiet could ot e saved Earl i he mornig of eruar 4 rs Shosakovich dra gra airs shoig at her temles came ou of the edroom ad old the"Ichildre "ather is o loger ith us rememer he eral of Dmitri Bolesavovich the head of the Shosakovich famil i he leander evsk onaster ter  rote Elea rusova a Perograd musicolog musicologis istt "rieds et  to oor aria d rs Shostakovich  he fresh grave o oer their codolences Dmitri ad Zoa sood a little o to oe side o a moud of el dug earth Zoas disraugh little face as e ith tears and her coa as ufasteed Dmitri stood his ca crushed uder his arm slol iig his sectacles His ees looked eseciall defeseless ithou hem ut his eire face as lled ih iard con

 

cenraion an comosure o need o go o im i con dolenes! fer e rs as of mourning, c assed as if in  aze, e famil ad o confron e ressing issue of earning a liveliood Dmiri as feen e considered imself an aul and, eing e e onl man lef n e fa famil, mil, eld e en radiional vie a e as is naura ea and had  ae look care of e ohers; e mus give uofishissudies and urgenl for aerefore, o e old is moer deci

sion u ran u agains er unincing oosiion o allo im o ae suc a se ould ruin is fuure; se as fu aare of e romise a fuure eld, given er sons enomous alen, and could no reconcile erself o is loss or idding im o cange is curren a of living in an a, se erself en ou o ork, a rs as a mere casie e qualicaions as a ianis and eacher ad los heir vaue afer man ears iou racice, and er cildren a gone from er oo la lasser sser for lessons fer a fe mons se received an oe o ork as a is in he oce of e Cenal Deamen of Weighs an easures, ere er usand as sill rememered; in is laer ears e ad eurned o is former lace of ork, houg in a far more resonsile osiiona osiion no aken over  rs Sosakovics roer, Yakov Kokouin eanile aria ended er iano classes a e Conserva or i Rozanoa and oo rivae lessons  fe mons laer, hen se received er ianiss diloma, se en  or a e College of Coreogra So e nancia ues ion as seled for e ime eing, and Dmiri could coninu is educaion uninerrued e loss of is faer lef a ainful ound in Dmiris ear o eress e urned anguis,o ain, is ms oss, e oung comoser musicand andierness roducedof 2

 

impotat com impotat compostio postio o  ss Cosrvator ars  a  t t or or To Piaos ddcatd to t mmor o is fatr h or mo mtsrelue Ftst e, Noture, ad Fle ar  varg mods  pat a pctr of dp tog ad lf goig o all arod ad rgt lrcsm ad

mal rstrad gr  st clarl rvals hostakovics ormos gt or mlod hs sprlatv ss of form ad t tragic t o mch o s latr ork h coc o gra composito or to prormrs to paistsas o accdt  plad t pc msl it ara It as a jot orig rom tm to tr lat fatr  tm   old lav t pao aclt as approacg ad  as orkg o t program or s gradato cocrt H as a rlliat past Hs tc spcall s gr tc spr sm to ist or m Bt oas cors t Prolms attracto dd o ot s plag dd ot l  tc alo  possssd a ormos ad gl sal talt Udr s grs a composto ovr llo sodd rs ad orgal pctd ad v paradocal i itrprtato t alas covcg Watvr Dmtri plad th pao sodd as  t r ot o strmt t a ol smbl  cold pck ot stl prcssv or lllk cts  otcd i th msc prodcig at tms almost a picato t a ll ttti  rqrd as if h r plag a complt orcstra T most immdatl otcal caractrstc o his plag as hs idvidalstic piao stl c ad dvlopd dr te ic o is o compostos t tir dstigsg fatrsradt pgc vtal immdac t aaltical por of t mscal togt ad t cocisss ad trm prc prcso so t hc t composr st ot s ida idass h al amiato cosstd o to cocrt prormacs t t rst  ad to pla a mr of solo pics of 28

 

dieren dier en sles s les  h hee Prelud Pre ludee and Fug Fugue ue in F# in inor or rom he

rs ook o J. S. Bachs Bac hs WellTemere Clver, Beeho vens Sonaa no. , oars C aor riaions, Choins hird Ballade, Ballade, Schuman Schumanns ns Humoreske, and he iece ie ce "enice and Nales rom Liss Yer Yerss of lgr lgrm mge. ge. comple and varied rogra hem erormed suerl; hehis oard o eaminers aard aarded ed him him o marks arks he olloing da he laed Schumanns Concero for Piano and Orchesra ih raher ess success, u hee as good reason or ha Earl in  3 Shosakovich had egun o e roled  ains in he region of his neck  rs he aached no porance o he laer, hen his overall con diion deerioraed, he sough medical advice he diagnosis as no reassring he had uerclosis o he ronchial and mhaic glands  rekovs recommendaion he as sen o he clinic run  he amous Perograd lung secialis, Proessor Sernerg, here he underen an oeraion, aer hich he as advis advised ed o ggoo he Souh o conv convalesce alesce he illness and he oeraion ould have een reason enough o ospone his nal eaminaion, and his as ro osed He, hoever, adamanl reused he sill had o grad uae ro he composiion acul, and had o hink also aou geing a jo and helping his moher and siser So he egan orking or his eaminaions eore he had recovered rom he oeraion, a andage around his hroa I is hardl surprising hen, ha he remendous nervous and hsica srain roved oo mch for a o ho had een delicae since irh and as no eakened  serious illnes illnesss ha summer, aer he eaminaions, Dmiri reare o go Crimea, heclimae allhe recover in hehere healh healh clidocors mae hough he ould evenu he amil as in sraiened circumsances, and he our ne roved dicul o arrange he could no ge  ut

 

a travel and accommodation assfor a sanatorium lazounov contrived to get hold of a ass to the medical facilities a the asra Saatorium, u Dmitri ould have to arrange meals and accommodation locall In addition, rs Shostakovich asthat afraid to lettimid her son She felt, not ithout reason, he as and go notalone equied for the diculties of living aa from home aria ould have to go ith him to look after him inding the mone for the tri as a ainful task he orroed from friends and sold the ianoa eloved ol Diederichs ith suer tonealthough it as as necessar to them as the food in their ouths But the still did not have enough, enou gh, so D Dmitri mitri and his si sister ster decided on a lan  the set out for the Crimea ut gave concerts along the a Consequentl, the arrived there late Kustodiev, an artist ho had taken a room for them in asra, as getting orried and rote alarmed letters to Petrograd Eventuall, hoever, the Shostakoviches did turn u, a fe das late u in goo sirits; the had managed to earn some mone and see a great gr eat dea deall  he had a onderful time in the Crimea Dmitri ent for treatment in the morning, then as fee for the rest of the da e traveled all over the district, going to Yalta, urzufe, and Simeiza e got to iPetri, a eautiful mountain ith a crenellated eak like the alls of an ancient fortress, and the Bear Rock or udag, hich leans over the ater like a ear slaking its thirst e came to kno the Crimea, hot and intoicating, lled ith the scents of ild, unfamiliar oers, the fragrance of junier, the smell of the sea, an the coolness theas reeze ot allofhis ere idle here too he earned mone  giving concerts aria rote to their mother "oda Dmitri las in luka; hell get a illion and he ants to send it one then as not counted in rules r even hundreds of

 

rues; inain as raman n mions cnge ans ike koecks Wi e ilion a Dmiri earne e cou ive for a eek a es Dmiri in ae a goo ea In e sumer man musician gahere he Crimea, aricuar from Mosco   aniss Igumnov an Semono ere ere, an Minae,  arione from e oso eaer miri as e ounges, eing no even seveneen, u  Muscoves a ear o im and,  al accouns, reae eir oung coeague i grea resec e s ofen ask o a n i so ire ess, erforming Scumann, Coin, Lisz, an is on comosiions eveheless, eras for e rs ime since ear ci ho, his hougs ere no enire aken u i music In he sanaorium ere e en for reamen, e a me  gir ana ivenko, e auger of a eknon Moco ierar scoar, a gone o asr i er siser for a oida a e en of e acaemic ear Se as si n coo an of e same age as Dmir; e as seveneen on Seemer 2 se o eeks eeks aer anasma, sim, i ck ark air and a roun re faceas o, sociae, an ereme ouar S as alas surrouned  a ive cro, incuding a numer of neresing an neigen oung eoe e Sosako vices oine his circle e sen e das ogeer sim ming, laing olea, an king in e neighoroo In he evenings heir ne friens ou come aong in a grou o er e Sosakovices erform Dmiri, ike e oer os, cou no remain inieren o anas carms e are no oe a se ou reciro

cae is feengs Painfu s,  as as reiring n coman an afrai of aracing aenion mi ese con en, aronzing oung eoe e f ike an ug uckng i is anage neck an ig oun secac Y f 



 

few as a miracle occurredhe realized ha his feelings were eliciing a resonse ana reaed him wih aenion and indnesslaer and her faceDmiri li u wih jo wheneverheheworld me Decades when Shosaovich, famous comoser ied aan live liveno no elained  "How ould anbod no have loved him? Everbod di He was so ure and oen and alwas hough abou oher eole how o ae hings beer an easer and nicer for he He never hough or worried abou hiself If here are sains on his earh he was one He was lie ha when he was oung when we me and he remained lie ha o he end of his lfe eiher aria nor Kusodev who was looing afer e oo he ouhful "seasde roance seriousl he hough of he air of he as children Bu ana long reaed in Shosaovich's hear he lived in dieren ciies Of course he wroe o each oher He dashed o o oscow o see ana; she visied Perograd rs Shosaovich receved her brighl and was as welcoming and resened hosiable ver Bumigh Dmiri sensedher ha inside his moher heasgirl who derive of her son Afer his fahers deah he was he famils sole rd jo and hoe His moher and wo sisers loved him ercel e ealous rac of his achieveens and were sil ha ealous ana was genle and ndecisive while Dmiri was

no noed for his resolve and was used o he rouine of home ife So he ears wen b hen in 929 ana go married Dmri had reurned o Perograd in Augus 92  lazou nov had once again managed o obain nancial aid for his rog bu no enough o sele he debs and hire a iano Dmiri had o nd a job ow ha he had onl one course of udies lef o nish and he docors conrmed ha his 2

 

alt ad improvd and gav no caus fr alarm, Mrs Shostaovich agrd h sarch gan It as th arl 90s, ovr, ad e countr as still i turmoil; thou sands of popl in the laor changs ere vainl looing for or t last he fund a o as an accompanist in a movi thatr his as a succss, ut it did av its dra acs h cima thn as still silnt Evr thater had live music plaing il the lm as ona piano, a group of instrumntalists, or in some placs vn an orchstra h mcians had to follo hat as gong on on th scren, tring to ma t mood of th muic match at th audi c a Dclaations of lov, cha scns, idllic famil sttings, and ghts r suital accompanid  tndr, lcal mlodis or storm passags Evron plad as st th col  som mprovd, othrs dre on approp th appropriat riat pics from thir rprtoirs hr r vn spcial collc tios of "mood usic, complte th instructions, ranging from "rntmnts Con scienc to "Drams ofofthDag Blovdthrough Non of"angs tis, ofofcours, as for talntd micias, ut Dmitri approachd hs or i a sros ad cratv prt, composing hol suits

arond th contnts of lms his did not pass unnoticed; ma msic lovrs gan to go to th thatr hr he ord ut to har hi rillant improvisatons he or as hard  hours spnt dai at th piano o him out ithout rigng an crativ satisfaction ftr  hil h found a a to ma sur h did not ast th hour asolutl  duing the shoings he gan gan ttoo or o coct pogram H ould practce dclt passags, cunningl incorporatig thm into is improvisatio, slo ig t don o pdg thm up accordng to th vnts on th cn H achivd such virtuosit in ti ercis that, hil prparig a trio ddicatd to ana lvnko fr 33

 

he ulic, he arfull succeeded in rehearsing i ih violinis Venamin Sher and cellis rigori ekker as an accomanimen o he imroale escaades of he heroes on he screen He roe he rio in he earl fall, draing on memories of he Crimea B he could comose nohing else consan faigue as aing is oll Laer he wroe "os usicians orking in he cinema consider i a mire hich ill sallo musicians u, sie heir alen, urn hem ino insired machines, and leave a dee nd indelile mar mar  ll he ne ear, ih shor reaks, he orked in movie hoses He could no comose a smhon he had conceived earl in 93 made hardl an rogress eanhile he as almost due o leave e Conservaor In he sring of  9 5 he decided o gve u he or, hich had gron haeful o him, and in June he smhon as nished he oung comoser sumied i at he end of his comosiion course

In ri 196, at he same ime ha he as recommended for he nel esalished higher degree course, i as decided o erform he smhon in ulic he nineeenearold o en in reidaion o see he venerale musician iolai alk, rincipal conducor of e Leningrad Philharmonic alk received him kindl he had alread heard of Dmiri and is msic Rehearsals egan in earl a, aou en das efore he concer or he rs ime Dmiri reall heard as orchesral sound ha he had reviousl imagined onl in his inner ear He as delighed  hi hiss ide ideas as had een een eac eacl l rig righ, h, and everhing sounded us as he inended He sa hrough all he rehearsals, incing a ever sli and inaccurac  he erformers and menall laing along ih each ar During he reaks he ran o o elehone his moher a or o ell her ho hings ere going 3

 

On a , 92, he hole famil e o he Pilhar monic allrs Shosakovich ouardl reserved u on her mele, read o sand  er son come ha ma; quie, smiling aria, alread convince ha everhing ould go ell; and Zoahe omo, as he hough of herho as miscievous and r and oo nohing seriousl, u as sill anious fo forr her roher roher he concer seemed o ake  ainfull long ime o egin he crsal chandeliers inkled, he musicians saunered o heir laces, and he audience gahered ver slol in he hall Bu hen he ros of red velve seas ere lled, he hall fell silen, he orchesra froze on he sage alko seed ono he la laform form and raised his hi s aon

Aferard came he alause, loud and slo o die aa e en ou o ake a oakard, agonizingl conscious of his eremel ouhful aearance, his velve acke, his round secacles ih hin meal fres, and he nrul f of air hich alas oked u no maer ha he did ih i So fame came o him Criics roe aou he smhon a lengh he ere amazed a he earl mauri of such  oung comoser, and commened on his assurance and skill, redicing a grea fure he irs Smhon as soon heard aroad in Euroe and America, under such emnen conducors as oscanini, Sokoski, and Waler Of course here ere criical voices as ell as raure an raise o hese Dmiri lisened ih aricular aenion  learned Mos of all he rememered he commens of ikola iaskovsk, an auhoriaive comoser of man smhonc orks, hose ords imressed im  heir accurac an susance Bu hile he noed all ha as said aou hi music, he did no rerie anhing e himself could see he iece's defecs i shoed he inuence of man omosers in hom he as ineresed a he imecomoser ho ad ef heir mark on his harmonic language, he melodes, and som 3

 

featus of the ochestaton ochestaton  Ths Ths was was only natual natu al  no atist i s without hs pecusos, o woks in a vacuum It s not surpisng that at the age of eghteen and nineteen and  nineteen Dmiti had not arved at the completely pesonal and deeply ndivdual style which dstinguishes hs matue woks But the symphony had the most important ingedient: ing edient: an in ependent w hch was at once contempoay a nd matue undelying dea whch and pooundso profound that, ove the decades, decade s, t has constantly revealed new acets acets

In 1926 the audence, stuck by the compose's youth, took the symphony to be a bight, vvacious, "spinglke was   ound that the lghtness and work. Some yeas later t was  sombe emotons and damatc feedom   wee mngled with sombe feedom preme  some citcs even pognancy Tht Tht yeas ate the preme  began to ague that the dak, tagic, "ateul side pedom nated And only anothe ten o freshness, fteen   yeas fteen  afte that dd t become appaent how much youthul mschie, and wt was pesent was  pesent alongsde the tagc, the onical, and the gotesqe al l opnions o the The young youn g compose lstened to all them, but symphony and ecognized  ecognized  the justce o many of them, decided to take them into account accoun t only in futue woks All hs le t was hs invaable rule that what he had  had   composed would not be ewoked Much late, he sad he was appalled to thnk how much o his colleagues' tme went into making countless revisons, and how much new music could have been wtten instead The symphony remains as the nineteen yeaold yeao ld wrote it

 

96-99]

Cioy th cc of hi t ajo wok i ot giv th copo ay coc i hilf o hi abiiti. O th cotay for o ti h copty ot hi faciity fo copoig. "I abo 9 I wt throgh a v crativ cii a co ot wit a ot h rcal o th v of hi ftith bithay. "I accot fo it y ayig that th ophiticatio of th Covatory ha toy y capac ity fo cativ w wok ok.. But that of cou wa icorct. Not oy co h ot writ b h wt thogh what h ha pviouly writt a toy a larg aout of i Aog oth thi th opa Tsg  h Gypi) w ito th a a iao payig rai a a otioal ott. H pay a ga of al appar i Ligra of th Fri Chab ic a wt ato th oSocity to Savyak I th  of 19 h for with alko i Kha kov payig chaikovky' Fit Cocto. Hi rptoir i c ay oo pic aig a log rio fo h bith of t piao copoitio o th lat roatic p cocrto by Chopi Schua chaikovky a roko v h p wa away f of prai fo th youg artts pfoac. Citic ot o th aac pth a covictio of hi itprtaio hi falt uical  hi txtral caity batify hap haig a igpci tchi. hr wa o obt hat a ucc

 

fl ca a a vitoo piait lay aha of hi. Evyo wa covic of thi, a th ot ipriv coatn wa abot to appa. At th  of 9 a gop of Sovit piait wa ivit o tak part i th t Chopi Coptition i Waaw. hi wapaticpat a gat occaio : for th t ti Sovit w to on bhalf of thir cotry i ica a ajor it atioal ic cott. ho cho to copt ha to e th c  la cwothy ptativ of th at tic lif of th yog atio. Evry icia wait agly to ha who ha n lct. h th nw ca: Lv Oboi, Gigoi Gibg, a Yi Bryhkov wol  goig fo Mocow, a fo Ligra, itri Shotako vich. hr w ay pb icia i ikolav cla, bt no on wa pi wh th choic fll on Shotako vich. h coptition wa togh a th poga vy iclt: th olonai i # Mio wa coplory, a i aitio ach cottat ha to play a alla a a cocrto, a wll a two pl, two azka, two t, an two octn cho fo a lit awn p by th jy. I Dcb Sho akovich gan to liv lik a cl. Evythig at ho wa arag to allow hi to work ccflly. H gav p all hi ol habit: goig to th that a coct, tig fi, icakig io, raig, a vig walk. It I ta, a, h wok o th th  pic fo th copti coptitio. tio. h lt wr tiking. BogaovBzovky, a co po a writr a o of Shotakovich fllow tt, lat rcall: "Hi haply poal, forcflly hythic, tonally rich, an at th a ti ly ciptiv tyl of playing cae till o pronoc. Hi cativ litproc w thill by h flig of poxiity to a liv  a  ooff th th oigality of hi ical ic al i ia. a. ikolaev har hi ppil a wa contnt. H wa con

 

nc that Shostakoch oul r th nnr, ut things turn out irntly Bfor h lft for Mosco, th oy sur a svr attack of aicts Evryoy thought h shoul ha an oraton iatly, ut h rfuwnt co ay, h ant to  atof th hy to hat Ivan Grkov, an ol frin thcotiton fay an o of th bst octors in th cty With a havy hart, h gav ga v Shotakovich Shotakovich risson to ggoo  Bfor laving for Warsa, th iansts slct to co t gav a concrt n Mosco, n th Grat al of t Conrvatory his concrt, th nal tst, arous grat u ic intrt, an thoughtfu rvis aar in th rs Of Shostakovich, th crtics rot that h as an intllignt an thorogh usician ho gras th structur of th orks h pay an cou cou  r rval val tt in i n vry  ta tail, il, an that th o otc tc si of th usic a alays to th for n his laying o o gu hat orts orts it cost cos t hi to k going. h ays in Warsa r aso icult. h ains gan agai an gr staiy ors.  lay l an th ulc grt hi ith thuias an l ovations, ut things r not in hi favor. h oitical oo in Wara as t. Cotrrvoutionary Rusian ig circls r hi pig up aiosity against th Sovit stat Incint follo icit, an th Sovit Sovit aassaor as kil. kil . On choo of thought h that ony oish ianists rally unrtoo Chopin or cou ntrrt his usic corrctly, an consir ths th ony caniat for th to rzs hr wr rizs for ony thr conttant. Whn t ca obviou that two of th ou unustionaly go to Sot anistLv an Grgor Ginsbrg, ho usicans, cau a snationth Oborin jury, a u ntiry of olih a anothr riz an a nur of ioa h a as crtaiy not to to awar th to to th Rusia Rusi a.. Wn th rsuts r announc an t as scovr

39

 

ha Shotakovich ha b awa oy a ipoa, vy boy hogh i a gaig ijtic a coia wih i. Diti, howv, waowig hi bitt, wa  ight ight  bttfa fo fo hi fibtt.  vv Oboi Obo . Diti kwcoc h co pay Bi. ow hi oy wahav o go ho. O hi t h wt ito Gkov cii fo th opatio. Aft th opatio h wa ay to wok agai. Now ic wa wig wig p ii hi a aig aig o b t o. A , phap  h ic of hi "piaitic if of c wk, it took h fo of piao pic. O aft aoth, fo Fbay 25 o Api 7 927 appa  a fo fo pao : Recitative, Serenad, Nocturne, Elegy, tude, Funera Mrch, Dnce f Deat, Canon, Legend, a Crade Cra de ong, on g, kow coctvy a th Aporisms. Aft ivig wth Chopi' ic fo o og, Shotakovich  to b xpitg, atig th igicac of pao fo which ha bco taiioa. h wa ao a  of ichif, a i to hock th pbic. I wa o acct that h t hiccp i th Serenade o that h gow a wa bg  toy ga Nocturne tio. Bt o a io v Shotakovich ao wat to xpo th poibiiti of aca itta fo a xpit with th, kg hi ow ty a co icatig icati g h vio of th th wo. Fo o ti ak, h how h Aphorisms o hi  o a h Covatoy, ofo Stibg. Bt Stibg, a ic acaicia who ha b RikyKoakov favoi ppi, a who vot gaia of thica caicaitittaiio withi h wa waa of h ot Ria

io, ai tha h co o ta ch ic. Fo hi it wa ai a ipi othig xcp ba. Fo h o, Diti ca to how Stibg hi ic.  pah of ach ach a ppi pa fo goo.

 

Aft th Aphorisms iti bgan copoing an ntily in wok, th Scon Syphony h yog copo nw yphoic wok wa icat t t tth aivay of th Octob Rvotion. H ha  thi th bfo: hi Fit Soata fo iano, wittn a ya ai, ha b btit October. "In it nak paion a inxhatib, nta foc, wot th ic citic . Ginbg, "th onata co aco lik an xpoion, a pott, ik iba tion an a bak with th pat An now th wa a yphoy vot to th a bjct iti wa big with an ia which, haf a cnty at, ay  a itt aiv: to wit a yphoic tibt to ach of th ipotat vt i th votionay cana. h Sco Syphoy, which h ca a yphonic oing "to Octob, wa to opn thi cyc of cooativ wok. h yphony wa a onovnt wok fo ochta with a choa na. iti cho tiing poty by Axa  Bzyky in pai of tgg, th Octob Rvo tion, th Co, a Li. h wok wa witn in f fo, akig xtiv  of iitativ o ct, a xp ay fat of th ag which fo pat of th copo' vivi, iiat ipio In th ya foowig th Rvotion, at fo th t ti ha bn intn fo th who poplation an bca a vhic for inpiing th a It ov ot ino city tt a

a, achig itay th who of th pop Ipi by th gat  of th Octob Rvotio, th atit, icia, a acto of toga took to pttig o ga "vt, foowig th xap of th a cbation  ing th Fnch Rvoltion The Capture of the Winter Pa ace icat to th oab vnt of 9 7 wa tag on toga' a an bakt o Novb 7, 92 with iitay nit, ba ban, an choir of thou 4

 

a taig pat th aic gay joi i ig the choa pat. oitica oga a cot o ctth boo of cao th att of   a th oa f egifo thir way ito ay thatica a ica prouctio of h pio. h a ia w ao rct i th ryig cocpt of Shotakovich' Sco Syphoy, athogh th ic wa ot i th at ovrty pictoia. h yphony' tct poc a ch pvat at tha ti: fo a chao yboizig th ak hitoy of th Ria pop thi bjctio a thi ack of ight i pa thogh pott a trgg to th victory cbrat i th coig pt of th wok. h yphoy wa pfo ig th pbic hoiay of Novb 927 a t a favoab ecptio. "h ia of th voio i th Otober Syphoy i covy i the focf hgca yaicay xpoiv poy of th copo' vita ctiv pow o citic cot. hchiv. bga a p of it crativity a eoro artitic

Shotkovic  acaitac o rth t biig of hi highy icio fihip with Iv Sotiky at fo hi pio. h vy bgiigwhat ight b c th phitoy of thi fihipat back to 99 wh th yog Covatoy tt bga to tt hihaoic coct gay. Yog ic ovr geray go tigoo tickt which wr chap. I th itiio thy wo ftch coat fo th coakoo o proc wpap p th o th oo i th gay  k thv cofotab. Aog th ga coctgo Ditri oo bca awa of a faiy ta toopig thickipp yog a with picigy itigt y. hi a  to xpic oro pa a h ite 2

 

to h ic a aftwa iaiaby ic hi ipe io wih hi fi ittigy a at gh Hi ae wa Soiky a h wa a g i toga toga Ya a Shoakoich pok of i fi a hi u tiy ath: uual frs ol  ha h w ry laguag hat was or r ha bn spokn on h,  that h kw abou all ks of sccs, n hat h kw th whol o Shaspar, ushk, Gogol, Asotl, an lao by hat, a ha h w shor, rythng I gan h prs so gh away ha h was soo out of h orary a cu a awwar for a arag prson o gt alog wh  191, wh a fr rouc  to Sollrtnsky I back o as quckly as I coul, flg  woul b oo cul o carry o an acqac wh such n ns a ur  g was  196 Th Lgra suts wr akg a a  MarsLns so s to b bl

o go o for  hghr gr Aong th popl watng to b call bfor h boar of anrs was Sollrsky Bfor h a I ws nros Psly, Sollsky ws call  Vry soo h ca ot agan I pluck up cou ag a ask h: cus , ws h a ry  cu ?  o, o o a a all, h rpl rpl Wha   hy hy ask yo yo ?  h, h ass hgs : h growh growh o aral arals s    Act Act Grc Sophocls' pory as a prsson of atalst n c glsh sntnhcry phlosophrs a so hg ls hg ls bs bss s    I say hat I was ll wh horor at hs ply Fally,  197 I  h at th ho of a Lgra s ca Thr wr ay guss, jus hr or four clg Solrsy a slf Th  pass quckly, whot our ocg  was coplly bowl or wh Sollrnsky ur ou o b an ucooly ry, spl, brllanly wy, a rly owoarh prso ur cll host kp us ul la, h Sollrsky a I walk ho W

3

 

l  h sa ghrh Th way s shr  aus walig wh h was  r h spk so rs gl au h s ari aspcs of lf a ar Duig h crsai i rg ha I ' kw a sgl fr g laguag, whil h cul' play h pa So h ry  ay Sllrsy ga  y rs lss i Gra a I ga hi a lss o h pia Th lsss ca o a swif a succssful   I i' i ' lar Gra a SSllrisky llrisky  lar  play h pia, bu w sill a gra ris o h ry  o his arkabl li

Fr that ig  thy wr itray isparab sig ah th aiy Nray rtisy w rp by

th hstaihs th tw  th w stt w i   th rs a th ths i th hs w har si aiat is a t brsts  agtr If thy tph  t I t sa tis ay  th thy thatw aitathy w a  t ah ths hs (taty thy i i th sa igh bh) a a ts hy pt ah thr raraby w: tisy iparaby it a bri iat piist a atr itty asti  at a ss; a th shy paiy iprssiab hstaih wh thss ha his w w a at t isi  th w w   hir i  ah th was s ti 927 at a ts rtisys pssia itrsts r al hs l  si wr ii r twa itrat a aa A phigist a paish sha by taig h ha witt abt paish itatr Lp  ga  is is a haspas Hmlt Eythig h ha pbish p t 927 r th thatr r bat  whih h was as a gat air It is iiati that his st riw  a praKs /was witt i Nb 92 at h ba is with hstaih 44

 

Stsys atts th shft fr g nt th usal  H at ba atst rt f h Lga Phha a pfssr at th Csaty a th authr f  ay ws w s  uslg uslgyy  h u  th thr t was  ss stg O th  th  f hhs s ftth br brhay hay Shstah Shsta h ra : ""II g a ga al ut f y frsh wh Slltsy wh was a hghly gft an a a alt uslgst wth a truly yp wg a a ba atst t Pp

ha t t aus h f bg a ba u   bt  fat h was always tyg t xt y utl Sllrsy bu  wth a st n us fr Bah t Onbah s t spa Of s th  was t just usa Stsy sha th whl walth f hs lag  th l f ltau hstry an hstr  But gal a t h thatrphlshy a batar wth hs yug f ths was th hf fatr  th atshp hy wr utually spsab t th xtt that f pat f a fw ays thy p hpssly a wt lg tal ltts sbg ythg that ha happ ts tg thgs fatasg ah su that h wu b ry urst h lttrs tuh n bth busss a atst usns a  atts atg th ra ls Alst always a t f sass at bg away f ah th pt  Y hr ps apat w galy y sht h rst  ur ast aty  197  hat su hstah wt t stay  th sall twn f Dtsy Sl uts Lnga wh h l  th om Uhokh (Shar (Sharss srt) ;  th  n ngg h w wa a   th sp pa a pay ts wh ug th a bg uus t lss h hght  hs ws as O August 20 h sn f thr h rs f th ltts ps  t tsy syss ah ahss : 5

 

cpoally pla o rci a potca ro yo Yo quz o ay ipora ia a iigh io o all a spac, o ca oly arl. I ha't wr bor b I wa  a ba oo, or Muzkor Mi Dpat  h Misry o Clur oly yray t  th 

rubl  As a rul, rubl rul , y oo ro a I cid ci d to writ you. Toorrow I go o Mocow Muzkor   a tl gra llig  o go or a orao o y roluio ary usc. The Nose s cog alog. So  y Gra. My  lr, probably o Way, wll clo wih h wor m ein iebe !wan wan owis owishh 

Yor, D. Shoakoich Shoakoich

Shstavihs aia psiti ti t  vr i t: hi ha th  ratis j a r was th ivig  hisSph graat wr stt grat an Otober xtr xtr  iprt iprtat at spp sppt t t his gt  wr the a i gttig pai avrs at his spirits As r hs Gra it rai at at th vl strat at th   th ttr What is st sigiat i th ttr hw vr is th rr t he Nose, a pra th ti f whihh was xrisig his i gratl whi gratl  Gg was   Shstavihs avrit athrs Ths highl rigia writr whs wrs wr alwas s rark a i iig rais with atas th hur with th grts a v  Rssia with a hatr  th at rati rgis "la aiatis ha asiat the cpsr r his arist hih Ev r h wt t th Csrvatr   his rst spiratis ha  an pra as n Ggl a he Dredful Revene Shsta kvih i nt jst i Gg; h was ver s t hi n tprat Fr his rst pra th g Shstakvih slt a r arkal sujt  as fasat  a lliat pice f

 

ogoli an grou ogolian grou : h al al of ho  no no run run    ffrom rom  milranking govrnmn cial nam Kovalov, a col lg inco, an riv aroun S bug aring h uifor of o of h high civil vic gra in ari Ruia h Ns in Shoakovich bcau of i ar conr of alim i biing"Bfor iron an ihring arcam ar, ih in nfna, ricl nil he rmir ublih in Rach  tat h Workr an h har) in 1 930 h coor r: "oaa an or on  claical ubc ill b or lvan if h ubc i irical Bu h acion a o ju  airical l mn A
View more...

Comments

Copyright ©2017 KUPDF Inc.
SUPPORT KUPDF