ID 1109056
Los 256 | Dmitri Shostakovich (1906-1975)
Eleven autograph letters signed ('D. Shostakovich') to the conductor Samuil Abramovich Samosud, Leningrad and Gaspra (Crimea), 1939 - 1941
In Russian. Together 16 pages, various sizes, including three musical quotations. Provenance: Sotheby's, 3 & 4 December 1992, lot 612.
On his re-orchestration of Mussorgsky's Boris Godunov. The letters everywhere show the deep influence of Mussorgsky on Shostakovich, noting the parts of the opera which leave a particular mark on him (notably Shuisky's account of the dead Tsarevich), discussing the variances of Rimsky-Korsakov's edition from Mussorgsky's original text and the two different versions of Act 2 and parts of Act 3 in the original, discussing which of the two is preferable, and asking for Samosud's advice on the orchestral balance in the new version, for example in the glorification of Boris by Suisky in Act I: 'It is essential for trumpets to sound loud (FF) but then Shuisky will not be heard. If the sound of the trumpets is significantly lowered to about mp then it will sound very bad. What if the Chorus were to sing this phrase "Long live Tsar Boris Feodorovich" instead of Shuisky? Then the trumpets can play brightiy and loudly and the "Long live ..." will be heard'.
'Regarding the whole opera, I remain convinced that Mussorgsky's version is better than Rimsky-Korsakov's. On this point our tastes evidently differ. I beg you not to conclude at once that both the music and the orchestration (mine) in the Fountain-scene are bad ... I think that you, having conducted R-K's edition in your time, have got used to the Fountain [scene], and a certain asceticism in Mussorgsky and in my orchestration will shock you' (13 April 1941)
Shostakovich identified closely with Mussorgsky as a musical predecessor, and apparently kept a portrait of him on his desk. His re-orchestration of Boris Godunov was commissioned by Samuil Samosud (1884-1964), the musical director of the Bolshoi Theatre, and completed in June 1940, although because of the wartime conditions it was not performed until 1959. His orchestration increased the role of the woodwind and especially brass instruments in relation to Mussorgsky's original, reflecting his analysis that Mussorgky was successful with solo instrumental timbres, but showed weakness in louder passages for full orchestra.
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| Auktionsdatum | 15.12.2023 |
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| Auktionshaus | CHRISTIE'S |
| Auktionsdatum | 15.12.2023 |
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| Losnummer | 256 |
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| Auktionsdatum | 15.12.2023 |