Viola Sonata by Dmitri Shostakovich in the Art Space of Performance Interpretation

Abstract

The paper discusses the Sonata for Viola and Piano op. 147 (1975) by Dmitri Shostakovich in order to generalize the aspects of its instrumental chamber stylistics. The performance version by Fyodor Druzhynin (viola) and Mikhail Muntyan (piano), who were the first performers of this musical piece, was analyzed. Their interpretation may be considered the golden standard, as precise as possible to the author’s idea. Shostakovich dedicated his opus to F. Druzhinin, who often participated in the premieres of the composer’s works and was familiar with the performing style of his music. The factors that form the musical stage image of Shostakovich’s chamber style include the conceptual intention to demonstrate the conflict, the scale of the concept, and conceptuality in interpreting its components during the implementation of the idea of symphonizing the genre. The importance of the Sonata for Viola in the history of this genre and in the history of 20th-century music can hardly be overestimated. The composer expanded the imagery and emotional sphere of the viola performance and used the sound range of the viola to the extreme: all registers of the instrument were involved. The viola part is rich in original effects: cantilena on flageolets, a large number of double notes, and a complex polyphonic fabric with double counterpoints (especially in the Cadences), it requires considerable effort from the performer. The analyzed performance version of the work is quite complete in terms of the performance of the specified characteristics of the author’sidea. It can be considered a benchmark in instrumental chamber performance of the 20th century.