734 SEER, 8i, 4, 2003 figures include Trigorin (still fishing) and the menacing entrepreneur, Lopakhin, imported from Vishnevyi sad. The mood of this atmospheric but forgettable play is appropriately wistful and trancelike, culminating in Konstantin'slittle stagerisinginto the air and flyingaway above the lake. Throughout her trilogy, Reza de Wet shows a sensitive awareness of the nuances of Chekhovian drama. However, her unfamiliaritywith the Russian language leads to such deformations as Masha Sergeyevna (pp. 35, 82) and even the mistakenMashaAndreyevna(pp. 34-36), NatashaIvanovna(pp. 55, 76-78), Sonya Alexandrevna (p. 97), Baryana (forBarynya, pp. 3I, 32), and Basmanyana (for Basmannaya, pp. 73, 8o, 87). Kulygin is variouslygiven as Koolyeegin (p. 17), Koolyghin (p. 27), Koolygin (p. 3i) and Koolyhegin (pp. 36, 37). Lopakhin(pp. I83, I94) appearsonce as Lophakin(p. I85), and Vanya should be Yelena (p. 124, line i). Among English errors, apostrophes are frequently misplaced, and some thirty other misprints include 'twelves' (p. g Chekhov wrote this of Act IV, not Act III), 'It'sis' (p. 22), 'There're are' (p. 33), 'completley' (p. 84), 'room' (for 'moon', p. i i8), 'powered' (for 'powdered',p. I92). While there is no intrinsicneed for any variationson Chekhov'splays, the Russian master's ardent admirers will doubtless proffer numerous further sequels. Bristol GORDON MCVAY Hulme, Derek C. DmitriShostakovich. A Catalogue, Bibliography andDiscography. Third edition. With an introduction by Irina Shostakovich. Scarecrow Press,Lanham, MD, 2002. XV+ 70I pp. Appendices. Indexes. $85.00. SHOSTAKOVICH'S continuing great popularityamplyjustifiesthe third and, as is suggested (p. xi), last edition of Derek Hulme's valuable compendium. The first edition of this important reference work appeared almost as a samizdat publication in I982 and was takenup by Oxford University Pressfora second edition in i99i. The presentpublicationdiffersfromitsimmediatepredecessor by very many changes, revisions and expansions, particularlyin the Recordings section. The dating of performances has been greatly improved, as has the cross-referencingbetween, for instance,worksand the suitesderived from them. Whilst almost all the changes are additions or corrections, changing technology and fashions are reflected in the deletion of a five-page list of cassettesof Shostakovich'smusic. The main bulk of the book comprises the Catalogue (pp. 9-482) which givesforeach of Shostakovich'sworkssome or allof the followinginformation: after the opus number and title, the work's form, date of composition, dedication, premieres, arrangements,music (thatis, manuscriptsand printed editions), durations, films, and recordings. The Bibliography is judiciously annotated, as is the interestingchronicle of BBC Broadcasts. There are seven appendices in all: collections of Shostakovich'smusic and addressesof music publishers;television and theatreproductions;information on the history of recording, four special USSR recordings, the composer on records, and samplersof Shostakovich'smusic;a chronological chart of main REVIEWS 735 works and historical events; abandoned projects and obscure and doubtful works;DSCH the composer's monogram, compositions based on DSCH by other hands and tributes; and finally, an (incomplete) index of Russian titles. The book concludes with indexes of names and compositions. The former is extremely extensive over IOOpages long which gives some indication of the scope of this impressivework. The incompleteness of the Russian titles is a pity, but, in a sense, not vital, since singers, for example, can find the Russian titles of individual items in Shostakovich's song cycles via Grove's Dictionagy or, indeed, the composer's collected works. The incomplete listing of recordings, on the other hand, is inevitable. It is, in fact, bound to be out of date before the book appears,but is valuable for the detail it offers.It mustbe hoped that the authorwill be able to supplyperiodical supplementarybooklets of revisionsand additionsfor many years to come. Derek Hulme's labour of love has turned into an essential reference work for scholars,publishers,performersand, of course, the ever growing number of concert goers whose love of Shostakovich's music goes beyond the superficial.Despite itsveryhigh price, thiscompendium deservesto be bought by libraries,both general and specialist. School ofSlavonic andEastEuropean Studies ARNOLD MCMILLIN University College London Leong, Albert. Centaur. TheLifeandArtofErnst J\/eizvestny. Rowman &Littlefield Publishers,Lanham, MD, and Oxford, 2002. xxi + 35I pp. Chronology. Illustrations.Notes. Bibliography.Index. ?30.95. ALBERT LEONG's biographyof the Soviet Union's most famousdissidentartist Ernst Neizvestnii is the product...