O presente trabalho investiga a retórica da Fuga opus 87 n° 4 de Dmitri Shostakovich. Para atingir tal objetivo, foram utilizados os trabalhos de Lester (1986, 2001), Harrison (1990) e Roberts (2004). Neste último, estão os princípios metodológicos utilizados para a realização desta pesquisa, os quais consistem, basicamente, no reconhecimento dos elementos identificadores [notable properties], termo utilizado por Roberts para denominar propriedades distintas de uma fuga. Roberts (2004) aplicou seu método para reconhecer a natureza, retórica ou literal de quatro fugas de Bach para órgão (BWV 533, 545, 547 e 578). Na fuga dupla n° 4, em Mi menor, de Shostakovich foram encontrados cinco elementos identificadores: graus da escala em suspensão, ambigüidade tonal/modal, relação entre Integrantes, presença do terceiro contra-sujeito para um dos sujeitos e seções paralelas intensificadas. No discurso, a presença e inter-relações mútuas dos elementos identificadores estabelecem conflitos, os quais são resolvidos revelando a natureza retórica da composição.

O presente trabalho investiga a retórica da Fuga opus 87 n° 4 de Dmitri Shostakovich. Para atingir tal objetivo, foram utilizados os trabalhos de Lester (1986, 2001), Harrison (1990) e Roberts (2004). Neste último, estão os princípios metodológicos utilizados para a realização desta pesquisa, os quais consistem, basicamente, no reconhecimento dos elementos identificadores [notable properties], termo utilizado por Roberts para denominar propriedades distintas de uma fuga. Roberts (2004) aplicou seu método para reconhecer a natureza, retórica ou literal de quatro fugas de Bach para órgão (BWV 533, 545, 547 e 578). Na fuga dupla n° 4, em Mi menor, de Shostakovich foram encontrados cinco elementos identificadores: graus da escala em suspensão, ambigüidade tonal/modal, relação entre Integrantes, presença do terceiro contra-sujeito para um dos sujeitos e seções paralelas intensificadas. No discurso, a presença e inter-relações mútuas dos elementos identificadores estabelecem conflitos, os quais são resolvidos revelando a natureza retórica da composição.

In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.

Igor Stravinsky (1882-1971), Dmitri Shostakovich (1906-1975) and Alfred Schnittke (1934-1998) were three of the most important avant-garde Russian composers of the twentieth century. Even though their music shares a number of important traits, their work also reflects very individualized and distinct compositional styles. This study illustrates the similarities in their approach and the contrasting elements present in three selected pieces: Stravinsky´s Suite Italienne for Violin and Piano (1933), Shostakovich’s Violin Sonata in G Major, Op. 134 (1968), and Schnittke’s Suite in the Old Style for Violin and Piano (Harpsichord) (1972). The study disseminates Stravinsky, Shostakovich, and Schnittke’s musical influences in these works, focusing particularly in the use of baroque elements by tracing a number of important aspects from their backgrounds. In addition, a chronological outline of compositions containing baroque elements is provided. Finally, this research examines stylistic traits of the seventeenth and eighteenth centuries in the three selected compositions: Suite Italienne, Violin Sonata, Op. 134, and Suite in the Old Style.

Schon das erste Symposium ermöglichte, deutsche und russische Forscher zusammenrufen. Die "Schostakowitsch-Gesellschaft e.V." sowie die Symposiumreihe bildeten den Anfang eines internationalen Austauschs von Meinungen, Kenntnissen, wissenschaftlichen Ergebnissen und künstlerischen Praktiken.

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This study was prompted by the writer's interest and experience in the field of two-piano performance. At the beginning of this writer's two-piano work the available material was scarce, and much of it was inadequate in quality from the standpoint of both composition and arrangement. It seems strange that this particular form of chamber music, so delightful to play and so enjoyable to listen to, did not completely take popular fancy until the twentieth century. During the past ten years however, teachers are realizing the benefits derived from training students in two-piano playing. There is no doubt in the writer's opinion that two-piano concerts will henceforth always be in demand.

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