In the vast output of Dmitri Dmitryevich Shostakovich, the chamber music hold a special place. These compositions, which the composer regarded them as ¡¥personal diary¡¦ himself, reflected both aspects of the social situation and the words forbidden by the power. With the ¡¥Piano Trio No.1 in C Minor, op. 8¡¦, we could trace back the traditions descended to Shostakovich during his early years. After stepping into his mature period, the interrelationship between structure perfection and motive development marked the ¡¥Piano Trio No.2 in E Minor, op. 67¡¦ a unique masterpiece. This article had taken research into both works, with discussion of two recordings by the composer and variable score editions. Hope this would make the performer grasp a full conception of these works and transmit the acurate spirit while performing.
| Identifer | oai:union.ndltd.org:NSYSU/oai:NSYSU:etd-0714103-232839 |
| Date | 14 July 2003 |
| Creators | Chen, Yu-Chih |
| Contributors | Tzyy-Sheng Lee, Yea-Shiuh Lin, Mei-Wen Lee |
| Publisher | NSYSU |
| Source Sets | NSYSU Electronic Thesis and Dissertation Archive |
| Language | Cholon |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0714103-232839 |
| Rights | off_campus_withheld, Copyright information available at source archive |
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