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Item: #832971
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By: N.J. Zivkovic
Number of Players: 1
Level of Difficulty: Grade 5
Instrumentation: Player I: 3 Cym, 2 Triangles, Almglocken (c2, es2, h2, d3),Crasher, 5 Temple blocks, 2 Woodblocks, 22 Bass Drum with pedal, 3 Toms, Snare Drum, Bongos,Vibraphone, Flexatone, Voice/li>

This composition, in homage to D. Shostakovich, was conceived as a solo for percussion instruments with three tape-recorded interruptions. I endeavoured to get closer to the spirit of the time by using several Russian words, some of which are heard from the rape and some are spoken by the performer. The tape has three separate parts with the voice of D. Shostakovich. The first part in his radio speech of September 16th 1941 from besieged Leningrad. The second and the third parts contain excerpts from his speech in the Kremlin before the Association of Soviet Composers of 2. April 1974. The six words declaimed by the performed are Fear, Death, Life, Fatherland, People and Party. The formal structure of the work is based on two elements: each of the six words is designated in a leitmotif manner or through a characteristic colour, a rhythm or a motif, or through a combination of these elements. The wooed fear, for example, is represented with a motif on the vibraphone. Death is represented with rhythm regardless of the instruments. People with triple meter rhythms on membraphone instruments etc. The second structural element is the division of sound colour  throughout the work. Three types of sound are heard, in addition to the human voice and the vibraphone: sounds of metal instruments, sounds of wooden instruments and sounds of membraphone instruments. The conscious limitation of colour at the beginning of this retrospective work, the sudden transition to membraphonic instruments, the variety of sound in the middle section, and the reduction of instruments towards the end to a grotesquely sounding combination of temple blocks and alpine bells strengthen the form and heighten  the latent tensio. However, the most important  element in this work is without doubt the overall expression of the performance. The composition has  the characteristics of a monodrama and the theatrical aspect must be highly  marked. In this composition, I wished to represent desperate fear, mistrust, powerless fury at the state of affairs, and the unconditional faultlessness of the „great teacher and leader" at the time of Stalin's purges.


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