SW(Final8/31) Written by Allan B. Ho and Dmitry Feofanov
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229 James Oestreich, ‘Shostakovich: New Questions, New Clues’, The New York Times, 13 August 2004, p. E1. 230 Alex Ross, ‘Unauthorized: The Final Betrayal of Dmitri Shostakovich’, The New Yorker, 80/25, 6 September 2004, pp. 164–66. 231 Jon Gonder, CAML Review, 32/3, November 2004, on the Internet at 232 Alex Ross, ‘Free Shostakovich!’; on the Internet at ASCAP-Deems Taylor Award in 2005, the same honor bestowed on Testimony itself in 1980. 57 Finally, has she reported all of the pertinent information? When asked about the Moscow typescript, Volkov responded: I would like to state here, categorically, that at no time did Fay hold in her hands or have any other access to the original manuscript of ‘Testimony’. And obviously in no way can I be held responsible or help to trace [the] provenances of all the fakes and maliciously altered ‘copies’ of the manuscript that are at this time floating around. 233 Fay, too, initially exercises caution, stating that ‘it is unclear how many of these circulating copies [of the Russian text] reproduce the original typescript bearing Shostakovich’s “authentic” signatures and how many might be retyped transcripts’. Only one paragraph later, however, she writes that the material in the Shostakovich Family Archive ‘is, to all appearances, a photocopy of the original Russian typescript of Testimony’. 234 She further concludes on the following page that this Moscow typescript is ‘an exact copy of the Testimony typescript used in making the published English translation, rather than an interim version or a retyped copy’. 235 The validity of Fay’s assertions will be examined below. First, however, it would be worth reviewing the history of the original typescript. a. The Original Typescript According to Volkov, the manuscript was typed in spring 1974 and submitted chapter by chapter to Shostakovich for approval. The composer then returned these via his wife, in a sealed envelope. 236 While Shostakovich was still alive and before this typescript was sent abroad, it was hidden in the home of a Russian couple, according to Swedish musicologist Christer Bouij, who learned this directly from them in Moscow in 1992 and confirmed it again in May 2000. 237 This information corroborates the existence of the typescript before Volkov’s emigration and refutes Soviet suggestions early on that 233 Letter to Ho, 20 July 2004. 234 Fay, A Shostakovich Casebook, p. 28. 235 Ibid., p. 29. 236 Cf. the letter from Ann Harris, 9 April 1979, quoted on p. 26, and also p. 44 above. 237 Bouij is the author of Dmitrij Sjostakovitj och den sovjetiska kulturpolitiken, Uppsala University, 1984. He reported the following to Allan Ho on 21 November 1999, after Shostakovich Reconsidered was published. Because the couple has asked to remain unidentified (email from Bouij to Ho, 30 May 2000), we have deleted their names from his statement: I met [. . .] in their flat in Moscow 23 August 1992, when they told me about Testimony and that the manuscript had been hidden in their flat some time before the death of Shostakovich. [. . .] They did not say this as admirers of Shostakovich. They were very critical about his contradictory character. Why on earth had he allowed himself to say so many things for support of the regime in the 60-ies when it had been possible for him to get out of it. After that visit I was absolutely sure that they had read Testimony before the book was published in the west. Volkov, in a phone conversation with Ho on 12 March 2006, confirmed Bouij’s information. 58 Testimony was some sort of CIA fabrication. 238 When Shostakovich wrote the inscription on what would become the frontispiece photo of the book, Volkov told him that the manuscript was already ‘in the West’, where it had been taken, piecemeal, by various couriers. Thereafter, whenever Irina Shostakovich, Khrennikov, or others asked Volkov to show them the manuscript, he replied that he had no copies. 239 Henry Orlov notes that as late as 1978, Volkov was still awaiting delivery of parts of the text. 240 Eventually, the remaining portions arrived and Harper and Row set about to authenticate the Shostakovich signatures and to evaluate the content of the memoirs, engaging experts such as Orlov to examine the text. 241 Orlov’s letter to Harper and Row, written immediately after examining the Russian text, is reproduced in A Shostakovich Casebook 242 and itself provides information that calls into question Fay’s conclusions about the Moscow typescript. For many years, the original typescript was kept in a Swiss bank. Finally, in 1997–98, Volkov sold it to a private collector. Until this original typescript becomes available for study, questions about the accuracy, layout, and completeness of the Moscow typescript will persist for the simple reason that the latter is inconsistent with the statements and recollections of people who examined and worked with the Russian text in the late-1970s. b. The Heikinheimo Typescript In 1979, the Russian text of Testimony was made available to Antonina W. Bouis, Dr. Heddy Pross-Weerth, and Dr. Seppo Heikinheimo for preparation of the English, German, and Finnish editions, respectively. On the strict orders of Harper and Row, the translators were supposed to return the material provided and not circulate unauthorized copies of the Russian text. Bouis and Pross-Weerth followed these stipulations; however, Heikinheimo, by his own admission in the 1989 second Finnish edition and again in his own memoirs, began not only showing but loaning copies of the Russian text to some fifty Soviets, ex-Soviets, and others, even before any of published editions had been released. 243 238 Cf. Shostakovich Reconsidered, pp. 52–53. Galina Drubachevskaya also read parts of the typescript while it was being prepared (Shostakovich Reconsidered, p. 316). 239 Cf. pp. 46–47 above. 240 Kovnatskaya, A Shostakovich Casebook, p. 119. Orlov met with Volkov in Boston in 1978, where the latter was giving two lectures at Harvard and Orlov was serving as his ‘interpreter, intermediary, and guide’: ‘Volkov was even then very much in a state of consternation, because all parts of the manuscript had still not arrived. As he described it, they were arriving through various channels. He held onto these pieces of the manuscript with a passion, not letting any of them out of his hands, saying he was surrounded by “capitalist sharks”’. 241 According to Erwin A. Glikes, Harper and Row spent over two years negotiating for and authenticating the text (Mitgang, p. C14). In a letter from Volkov to Orlov of 23 September 1976, mention is already made that ‘a certain publisher is interested in “the idea of Shostakovich’s memoirs”’ (Kovnatskaya, A Shostakovich Casebook, p. 118). 242 Ibid., pp. 111–16. 243 In ‘Kymmenen vuotta aitouskiistaa’, pp. 351–52, Heikinheimo writes (transl. by Lång): During the years [1979–89] I have shown the [Russian] manuscript to all Soviet artists and émigrés who have been interested in it. Before the beginning of the ‘glasnost’ period, the opinions of these approximately fifty artists touchingly complied with the 59 The sometimes significantly altered Russian text loaned by Heikinheimo is the only one in circulation that appears to stem directly from the original typescript. However, questions remain about the accuracy, completeness, and even source of this material. 244 In his own memoirs, Heikinheimo claimed that he received the Russian text from Harper and Row only on 27 November 1979, after a proper agreement was signed between the American publisher and the Finnish Otava. 245 Whether the Russian typescript that Heikinheimo loaned to Per Skans more than two months earlier, in September 1979, also came directly from Harper and Row or from an unofficial, unauthorized source is unknown. This text reflects some of the editing made by the American publisher, but deviates in other respects from that edition and from the Russian text submitted to Henry Orlov for examination and to Heddy Pross-Weerth for translation into German. geographical division: the Soviet citizens said they thought it more or less smacking [of humbug], the émigrés, on the other hand, thought it the real thing. For example, the cellist-conductor Mstislav Rostropovich even maintained that ‘Khrennikov drove Prokofiev to a premature death’ (Helsingin Sanomat, 5 December 1979). In his opinion, one can very clearly hear Shostakovich’s own voice in the memoirs. Also, the conductors Rudolf Barshai and Kirill Kondraskin [sic], who had conducted premières of Shostakovich’s symphonies and had known the composer for thirty years, thought that the book is genuine, as well as the theatre director Yuri Lyubimov. The other ‘witnesses’ are of a bit younger generation, and they didn’t know Shostakovich as well. Therefore, I won’t list their names here, but just be content to mention one ‘black sheep’: the violinist Gidon Kremer supposed that about 80 percent of the book is by Shostakovich and 20 percent by Volkov. He, too, has now [in 1989] revised his earlier stand, and informed me that he thinks the book is 100-percent genuine. [. . .] Emil Gilels said before his death that the book is ‘of course authentic’, and Sviatoslav Richter is known to support the idea of authenticity. This piece of knowledge is not immediate, but I have no reason to suspect the middleman, Andrei Gavrilov [Richter’s view is also mentioned in Rasmussen’s Sviatoslav Richter: Pianist, p. 129—Eds.]. In Mätämunan muistelmat, pp. 283 and 285, Heikinheimo also reports copying the manuscript of 404 sheets in October 1990 for Vytautas Landsbergis, a musicologist who the same year became President of Lithuania, because the latter ‘knew Russian much better than English’. (According to Mrs. Gene Kuriliene [13 September 2004], Mr. Landsbergis’s assistant, he no longer has this in his archive). Later, on p. 475, Heikinheimo writes that ‘all of his Russian friends’ who visited his summer residence read the manuscript. He then lists persons who visited the place, but doesn’t make clear whether precisely these people read the memoirs: Galina Gortchakova, Valery Gergiyev, Aleksandr Toradze, Viktor Tretyakov, Dmitri Hvorostovsky, and Aleksey Sultanov. Heikinheimo’s copy is also the likely source of the excerpts from the Russian text on the Internet at Download Do'stlaringiz bilan baham: |
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