SW(Final8/31) Written by Allan B. Ho and Dmitry Feofanov
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529 These scenes are included in Criterion’s 1999 DVD release of Rublyov. Warwick C. Brown, in a review of this release on the Internet at cow run around its enclosure after being set on fire, a horse fall down some steps, breaking its leg and then have a spear shoved through its throat and a dog being beaten to death and watching its final twitching make this film ultim[ately] unwatchable’. 530 The entry for 21 September 1970 in Tarkovsky’s diary ascribes credit for the film’s domestic approval to Kosygin, Kozintsev, and Shostakovich. Cf. V. Fomin, Andrey Rublyov. Polka, No. 2, Zapreshchennye fil’my: Dokumenty. Svidetel’stva. Kommentarii (Andrey Rublyov. Polka, No. 2, Forbidden Films: Documents, Testimonies, Commentary), NII kinoiskusstva, Moscow, 1993, p. 61 (hereafter Fomin), and the Italian translation in Diari, 2002, p. 55. 531 Natasha Synessios, Mirror, Tauris, London, 2001, p. 38, and Andrei Tarkovsky, Time within Time: The Diaries, 1970-1986, transl. Kitty Hunter Blair, Seagull, Calcutta, 1991, p. 97. 532 We would like to thank Professor Robert Bird, author of Andrei Rublev, British Film Institute, London, 2004, for assistance in locating these documents. 533 Andrey Tarkovsky and Grigory Kozintsev, ‘Iz perepiski Tarkovskogo s Kozintsevym (1969–1972 gg.)’ (‘From the Correspondence of Tarkovsky with Kozintsev, 1969–1972’), ed. V. G. Kozintseva, Iskusstvo kino, 6, 1987, p. 96. 534 Ibid., p. 98. For more on the Soviet censorship of Andrey Rublyov, leading to its withdrawal and re- editing, cf. Solomon Volkov’s The Magical Chorus: A History of Russian Culture from Tolstoy to Solzhenitsyn, transl. Antonina W. Bouis, Alfred A. Knopf, New York, 2008, pp. 232–34. 154 he left for Kurgan, where he is treated by Dr. Ilizarov (the same doctor who healed Brumel’). He is better now. I am in correspondence with him, and that is how I know his attitude toward ‘Rublyov’, and I relate it to you with pleasure. 535 Finally, Tarkovsky, in a letter of 14 September 1970, noted: ‘N. Zorkaia told me that Dm. Dm. Shostakovich wrote someone a letter in defense of “Rublyov”. If this is so, I would think it is time to send it’. 536 4. Nos. 13–15: Errors Cited by Other Scholars a. Gogol’s ‘St. Vladimir Third Grade’ In Testimony, p. 206, Shostakovich makes an interesting comment about Gogol’s ‘Vladimir tret’ei stepeni’: Preis wrote Gogol’s comedy St. Vladimir Third Grade for him. As you know, Gogol didn’t finish the play, he only left rough sketches, and Sasa wrote the play. He didn’t just write whatever came into his head, no, he put it together all from Gogol’s words. He didn’t add a single word of his own, he got every line from Gogol’s works. It’s astonishing. The man worked scrupulously. I read the manuscript. After each bit of dialogue, there’s a reference for the source, the Gogol work from which it came. For example, if someone says, ‘Dinner is served,’ the footnote tells you the work and page number. Recently, a musicologist in Russia called attention to a passage in Aleksey Panteleyev’s book Talk with a Reader that attributes the authorship of ‘St. Vladimir Third Grade’ to Georgy Ionin rather than to Aleksandr Preis. 537 Lest Testimony’s detractors rush to cite this as still another error in Testimony and to question Shostakovich’s ‘superior memory’, it is worth noting that Bakhtin and Lur’e, in their standard reference source on Leningrad writers, attribute the authorship of ‘St. Vladimir Third Grade’ to none other than Preis. 538 Moreover, when asked about this comedy, Yury Mann, the leading authority on Gogol, stated that he was unaware of any completion of the work by Ionin. He was, however, able to corroborate what is said in Testimony and to provide additional details: 535 Iskusstvo kino, 6, 1987, p. 99. 536 Fomin, p. 60. 537 Aleksey Ivanovich Panteleyev, Razgovor s chitatelem (Talk with a Reader), quoted on the Internet at devoted a lot of time to literature, wrote a novel, plays, and along with the young composer D. Shostakovich he worked on the libretto of the opera Nose, and wrote a play called “Vladimir tret’ei stepeni’ based on Gogol’. 538 Vladimir Solomonovich Bakhtin and Aron Naumovich Lur’e, Pisateli Leningrada. Biobibliograficheskii Spravochnik. 1934–1981 (Leningrad Writers. Bio-Bibliographical Dictionary. 1934–1981), Leninizdat, Leningrad, 1982, p. 250. 155 The text of ‘Vladimir tret’ei stepeni’ compiled by A. Ia. Preis, besides the fragments and scenes that relate to that comedy, included speeches and phrases from other works by Gogol — ‘Dead Souls’, ‘The Overcoat’, ‘Marriage’, etc. In general the result was a montage. The play was produced in 1932 in the branch of the Teatr Gosdrama. The text has perhaps been preserved in some theater archive or other, but neither I nor any of the specialists I know have conducted such investigations. 539 Considering that this information is extremely difficult to locate and that other Gogol and Russian literature experts we contacted knew nothing of Preis’s completion, it is highly unlikely that the young Volkov would have been aware of this material on his own. b. Soviet National Anthems with Khachaturian In Testimony, pp. 256–63, Shostakovich gives a detailed account of his collaboration with Aram Khachaturian to compose a new Soviet national anthem for a competition ordered by Stalin in August 1943. As noted in Shostakovich Reconsidered, pp. 252–55, this material closely parallels Khachaturian’s own recollection of events documented in Khentova’s ‘Shostakovich i Khachaturian: Ikh sblizil 1948-i god’, Muzykal’naya Zhizn’ 24, 1988, p. 11, later included in Wilson’s Shostakovich: A Life Remembered (1994), pp. 179–81. Since Khachaturian died in 1978, before Testimony was published, it is highly unlikely that the Shostakovich memoirs could have influenced his version of what happened; and since Khachaturian’s account was published only in 1988, it is even less likely that Volkov could have had access to that material before Testimony was typed in 1974. We also noted in Shostakovich Reconsidered that Wilson completely ignores the similarities in the accounts given in Testimony and Khentova’s article, 540 and merely calls attention to their major difference: that the former says that Shostakovich orchestrated the joint anthem and the latter attributes that task to Khachaturian. Unfortunately, Wilson, in the second edition of her book (2006), Fay in Shostakovich: A Life (2000), p. 316, note 65, and Mishra in A Shostakovich Companion (2008), pp. 530–31, note 84, remain content merely to note the discrepancy without rendering any verdict as to which source is correct or at least more plausible. The pertinent question is, does an orchestration of this anthem exist in Khachaturian’s hand or in Shostakovich’s hand? To date, no full score of the work by Khachaturian has been located. It is not mentioned in D. M. Person’s A. Khachaturian: noto-bibliograficheskii spravochnik (Moscow, 1979) or 539 Email from Yury Mann to Allan Ho, 29 October 2006. Two other sources that briefly describe Preis’s completion are Sergey Danilov’s Gogol i teatr, Gosudarstvennoye izdatel’stvo Khudozhestvennaya Literatura, Leningrad, 1936, p. 270, and the same author’s article ‘Gogol’ v instsenirovkakh’ in Vasily Gippius’s N. V. Gogol’. Materialy i issledovaniia, Vol. 2, Izdatel’stvo Akademii nauk SSSR, Moscow, 1936, pp. 459 and 463. We especially thank Professor Mann for sharing his expertise with us and Professor Susanne Fusso of Wesleyan University, Connecticut, for putting us in contact with him, translating his response, and helping us to find this needle in the haystack. 540 Another version of these events, reported by Lev Lebedinsky in ‘Iz bessistemnïkh zapisey’, Muzykal’naya Zhizn’, 21–22, 1993, p. 28, is closer to that in Testimony than that in Khentova’s interview. 156 in more recent catalogues of his complete works. 541 It also is absent from Aram Khachaturian: Collected Works in Twenty-Four Volumes (Muzyka, Moscow, 1982–91). The joint anthem supposedly orchestrated by Khachaturian utilized words by Mikhail Golodny, making the ‘Song about the Red Army’ the most likely candidate. About the latter, Hulme, in his Shostakovich: A Catalogue, Bibliography, and Discography, pp. 229–30, writes: ‘the first eight bars of the melody written by Khachaturyan, the remainder by Shostakovich, who orchestrated the anthem’. 542 Shostakovich also orchestrated another version of their collaborative work, this time with text by Sergey Mikhalkov and Gabriel El-Registan. This unpublished Hymn of the SSSR in the Glinka Museum was again notated by Shostakovich and has both composers’ names at the top right, written in Shostakovich’s hand (cf. the facsimile below). 543 541 Cf. ‘To the 100 th Anniversary: Aram Khachaturian’, on the Internet at Download Do'stlaringiz bilan baham: 
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