¹ Shostakovich Studies ed. Fanning, David (Cambridge, 1995)CrossRefGoogle Scholar.

² The articles by Barsova, Bartlett, Fay, Komok, Kovnatskaya, Kravetz, Mikheyeva-Sollertinskaya, and Savenko, all appeared in D.D. Shostakovich: Sbornik statei k 90-letiyu so driya rozhdeniya edited by Kovnatskaya, Lyudmila (St Petersburg, 1996)Google Scholar. Manashir Yakubov's introduction to the Anti-Formalist Rayok comes from his editorial notes to the score, published by DSCH in 1995. An earlier version of Taruskin's article appeared in his book Defining Russia Musically (Princeton, 1997)Google Scholar, itself a reworking of two conference papers and three articles.

³ Apart from differences in transliteration, most of the revisions seek to simplify and explicate the text, making it less self-consciously erudite. However it also includes a number of clumsy spellings (such as ‘Kvrenek’ for ‘Krenek’), footnote 29 doesn't exist, and the year has been accidentally changed at one point to read ‘On 24 February 1974, less than half a year before his death…’

⁴ This is similar to his argument in ‘Interpreting Shostakovich's Fifth Symphony’ in Shostakovich Studies, challenged there and in his article here by David Fanning.

⁵ For another article that covers similar ground, though without reference to Russian modality, see Child's, Peter article in Music Analysis 12:1 (1993)CrossRefGoogle Scholar, ‘Voice-Leading Patterns and Interval Collections in Late Shostakovich: Symphony No. 15’. For a good introduction to Russian modal theory in relation to Shostakovich see Ellon D. Carpenter's article in Shostakovich Studies.

⁶ For a very recent example, see ‘Shostakovich and the passacaglia: Old ground or new?’ by Henderson, Lyn in Musical Times Spring 2000 Google Scholar.

⁷ The Breath of the Symphonist: Shostakovich's Tenth (London, 1988)Google Scholar.

⁸ Originally given as a paper to a conference in 1989, this article formed the basis for the article on Britten and Shostakovich by Eric Roseberry in Shostakovich Studies.

⁹ For a more thorough examination of the influence of the Russian Formalists on Shostakovich's early work, see ‘Correspondence of Literary Text and Musical Phraseology in Shostakovich's Opera The Nose and Gogol's Fantastic Tale’ by Tumanov, Alexander, The Russian Review L11, 3 (1993) pp.397–414 CrossRefGoogle Scholar.

¹⁰ See also Kovnatskaya's, Lyudmila essay ‘Shostakovich and the LASM’ (Tempo 206, 1998)Google Scholar.

¹¹ See Shostakovich Reconsidered ed. Ho, Allan B. and Feofanov, Dmitry (London, 1998)Google Scholar.

¹² Whilst Fay gives almost exhaustive details of most compositions, including date of writing, completion and première, she makes no reference to the première of Rothschild's Violin, whether because she felt it insufficiently significant or because she was trying conspicuously to avoid engaging in further argument with Ian MacDonald and Solomon Volkov over points of detail. See Shostakovich Reconsidered pp. 128–133.

¹³ Shostakovich Reconsidered p.494.