77 Heidegger: “The upward glance passes aloft toward the sky, and yet it remains below on the earth”—Martin Heidegger, Poetry, Language, Thought, trans. Albert Hofstadter (New York: Harper & Row / Colophon, 1971), p. 220 (“… Poetically Man Dwells… ,” a lecture given in 1951).
81 Epigraph: “‘Twas in olden times when eagles screamed…”—Lee M. Hollander, trans., The Poetic Edda, 2nd rev. ed. (Austin: University of Texas Press, 1987 repr. of 1962 ed.), p. 180 (“Helgakvitha Hundingsbana” I, stanza 1, slightly “retranslated” by WTV).
81 “His new armor, which was so red that it made one’s eyes red just to see it”—This description of the Red Knight’s armor is based on Wolfram von Eschenbach, Parzivaclass="underline" A Romance of the Middle Ages, trans. Helen M. Mustard and Charles E. Passage (New York: Random House / Vintage, 1961; orig. German poem finished ca. 1210), p. 81 (Book III). The Red Knight was Ither of Kukumerlant.
82 Mein Kampf: “And simultaneous with him stands the victory of the reified Idea, which has ever been, and ever shall be, anti-Semitic”—Meyers Lexikon, vol. 5 (1937), p. 711. (I have compressed and added a “stands” to the eye-glazing originaclass="underline" “… und zugleich auch mit ihm den Sieg des Gedankens der schaffenden Arbeit, die selbst ewig antisemitsch war und ewig antisemitsch sein wird.”)
82 The black-and-white plates: Adolf Hitler I and II—Same vol., following p. 1248.
82 Plates on “Garten” and “Germanen”—Ibid.
82 National Socialism entry—Ibid., vol. 8, 1940.
82 Parzival, Galogandres and King Clamidê—Eschenbach, pp. 113-15.
85 Epigraph: “There is nothing in you which fails to send a wave of joy and fierce passion inside me…”—Sofiya Khentova, Udivitelyenui Shostakovich (Saint Petersburg: Variant, 1993), p. 117 (2nd letter of 15 June 1934), slightly “retranslated” by WTV.
85 For early Soviet names for Leningrad landmarks, in this story, in “And I’d Dry My Salty Hair” and in “The Palm Tree of Deborah,” I have made occasional use of A. Radó, comp. [issued by the Society for Cultural Relations of the Soviet Union with Foreign Countries], Guide-Book to the Soviet Union (Berlin: Neuer Deutscher Verlag, 1928), pp. 197-364 (entry on Leningrad).
86 Physical appearance of Shostakovich at this time—After the illustration in Detlef Gojowy, Schostakowitsch (Hamburg: Rowohlt, Bildmonographien, 2002 repr. of 1983 ed.), p. 49 (“Porträt Schostakowitschs aus den Jahren 1933 bis 1935”).
87 Shostakovich’s letters to Elena, and various other background details—Based on Khentova, pp. 114-37, 150-59, 168-70, 245-46, trans. for WTV by Sergi Mineyev (16,746 words at 16.777 cents per word, for a total cost of $2,846.82).
88 Composition dates for various movements of Opus 40—Laurel E. Fay, Shostakovich: A Life (New York: Oxford University Press, 2000), p. 80.
88 Relative evenness of two themes from Opus 40—Harold Barlow and Sam Morgenstern, A Dictionary of Musical Themes (London and Tonbridge: Ernest Benn Limited, 1974 repr. of 1949 ed.), p. 438.
90 S. Khentova: “In contrast to Nina Vasilievna…”—Khentova (Mineyev), original, p. 115, Mineyev p. 1.
91 Shostakovich: The First String Quartet is “a particular exercise in the form of a quartet” —Musik und Gesellschaft, vol. 34, no. 9 (September 1981), pp. 549-52 (Ekkehard Ochs, “Das Streichquartett im Schaffen von Dmitri Schostakowitch: Zum 75. Geburtstag des Komponisten am 25. September), p. 549 (trans. by WTV).
91 Shostakovich to T. Glivenko: “I have a very clever wife, oh, yes—very clever…” —Khentova, p. 131, Mineyev p. 12; Shostakovich-ized by WTV.
91 Shostakovich: “When a critic for Worker and Theater or for The Evening Red Gazette”… —Quoted in Richard Taruskin, Defining Russia Musically: Historical and Hermeneutical Essays (Princeton, New Jersey: Princeton University Press, 2000 rev. repr. of 1977 ed.), pp. 480-81 (from Sovetskaya Muzika, no. 3 [1933], p. 121).
92 E. Mravinsky: “This masquerade imparts the spurious impression that Shostakovich is being emotional…”—Khentova (Mineyev), original p. 114, Mineyev p. 1; slightly reworded for contextual clarity by WTV.
92 Shostakovich: “I can’t forgive myself for not kidnapping my golden Elenochka and bringing her to Baku with me” and “As soon as I’m back in my Lyalka’s arms I’ll have the strength to resolve everything”—After Khentova (Mineyev), original p. 116, Mineyev p. 2 (letter from DDS to EEK, 15 June 1934).
93 “The brilliance here is sinister rather than exhibitionistic”—Emanuel Ax, program notes to the CBS “Masterworks” recording of Shostakovich’s Trio (Opus 67) and Piano Sonata (Opus 40); produced by James Mallinson (code MX 44664); p. 3.
94 Distinction between motif, leitmotiv and theme—Based partially on a chat with ethno-musicologist Philip Bohlman in September 2003; after thinking for a moment, Professor Bohlman advised me that “theme” would be the right word to use in connection with Shostakovich.
94 Footnote: Moser’s entries on Shostakovich, Sousa, Serbian music, “Glasunow” et al—H. J. Moser’s Musik Lexikon of 1933 (Berlin-Schöneberg, Max Hesses Verlag, 1935).
95 Ekkehard Ochs on dialectic in Shostakovich—Ochs, p. 551 (trans. by WTV).
95 Shostakovich to Konstantinovskaya: “I try to stop loving you…”—Same document, original pp. 119-20; Mineyev p. 4; slightly “retranslated” by WTV.
96 Arrests “by the tens of thousands”—Conquest’s figure, in his chapter on the Kirov affair. Kirov was murdered by Stalin.
96 A. Ferkelman on Shostakovich: “I never succeeded in getting any other pianist to take such fast tempi…”—Elizabeth Wilson, Shostakovich: A Life Remembered (London: Faber and Faber, 1995 repr. of 1994 ed.), p. 105 (testimony of Arnold Ferkelman, slightly “retranslated” by WTV.
96 “I don’t believe that I’ll be yours…”—pp. 122-23, Mineyev, p. 6 (25 June 1934), slightly “retranslated” by WTV.
98 Shostakovich on Opus 40: “A certain great breakthrough”—Ochs, p. 549 (trans. WTV).
98 Shostakovich to Konstantinovskaya: “Why did I meet you?…”—Khentova (Mineyev), original, p. 122, Mineyev, p. 6 (1st, short letter of 25 June 1934).