Books
- Music Behind the Iron Curtain: Weinberg and his Polish Contemporaries (Cambridge University Press, 2020), ‘Music in Context’ series. https://www.cambridge.org/core_title/gb/543122
‘Blending lucid music analysis with careful contextualization, [Music Behind the Iron Curtain] is a quietly ambitious first monograph from a significant new voice in Polish and Russian music scholarship’. Nicholas Reyland, The Slavonic and East-European Review, April 2020.
- (ed. with Stephen Downes) Constructing Polish Musical Identities Outside Poland (under contract to Boydell & Brewer, expected 2025).
Articles
– ‘Weinberg and the Warsaw Autumn Festival: Nostalgia, Trauma, and Reactive Modernism’, in Michelle Assay and David Fanning (eds.), Mieczysław Weinberg: Between East and West (London: British Academy) (in preparation).
– ‘‘Formalistic Freaks in Music’: ‘Ilya Golovin’, Shostakovich, and Zhdanovshchina for the Masses’, Music & Letters, Spring 2024. Available here (open access).
– Review of ‘Music and Change in the Eastern Baltics Before and After 1989. Ed. by Małgorzata Janicka-Słysz & Rūta Stanevičiūtė’, Slavic Review, 82/4 (2024), 1020-1021.
– Review of ‘Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR by Peter J. Schmelz’, Notes, 80/3 (2024).
– (with Rebekah Donn), ‘Review of music literacy strand of the Oxford Music Analysis Conference (July 2023), Society for Music Analysis’, Journal of Music Education, ‘Special Issue: Music Literacy’, January 2024. Available here.
– Review of Nikolay Myaskovsky: A Composer and his Times by Patrick Zuk, Music & Letters, Summer 2022. Available here:
– Review of Polish Popular Music on Screen by Ewa Mazierska, Slavic Review, Summer 2022.
– Review of Rethinking Prokofiev. Ed. by Rita McAllister and Christina Guillaumier, Transposition: Musique et sciences sociales, 2022. Available here:
– Review of Stravinsky in Context ed. by Graham Griffiths, Twentieth-Century Music, 19/1 (2022), 167-172. Available here:
– ‘Shostakovich’s musical expression: Towards a de-historicised understanding’, in Jürgen Stolzenberg (ed), Ausdruck in der Musik (Munich: Edition text + kritik, 2021).
– Review of Awangarda by Lisa Cooper Vest, Slavonic and East European Review, July 2021. Available here:
– ‘Boris Asafiev and Soviet Musical Thought: Reputation and Influence’, Musicology (Journal of the Institute of Musicology SASA), 30/1, 2021, 57-74. Available here:
– Review of ‘Prokofiev’s Soviet Operas by Nathan Seinen, and The Operas of Sergei Prokofiev’ by Christina Guillaumier’, Music & Letters, February 2021. Available here:
– Review of ‘Lutosławski and his Worlds. Ed. by Nicholas Reyland and Lisa Jakelski’, Notes, Summer 2020. Available here:
– Review of ‘Music, Modern Culture, and the Critical Ear. Ed. by Nicholas Attfield and Ben Winters’, Music & Letters, August 2019. Available here:
– ‘Analytic focus: Shostakovich’s Second Symphony’, DSCH Journal, (No. 48, 2018). Available here:
– Review of ‘Composing for the State: Music in Twentieth-Century Dictatorships. Ed. By Esteban Buch, Igor Contreras Zubillaga, and Manuel Deniz Silva’, Music & Letters, Summer 2018. Available here:
– ‘Decoding the Music Masterpieces: Shostakovich’s Babi Yar (‘The Conversation’ online journal, September 2017): https://theconversation.com/decoding-the-music-masterpieces-shostakovichs-babi-yar-82819
– ‘Chronicle of a Journal: The Life and Times of DSCH’, DSCH Journal (No. 46, 2017).
– ‘Stepping out from the Shadows? A review of Weinberg Studies’, DSCH Journal (No. 43, 2016).
– Review of ‘Weinberg Sikorski Editions’, Notes, March 2016.
– ‘Lines that have Escaped Destruction: Weinberg and The Passenger’, (in conference proceedings, Colloque international “Musique et camps de concentration”, Forum Voix Étouffées, Strasbourg, Summer 2015). Available here: https://rm.coe.int/090000168047d194
– ‘Weinberg, Shostakovich and the Influence of Anxiety’, The Musical Times, (Vol. 155, No. 1929, Winter 2014) 49-62. Available here:
Programme Notes
I have written various programme notes for the BBC Philharmonic, the CBSO, the Wigmore Hall, and the BBC Symphony Orchestra.
Thesis
Daniel Elphick 