“Alone”. Op. 26

  The music to the film Alone was published for the first time in Volume 41 of Dmitri Shostakovich's
Collected Works (Muzyka Publishers, Moscow, 1987) according to the author's manuscripts. The author's manuscripts of the score have not survived in full. Three numbers from Reel 6 were found at the Leningrad State Institute of Theatre, Music and Cinematography (LSITMC, now the Russian Institute of Arts History, rec. gr. 94, inv. 1, f. 3). Twenty-seven numbers from different reels were found at the Glinka State Central Museum of Musical Culture (GSCMMC, rec. gr. 32, f. 109), where the “piano” versions of three numbers are also kept, “The Beginning”, “The Dream”, and “March”, the scores of which have not been found.
  All thirty numbers of the score were enumerated in the author's manuscript and distributed throughout the reels. It is clear from this numeration that much of the music has been lost. For example, from the music to Reel 1, there is only No. 4—March. Street, No. 7—Gallop “Happy Days are Coming!” and No. 9—Choral Finale “Stop! Don't Go Away!” in Shostakovich's manuscripts; the other six numbers are missing; from the music to Reel 7, Nos. 3, 4, 5, 6, 8, and 18 have survived; consequently more than 10 numbers have not survived, and so on.
  In the 1987 edition, all the music that survived was published in direct correspondence with the author's manuscripts, without correlation with the film's phonogram.
  In this edition, the score is being published as closest correlated as possible with the film's phonogram and can be used for orchestral accompaniment during showing of the film.
  Mark Fitz-Gerald did most of the work to reproduce the missing music text according to the phonogram and present the numbers available in correspondence with the phonogram. He fully reproduced Nos. 1, 2, 3, 7, 9, 11, 12, 13, 19, 20, 24, 25, 33, 40, and 42. What is more, in correspondence with the phonogram, he introduced a significant number of changes into the author's scores which have survived. Sometimes, for example in No. 5—“The Barrel-Organ”, we are dealing in Fitz-Gerald's editing with a different, independent version of the number which significantly differs from the original author's version that has survived. All the metronome marks are also Fitz-Gerald's, and he also inserted several additional tempo marks.
  Approbation of the score took place during several showings of the film in European countries (in particular, in Paris on 16 April 2003).
  An additional collation of the score with the phonogram carried out by editor V.A. Ekimovsky made it possible to add the missing dynamic marks and tempo changes, as well as eliminate several imprecisions in the author's manuscript. Ekimovsky also found the cuts and repeats, which arose when recording the soundtrack and montage (or remontage) of the film.
  In this edition, a large number of square brackets introduced by the editor of the first edition have been removed.

  Thus, this edition is based on Shostakovich's author's manuscripts, the first edition mentioned above and the score prepared by Mark Fitz-Gerald. The score is supplemented with the available music to Reel 6. Since Reel 6 has not survived, these numbers should not be performed when the film is accompanied by an orchestra.
  Consecutive numbering of all the reels from No. 1 to No. 45 is used in the score. Individual numbers of the music author's manuscript are preceded by the composer's text comments.
  Some of them are used as names, the rest are reproduced over the notes as explanatory remarks relating to the action of the film.

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