“Motherland”. Op. 63. Vocal-symphonic suite. Piano score. National Anthems. Sans. op.

Motherland (“My Native Leningrad”). Piano Score:

  Shostakovich wrote the suite Native Leningrad for the stage show Native Country performed by the Song and Dance Ensemble of the Dzerzhinsky Central Club.
  This publication is based on the edition of the piano score: D. Shostakovich, Collected Works, in 42 vols.,
Vol. 28, Muzyka Publishers, Moscow, 1986, collated with the 2017 edition of the score: D. Shostakovich, New Collected Works, Vol. 75, DSCH, Moscow, 2017.
  The arrangement of Nos. 1, 2 and 4 was done by Andrei Sevastyanov, and the arrangement of No. 3 by
Lev Solin. There are no rehearsal numbers in the piano score; they have been added in keeping with the score.

National Anthems:

1. Anthem of the Soviet Union for Choir and Symphony Orchestra. Score.
  This publication is based on the author’s manuscript kept at R SALA, rec. gr. 2048, inv. 1, f. 37 (copy in Dmitri Shostakovich’s Archive, rec. gr. 2, section 1, f. 202).

1a. Anthem of the Soviet Union. Piano Score.
  This publication is based on the author’s manuscript kept at RSALA, rec. gr. 2048, inv. 2, f. 24 (copy in Dmitri Shostakovich’s Archive, rec. gr. 2, section 1, f. 203). The choral parts are notated on one stave in the form of a two-part texture—the soprano and alto parts are combined, as well as the tenor and bass parts, in octave transposition. Printed in accordance with the author’s manuscript of the score. The Piano part in this edition has been edited in keeping with the score.

2. Anthem of the USSR for Choir and Symphony Orchestra. Score.
  This publication is based on the author’s manuscript kept at R SALA, rec. gr. 962, inv. 2, f. 168 (copy in Dmitri Shostakovich’s Archive, rec. gr. 2, section 1, f. 373). The positioning of the trumpets and French horns in the score is not typical of the author—the trumpets are positioned higher than the French horns. Printed in accordance with the author’s manuscript.

2a. Anthem of the USSR. Piano Score.
  This publication is based on the author’s manuscript kept at R SALA, rec. gr. 962, inv. 2, f. 168 (copy in Dmitri Shostakovich’s Archive, rec. gr. 2, section 1, f. 374). The choral parts are notated on one stave, combining all the parts in a two-part texture. Printed in accordance with the author’s manuscript of the piano score. There are no dynamic signs or articulation marks in the Piano part; they have been added by the editor in keeping with the author’s manuscript of the score. The piano score corresponds to the score as far as bar 18; different music begins (to the same words) after bar 18.

3. Anthem of the RSFSR for Choir and Symphony Orchestra. Score.
  This publication is based on the author’s manuscript kept at RSALA, rec. gr. 2048, inv. 1, f. 39. The positioning of the trumpets and French horns in the score is not typical of the author—the trumpets are positioned higher than the French horns. Printed in accordance with the author’s manuscript.

3a. Anthem of the RSFSR. Piano Score.
  This publication is based on the author’s manuscript kept at RSALA, rec. gr. 2048, inv. 1, f. 39. The choral parts are notated on one stave, which combines all the parts in a two-part texture. Printed in accordance with the author’s manuscript of the piano score. There are several differences in notation between the author’s manuscript of the piano score and the score—bars 10‑11, 21‑22, 27. They have been corrected in accordance with the score.

3b. Anthem of the RSFSR. For Choir a cappella.
  This publication is based on the author’s manuscript kept at RSALA, rec. gr. 2048, inv. 1, f. 39. There are no dynamic signs in the author’s manuscript in bars 9, 16-17; they have been added by the editor in keeping with the score.

4. Anthem of Moscow. For Choir and Piano.
  This publication is based on the author’s manuscript kept at RSALA, rec. gr. 2048, inv. 1, f. 40. There is another author’s manuscript that is essentially identical to the first, kept at R SALA , rec. gr. 2048, inv. 1, f. 40. There are differences in notation between them in bars 9 and 11, and in the lyrics in the first and third couplets. Printed in accordance with the first author’s manuscript.