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The next theme is derived from a folk song recognizable to the Soviet audience. By changing just one note, however, Shostakovich shifts the meaning of the music. He fulfils the official mandate of celebrating Slavic culture, but the minor shift suggests emotional shadings beyond simple admiration.

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The second movement of Symphony No. 5 is drawn from the same goofy, ironic material as his film scores. The movement is a spoof on waltzes. Shostakovich draws a musical picture of a dance floor. There are peasants in their heavy boots, a wise guy on his squeaky clarinet, and a deluxe dance master with his little kit violin.

Back in the 1950s there was quite a spate of complete-ballet recordings, but in recent years there have been very few, and this is the first of The Sleeping Beauty since Ansermet's slightly cut version of 1959. Earlier still in 1957 Dorati recorded every note with the Minneapolis orchestra but these discs have been out of the British record catalogue for some years, and the sound never quite did the music justice. Andre Previn's new version is much the best there has ever been-the best played and the best recorded. He uses the edition published in Moscow in 1952 (and soon to be available as an Eulenburg miniature score) and there are no cuts.

I express my creative side by playing the violin and other musical instruments. Ever since I was a younger child, music had always been a part of my life. The first instrument I remember playing is the piano when I was four years old. My school had a music program, so I went and learned how to read music and play the Recorder. Though it was a simple instrument, it was to prepare us students for the more complex instruments that we could choose to play after completing the Recorder lessons. 041b061a72