Gauk. Shostakovich also included Tahiti Trot in an unpublished five-movement version of the ballet's suite. Music The manuscript score has no tempo markings; these were added by Gennady Rozhdestvensky when he edited the score for its first publication in 1984. A typical performance takes four minutes. Instrumentation In the original arrangement, the orchestra consists of the following instruments: Woodwinds 1 piccolo 2 flutes 2 oboes 1 clarinet 1 bassoon Brass 4 French horns 3 trumpets 1 trombone Percussion timpani triangle tambourine snare drum cymbals glockenspiel xylophone Keyboards celesta Strings harp 1st violins 2nd violins violas cellos double basses Shostakovich later adjusted the orchestration for the version of Tahiti Trot in The Golden Age and added a woodblock and alto saxophone. Premieres Tahiti Trot was premiered at the Large Hall of the Moscow Conservatory on November 25, 1928, by the conducted by Malko. It appeared in a program devoted to Shostakovich's music, which also included the suite from The Nose and another arrangement, Two Pieces by Domenico Scarlatti, Op. 17. Malko toured Tahiti Trot around the Soviet Union, including in Kiev where the score was pirated and performed without permission. According to Gauk, Tahiti Trot elicited the vivid approval of audiences, which always demanded the piece be encored. The first British performance took place in London on March 8, 1929, with Malko conducting the Wireless Orchestra. Prior to that performance, Malko told the Daily Mail that he did not make distinctions between a "great symphony" or a "musical comedy" provided that they are good, and that he appreciated a "good jazz band as much as a good symphony orchestra and far prefer[ed] to listen to a really good jazz band than a poor symphony orchestra." Retraction and loss The popularity of foxtrots and light music in the Soviet Union was viewed as a "problem" by the authorities. At a June 1929 conference of the Central Committee of the CPSU, People's Commissar of Education Anatol Lunacharsky said that no task was "more urgent" for Soviet culture than to rebuke the "aggressive, jazzy syncopations of the foxtrot": The bourgeoisie would like man to live not so much by his head as by his sexual organs. [...] The fundamental element of the foxtrot derives from mechanization, suppressed eroticism, and a desire to deaden feeling through drugs. [...] [W]e do not need that kind of music. Shostakovich repudiated Tahiti Trot in a 1930 issue of