Derek Hulme is a jet engine designer and part-time dance band trumpeter. He has published numerous articles and recording notes on Shostakovich, including several for the Shostakovich Society's DSCH Journal.

The fourth edition of UK-based independent scholar Hulme's catalogue represents the culmination of his efforts on behalf of Shostakovich. The first edition appeared in 1982, and revised editions were published in 1991 (CH, Dec'91, 29-1865) and 2002. This revised fourth edition is truly a treasure trove of factual information about composition dates, autograph manuscripts, published scores, and recordings. The chronological lists of recordings are almost exhaustive in their comprehensiveness (exceptions include recordings of popular works issued in limited distribution). The cut-off date is 2006, but many recordings issued in the following two years are listed. The extensive bibliography contains brief annotations. Although Hulme continues his practice of intermingling works with opus numbers with Sans Op. numbers, he understands that this arrangement is problematic and hopes that a professional musicologist will compile a definitive catalogue of works in chronological order. The simplified index of compositions is arranged strictly according to genre. Hulme's work will serve researchers' needs adequately. Recommended. Academic and large public libraries; lower-level undergraduates through faculty/researchers, and general readers.

Derek Hulme is a jet engine designer and part-time dance band trumpeter. He has published numerous articles and recording notes on Shostakovich, including several for the Shostakovich Society's DSCH Journal.

The fourth edition of UK-based independent scholar Hulme's catalogue represents the culmination of his efforts on behalf of Shostakovich. The first edition appeared in 1982, and revised editions were published in 1991 (CH, Dec'91, 29-1865) and 2002. This revised fourth edition is truly a treasure trove of factual information about composition dates, autograph manuscripts, published scores, and recordings. The chronological lists of recordings are almost exhaustive in their comprehensiveness (exceptions include recordings of popular works issued in limited distribution). The cut-off date is 2006, but many recordings issued in the following two years are listed. The extensive bibliography contains brief annotations. Although Hulme continues his practice of intermingling works with opus numbers with Sans Op. numbers, he understands that this arrangement is problematic and hopes that a professional musicologist will compile a definitive catalogue of works in chronological order. The simplified index of compositions is arranged strictly according to genre. Hulme's work will serve researchers' needs adequately. Recommended. Academic and large public libraries; lower-level undergraduates through faculty/researchers, and general readers.