Dmitri Shostakovich - Wikipedia, the free encyclopedia http://en.wikipedia.

org/wiki/Dmitri_Shostakovich

Dmitri Shostakovich
From Wikipedia, the free encyclopedia

Dmitri Dmitriyevich Shostakovich Russian pronunciation: [ˈdmʲitrʲɪj

ˈdmʲitrʲɪɪvʲɪt͡ ɕ ʂəstɐˈkovʲɪt͡ ɕ] (Russian: Дмитрий Дмитриевич
Шостакович;[1] 25 September 1906 – 9 August 1975) was a Soviet
Russian composer and pianist and was one of the most celebrated
composers of the 20th century.

Shostakovich achieved fame in the Soviet Union under the patronage

of Leon Trotsky's chief of staff Mikhail Tukhachevsky, but later had a
complex and difficult relationship with the government. Nevertheless,
he received accolades and state awards and served in the Supreme
Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until
death).

After a period influenced by Sergei Prokofiev and Igor Stravinsky,

Shostakovich developed a hybrid style, as exemplified by Lady
Macbeth of the Mtsensk District (1934). This single work juxtaposed
a wide variety of trends, including the neo-classical style (showing
the influence of Stravinsky) and post-Romanticism (after Gustav
Mahler). Sharp contrasts and elements of the grotesque[2]
characterize much of his music.
Dmitri Shostakovich in 1942
Shostakovich's orchestral works include 15 symphonies and six
concerti. Music for chamber ensembles includes 15 string quartets, a
piano quintet, two pieces for a string octet, and two piano trios. His piano works include two solo sonatas, an
early set of preludes, and a later set of 24 preludes and fugues. Other works include three operas, and a
substantial quantity of film music.

Contents
1 Biography
1.1 Early life
1.2 Early career
1.3 First denunciation
1.3.1 Withdrawal of the Fourth Symphony
1.3.2 "An artist's creative response to just criticism"
1.4 Second World War
1.5 Second denunciation
1.6 Joining the Party
1.7 Later life
2 Music
2.1 Women's Rights
2.2 Jewish themes
2.3 Posthumous publications

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2.4 Criticism
3 Personality
4 Orthodoxy and revisionism
5 Recorded legacy
6 Awards
7 List of compositions
8 Notes
9 References
10 External links

Biography
Early life

Born at 2 Podolskaya Ulitsa in Saint Petersburg, Russia, Shostakovich

was the second of three children born to Dmitri Boleslavovich
Shostakovich and Sofiya Vasilievna Kokoulina. Shostakovich's paternal
grandfather (originally surnamed Szostakowicz) was of Polish Roman
Catholic descent (his family roots trace to the region of the town of
Vileyka in Belarus), but his immediate forebears came from Siberia.[3]
His paternal grandfather, a Polish revolutionary in the January Uprising
of 1863–4, had been exiled to Narim (near Tomsk) in 1866 in the
crackdown that followed Dmitri Karakozov's assassination attempt on
Birthplace of Shostakovich (now Tsar Alexander II.[4] When his term of exile ended, Boleslaw
School no. 267). Commemorative Szostakowicz decided to remain in Siberia. He eventually became a
plaque at left successful banker in Irkutsk and raised a large family. His son, Dmitriy
Boleslavovich Shostakovich, the composer's father, was born in exile in
Narim in 1875 and attended Saint Petersburg University, graduating in
1899 from the faculty of physics and mathematics. After graduation, Dmitriy Boleslavovich went to work as an
engineer under Dmitriy Mendeleyev at the Bureau of Weights and Measures in Saint Petersburg. In 1903, he
married Sofiya Vasilievna Kokoulina, another Siberian transplant to the capital.[4] Sofiya herself was one of six
children born to Vasiliy Yakovlevich Kokoulin, a Russian Siberian native.

Dmitri Dmitriyevich Shostakovich was a child prodigy as a pianist and composer, his talent becoming apparent
after he began piano lessons with his mother at the age of nine. (On several occasions, he displayed a
remarkable ability to remember what his mother had played at the previous lesson, and would get "caught in the
act" of pretending to read, playing the previous lesson's music when different music was placed in front of
him.)[5] In 1918, he wrote a funeral march in memory of two leaders of the Kadet party, murdered by Bolshevik
sailors.[6]

In 1919, at the age of 13, he was allowed to enter the Petrograd Conservatory, then headed by Alexander
Glazunov. Glazunov monitored Shostakovich's progress closely and promoted him.[7] Shostakovich studied
piano with Leonid Nikolayev, after a year in the class of Elena Rozanova, composition with Maximilian
Steinberg, and counterpoint and fugue with Nikolay Sokolov, with whom he became friends.[8] Shostakovich
also attended Alexander Ossovsky's history of music classes.[9] However, he suffered for his perceived lack of
political zeal, and initially failed his exam in Marxist methodology in 1926. His first major musical

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achievement was the First Symphony (premiered 1926), written as his graduation piece at the age of nineteen.

Early career

After graduation, Shostakovich initially embarked on a dual career as concert

pianist and composer, but his dry style of playing (his American biographer,
Laurel Fay, comments on his "emotional restraint" and "riveting rhythmic
drive") was often unappreciated. He nevertheless won an "honorable mention" at
the First International Frederic Chopin Piano Competition in Warsaw in 1927.
After the competition Shostakovich met the conductor Bruno Walter, who was
so impressed by the composer's First Symphony that he conducted it at its Berlin
premiere later that year. Leopold Stokowski was equally impressed and gave the
work its U.S. premiere the following year in Philadelphia and also made the Shostakovich in 1925
work's first recording.

Thereafter, Shostakovich concentrated on composition, and soon limited his performances primarily to those of
his own works. In 1927 he wrote his Second Symphony (subtitled To October), a patriotic piece with a great
pro-Soviet choral finale. Due to its experimental nature, as with the subsequent Third Symphony, the pieces
were not critically acclaimed with the enthusiasm as granted to the First.

1927 also marked the beginning of Shostakovich's relationship with Ivan Sollertinsky, who remained his closest
friend until the latter's death in 1944. Sollertinsky introduced the composer to the music of Gustav Mahler,
which had a strong influence on his music from the Fourth Symphony onwards.

While writing the Second Symphony, Shostakovich also began work on his satirical opera The Nose, based on
the story by Gogol. In June 1929, the opera was given a concert performance, against Shostakovich's own
wishes, and was ferociously attacked by the Russian Association of Proletarian Musicians (RAPM).[10] Its stage
premiere on 18 January 1930 opened to generally poor reviews and widespread incomprehension amongst
musicians.[11]

Shostakovich composed his first film score for the 1929 silent movie, The New Babylon, set during the 1871
Paris Commune.

In the late 1920s and early 1930s, Shostakovich worked at TRAM, a proletarian youth theatre. Although he did
little work in this post, it shielded him from ideological attack. Much of this period was spent writing his opera,
Lady Macbeth of the Mtsensk District, which was first performed in 1934. It was immediately successful, on
both popular and official levels. It was described as "the result of the general success of Socialist construction,
of the correct policy of the Party", and as an opera that "could have been written only by a Soviet composer
brought up in the best tradition of Soviet culture."[12]

Shostakovich married his first wife, Nina Varzar, in 1932. Initial difficulties led to a divorce in 1935, but the
couple soon remarried when Nina became pregnant with their first child.[13]

First denunciation

In 1936, Shostakovich fell from official favour. The year began with a series of attacks on him in Pravda, in
particular an article entitled, "Muddle Instead of Music". Shostakovich was away on a concert tour in
Arkhangel’sk when he heard news of the first Pravda article. Two days before the article was published on the
evening of 28 January,[14] a friend had advised Shostakovich to attend the Bolshoi Theatre production of Lady

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Macbeth. When he arrived, he saw that Stalin and the Politburo were there. In letters written to Ivan
Sollertinsky, a close friend and advisor, Shostakovich recounted the horror with which he watched as Stalin
shuddered every time the brass and percussion played too loudly. Equally horrifying was the way Stalin and his
companions laughed at the love-making scene between Sergei and Katerina. Eyewitness accounts testify that
Shostakovich was "white as a sheet" when he went to take his bow after the third act.[15]

The article, which condemned Lady Macbeth as formalist, "coarse, primitive and vulgar,"[16] was thought to
have been instigated by Stalin. Consequently, commissions began to fall off, and his income fell by about three
quarters. Even Soviet music critics who had praised the opera were forced to recant in print, saying they "failed
to detect the shortcomings of Lady Macbeth as pointed out by the Pravda".[17] Shortly after the "Muddle
Instead of Music" article, Pravda published another, "Ballet Falsehood," that criticized Shostakovich’s ballet
The Limpid Stream. Shostakovich did not expect this second article because the general public and press already
accepted this music as "democratic" - that is, tuneful and accessible. However, Pravda criticized The Limpid
Stream for incorrectly displaying peasant life on the collective farm.[18]

More widely, 1936 marked the beginning of the Great Terror, in which many of the composer's friends and
relatives were imprisoned or killed: these included his patron Marshal Tukhachevsky (shot months after his
arrest); his brother-in-law Vsevolod Frederiks (a distinguished physicist, eventually released but died before he
got home); his close friend Nikolai Zhilyayev (a musicologist who had taught Tukhachevsky; shot shortly after
his arrest); his mother-in-law, the astronomer Sofiya Mikhailovna Varzar (sent to a camp in Karaganda); his
friend, the Marxist writer Galina Serbryakova (20 years in camps); his uncle, Maxim Kostrykin (died); and his
colleagues Boris Kornilov and Adrian Piotrovsky (executed).[19] His only consolation in this period was the
birth of his daughter Galina in 1936; his son Maxim was born two years later.

Withdrawal of the Fourth Symphony

The publication of the Pravda editorials coincided with the composition of Shostakovich's Fourth Symphony.
The work was a great shift in style for the composer, due to the substantial influence of Gustav Mahler, as well
as multiple Western-style elements. The symphony gave Shostakovich compositional trouble, as he attempted to
reform his style into a new idiom. The composer was well into the work when the fatal articles appeared.
Despite this, Shostakovich continued to compose the symphony and planned a premiere at the end of 1936.
Rehearsals began that December, but after a number of rehearsals Shostakovich, for reasons still debated today,
decided to withdraw the symphony from the public. A number of his friends and colleagues, such as Isaak
Glikman, have suggested that it was in fact an official ban which Shostakovich was persuaded to present as a
voluntary withdrawal.[20] Whatever the case, it seems possible that this action saved the composer's life: during
this time Shostakovich feared for himself and his family. Yet Shostakovich did not repudiate the work: it
retained its designation as his Fourth Symphony. A piano reduction was published in 1946, and the work was
finally premiered in 1961, well after Stalin's death.

During the years of 1936 and 1937, in order to maintain as low a profile as possible between the Fourth and
Fifth symphonies, Shostakovich mainly composed film music, a genre favored by Stalin and lacking in
dangerous personal expression.[21]

"An artist's creative response to just criticism"

The composer's response to his denunciation was the Fifth Symphony of 1937, which was musically more
conservative than his earlier works. Premiering on 21 November 1937 in Leningrad, it was a phenomenal
success: many in the Leningrad audience had lost family or friends to the mass executions. The Fifth drove

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many to tears and welling emotions. Later Shostakovich wrote in his memoirs: "I'll never believe that a man
who understood nothing could feel the Fifth Symphony. Of course they understood, they understood what was
happening around them and they understood what the Fifth was about."[22]

The success put Shostakovich in good standing once again. Music critics and the authorities alike, including
those who had earlier accused Shostakovich of formalism, claimed that he had learned from his mistakes and
had become a true Soviet artist. The composer Dmitry Kabalevsky, who had been among those who
disassociated himself from Shostakovich when the Pravda article was published, praised the Fifth Symphony
and congratulated Shostakovich for "not having given into the seductive temptations of his previous ‘erroneous’
ways."[23]

It was also at this time that Shostakovich composed the first of his string quartets. His chamber works allowed
him to experiment and express ideas which would have been unacceptable in his more public symphonic pieces.
In September 1937, he began to teach composition at the Leningrad Conservatory, which provided some
financial security but interfered with his own creative work.

Second World War

In 1939, before the Soviet forces invaded Finland, the Party Secretary of Leningrad Andrei Zhdanov
commissioned a celebratory piece from Shostakovich, entitled Suite on Finnish Themes to be performed as the
marching bands of the Red Army would be parading through the Finnish capital Helsinki. The Winter War was
a humiliation for the Red Army, and Shostakovich would never lay claim to the authorship of this work.[24] It
was not performed until 2001.[25]

After the outbreak of war between the Soviet Union and Germany in 1941,
Shostakovich initially remained in Leningrad. He tried to enlist for the military
but was turned away because he had bad eyesight. To compensate, Shostakovich
became a volunteer for the Leningrad Conservatory’s firefighter brigade and
delivered a radio broadcast to the Soviet people listen . The photograph for
which he posed was published in newspapers throughout the country.[26]

But his greatest and most famous wartime contribution was the Seventh
Symphony. The composer wrote the first three movements in Leningrad and
completed the work in Kuibyshev, now a settlement in Volgograd Oblast, where
he and his family had been evacuated. Whether or not Shostakovich really
conceived the idea of the symphony with the siege of Leningrad in mind, it was
officially claimed as a representation of the people of Leningrad’s brave
resistance to the German invaders and an authentic piece of patriotic art at a time Lev A. Russov. The
when morale needed boosting. The symphony was first premiered at the Bolshoi Leningrad Symphony.
Theatre in Moscow and was soon performed abroad in London and the United
Conducted by Yevgeny
States. However, the most compelling performance was by the Radio Orchestra
Mravinsky. 1980.
in besieged Leningrad. The orchestra only had fourteen musicians left, so the
conductor Karl Eliasberg had to recruit anyone who could play a musical
instrument to perform the symphony.[27]

In spring 1943, the family moved to Moscow. At the time of the Eighth Symphony's premiere, the tide had
turned for the Red Army. Therefore the public, and most importantly the authorities, wanted another triumphant
piece from the composer. Instead, they got the Eighth Symphony, perhaps the ultimate in sombre and violent
expression within Shostakovich's output. In order to preserve the image of Shostakovich (a vital bridge to the

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people of the Union and to the West), the government assigned the name "Stalingrad" to the symphony, giving it
the appearance of a mourning of the dead in the bloody Battle of Stalingrad. However, the symphony did not
escape criticism. Shostakovich is reported to have said: "When the Eighth was performed, it was openly
declared counter-revolutionary and anti-Soviet. They said, 'Why did Shostakovich write an optimistic
symphony at the beginning of the war and a tragic one now? At the beginning we were retreating and now we're
attacking, destroying the Fascists. And Shostakovich is acting tragic, that means he's on the side of the
fascists.'"[28] The work was unofficially but effectively banned until 1956.[29]

The Ninth Symphony (1945), in contrast, is an ironic Haydnesque parody, which intentionally failed to satisfy
Stalin's demands for a "hymn of victory". The war was won, and Shostakovich’s "pretty" symphony was
interpreted as a mockery of the Soviet Union’s victory rather than a celebratory piece. Shostakovich continued
to compose chamber music, notably his Second Piano Trio (Op. 67), dedicated to the memory of Sollertinsky,
with a bitter-sweet, Jewish-themed totentanz finale.

Second denunciation

In 1948 Shostakovich, along with many other composers, was again denounced for formalism in the Zhdanov
decree. Andrei Zhdanov, Chairman of the RSFSR Supreme Soviet, accused Shostakovich and other composers
(such as Sergei Prokofiev and Aram Khachaturian) for writing inappropriate and formalist music. This was part
of an ongoing anti-formalism campaign intended to root out all Western compositional influence as well as any
perceived "non-Russian" output. The conference resulted in the publication of the Central Committee’s Decree
"On V. Muradeli’s opera The Great Friendship," which was targeted towards all Soviet composers and
demanded that they only write "proletarian" music, or music for the masses. The accused composers, including
Shostakovich, were summoned to make public apologies in front of the committee.[30][31] Most of
Shostakovich's works were banned, and his family had privileges withdrawn. Yuri Lyubimov says that at this
time "he waited for his arrest at night out on the landing by the lift, so that at least his family wouldn't be
disturbed."[32]

The consequences of the decree for composers were harsh. Shostakovich was among those who were dismissed
from the Conservatoire altogether. For Shostakovich, the loss of money was perhaps the largest blow. Others
still in the Conservatory experienced an atmosphere that was thick with suspicion. No one wanted their work to
be understood as formalist, so many resorted to accusing their colleagues of writing or performing
anti-proletarian music.[33]

In the next few years he composed three categories of work: film music to pay the rent, official works aimed at
securing official rehabilitation, and serious works "for the desk drawer". The latter included the Violin Concerto
No. 1 and the song cycle From Jewish Folk Poetry. The cycle was written at a time when the post-war
anti-Semitic campaign was already under way, with widespread arrests including of I. Dobrushin and Yiditsky,
the compilers of the book from which Shostakovich took his texts.[34]

The restrictions on Shostakovich's music and living arrangements were eased in 1949, when Stalin decided that
the Soviets needed to send artistic representatives to the Cultural and Scientific Congress for World Peace in
New York City, and that Shostakovich should be amongst them. For Shostakovich, it was a humiliating
experience culminating in a New York press conference where he was expected to read a prepared speech.
Nicolas Nabokov, who was present in the audience, witnessed Shostakovich starting to read "in a nervous and
shaky voice" before he had to break off "and the speech was continued in English by a suave radio baritone".[35]
Fully aware that Shostakovich was not free to speak his mind, Nabokov publicly asked the composer whether
he supported the then recent denunciation of Stravinsky's music in the Soviet Union. Shostakovich, who was a
great admirer of Stravinsky and had been influenced by his music, had no alternative but to answer in the

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affirmative. Nabokov did not hesitate to publish that this demonstrated that Shostakovich was "not a free man,
but an obedient tool of his government."[36] Shostakovich never forgave Nabokov for this public
humiliation.[37] That same year Shostakovich was obliged to compose the cantata Song of the Forests, which
praised Stalin as the "great gardener." In 1951 the composer was made a deputy to the Supreme Soviet of
RSFSR.

Stalin's death in 1953 was the biggest step towards Shostakovich's rehabilitation as a creative artist, which was
marked by his Tenth Symphony. It features a number of musical quotations and codes (notably the DSCH and
Elmira motifs, Elmira Nazirova being a pianist and composer who had studied under Shostakovich in the year
prior to his dismissal from the Moscow Conservatoire),[38] the meaning of which is still debated, whilst the
savage second movement, according to Testimony, is intended as a musical portrait of Stalin himself. The
Symphony ranks alongside the Fifth and Seventh as one of his most popular works. 1953 also saw a stream of
premieres of the "desk drawer" works.

During the forties and fifties Shostakovich had close relationships with two of his pupils: Galina Ustvolskaya
and Elmira Nazirova. In the background to all this remained Shostakovich's first, open marriage to Nina Varzar
until her death in 1954. He taught Ustvolskaya from 1937 to 1947. The nature of their relationship is far from
clear: Mstislav Rostropovich described it as "tender". Ustvolskaya rejected a proposal of marriage from him
after Nina's death.[39] Shostakovich's daughter, Galina, recalled her father consulting her and Maxim about the
possibility of Ustvolskaya being their stepmother.[40] Ustvolskaya's friend, Viktor Suslin, said that she had been
"deeply disappointed" in Shostakovich by the time of her graduation in 1947. The relationship with Nazirova
seems to have been one-sided, expressed largely through his letters to her, and can be dated to around 1953 to
1956. He married his second wife, Komsomol activist Margarita Kainova, in 1956; the couple proved
ill-matched, and divorced three years later.

In 1954, Shostakovich wrote the Festive Overture, opus 96, that was used as the theme music for the 1980
Summer Olympics.[41] In addition his '"Theme from the film Pirogov, Opus 76a: Finale" was played as the
cauldron was lit at the 2004 Summer Olympics in Athens, Greece.

In 1959, Shostakovich appeared on stage in Moscow at the end of a concert performance of his Fifth Symphony,
congratulating Leonard Bernstein and the New York Philharmonic Orchestra for their performance (part of a
concert tour of the Soviet Union). Bernstein recorded the symphony later that year in New York for Columbia
Records.

Joining the Party

The year 1960 marked another turning point in Shostakovich's life: his joining of the Communist Party. The
government wanted to appoint him General Secretary of the Composer’s Union, but in order to hold that
position Shostakovich was required to attain Party membership. It was understood that Nikita Khrushchev, the
First Secretary of the Communist Party from 1958 to 1964, was looking for support from the leading ranks of
the intelligentsia in an effort to create a better relationship with the Soviet Union’s artists.[42] This event has
been interpreted variously as a show of commitment, a mark of cowardice, the result of political pressure, and
as his free decision. On the one hand, the apparat was undoubtedly less repressive than it had been before
Stalin's death. On the other, his son recalled that the event reduced Shostakovich to tears,[43] and he later told
his wife Irina that he had been blackmailed.[44] Lev Lebedinsky has said that the composer was suicidal.[45]
Once he joined the Party, several articles denouncing individualism in music were published in Pravda under
his name, though he did not actually write them. In addition, in joining the party, Shostakovich was also
committing himself to finally writing the homage to Lenin that he had promised before. His Twelfth Symphony,
which portrays the Bolshevik Revolution and was completed in 1961, was dedicated to Vladimir Lenin and

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called "The Year 1917."[46] Around this time, his health also began to deteriorate.

Shostakovich's musical response to these personal crises was the Eighth String Quartet, composed in only three
days. Shostakovich subtitled the piece, "To the victims of fascism and war",[47] ostensibly in memory of the
Dresden fire bombing that took place in 1945. Yet, like the Tenth Symphony, this quartet incorporates
quotations from several of his past works and his musical monogram: Shostakovich confessed to Glikman, "I
started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write
one myself."[48] Several of Shostakovich's colleagues, including Natalya Vovsi-Mikhoels[49] and the cellist
Valentin Berlinsky[50] were also aware of the Eighth Quartet's biographical intent.

In 1962 he married for the third time, to Irina Supinskaya. In a letter to his friend Isaak Glikman, he wrote, "her
only defect is that she is 27 years old. In all other respects she is splendid: clever, cheerful, straightforward and
very likeable."[51] According to Galina Vishnevskaya, who knew the Shostakoviches well, this marriage was a
very happy one: "It was with her that Dmitri Dmitriyevich finally came to know domestic peace... Surely, she
prolonged his life by several years."[52] In November Shostakovich made his only venture into conducting,
conducting a couple of his own works in Gorky:[53] otherwise he declined to conduct, citing nerves and ill
health as his reasons.

That year saw Shostakovich again turn to the subject of anti-Semitism in his Thirteenth Symphony (subtitled
Babi Yar). The symphony sets a number of poems by Yevgeny Yevtushenko, the first of which commemorates a
massacre of the Jews during the Second World War. Opinions are divided how great a risk this was: the poem
had been published in Soviet media, and was not banned, but it remained controversial. After the symphony's
premiere, Yevtushenko was forced to add a stanza to his poem which said that Russians and Ukrainians had
died alongside the Jews at Babi Yar.

In 1965 Shostakovich raised his voice in defense of poet Joseph Brodsky, who was sentenced to five years of
exile and hard labor. Shostakovich co-signed protests together with Yevtushenko and fellow Soviet artists
Kornei Chukovsky, Anna Akhmatova, Samuil Marshak, and the French philosopher Jean-Paul Sartre. After the
protests the sentence was commuted, and Brodsky returned to Leningrad. Shostakovich joined the group of 25
distinguished intellectuals in signing the letter to Leonid Brezhnev asking not to rehabilitate Stalin.
[citation needed]

Later life

In later life, Shostakovich suffered from chronic ill health, but he

resisted giving up cigarettes and vodka. Beginning in 1958 he
suffered from a debilitating condition that particularly affected his
right hand, eventually forcing him to give up piano playing; in 1965
it was diagnosed as polio. He also suffered heart attacks the following
year and again in 1971, and several falls in which he broke both his
legs; in 1967 he wrote in a letter:

"Target achieved so far: 75% (right leg broken, left leg broken,
right hand defective). All I need to do now is wreck the left Dmitri Shostakovich (center) with his
wife Irina and Azerbaijani composer
hand and then 100% of my extremities will be out of order."[54]
Gara Garayev
A preoccupation with his own mortality permeates Shostakovich's
later works, among them the later quartets and the Fourteenth Symphony of 1969 (a song cycle based on a
number of poems on the theme of death). This piece also finds Shostakovich at his most extreme with musical

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language, with twelve-tone themes and dense polyphony used throughout. Shostakovich dedicated this score to
his close friend Benjamin Britten, who conducted its Western premiere at the 1970 Aldeburgh Festival. The
Fifteenth Symphony of 1971 is, by contrast, melodic and retrospective in nature, quoting Wagner, Rossini and
the composer's own Fourth Symphony.

Shostakovich died of lung cancer on 9 August 1975 and after a civic funeral was interred in the Novodevichy
Cemetery, Moscow. Even before his death he had been commemorated with the naming of the Shostakovich
Peninsula on Alexander Island, Antarctica.

He was survived by his third wife, Irina; his daughter, Galina; and his son, Maxim, a pianist and conductor who
was the dedicatee and first performer of some of his father's works. Shostakovich himself left behind several
recordings of his own piano works, while other noted interpreters of his music include his friends Emil Gilels,
Mstislav Rostropovich, Tatiana Nikolayeva, Maria Yudina, David Oistrakh, and members of the Beethoven
Quartet.

Shostakovich's musical influence on later composers outside the former Soviet Union has been relatively slight,
although Alfred Schnittke took up his eclecticism, and his contrasts between the dynamic and the static, and
some of André Previn's music shows clear links to Shostakovich's style of orchestration. His influence can also
be seen in some Nordic composers, such as Lars-Erik Larsson.[55] Many of his Russian contemporaries, and his
pupils at the Leningrad Conservatory, however, were strongly influenced by his style (including German
Okunev, Boris Tishchenko, whose 5th Symphony of 1978 is dedicated to Shostakovich's memory, Sergei
Slonimsky, and others). Shostakovich's conservative idiom has nonetheless grown increasingly popular with
audiences both within and beyond Russia, as the avant-garde has declined in influence and debate about his
political views has developed.

Music
For a complete list, see List of compositions by Dmitri Shostakovich.
See also: Category:Compositions by Dmitri Shostakovich (thematical selection of works by
Shostakovich).

Shostakovich's works are broadly tonal and in the Romantic tradition, but with elements of atonality and
chromaticism. In some of his later works (e.g., the Twelfth Quartet), he made use of tone rows. His output is
dominated by his cycles of symphonies and string quartets, each numbering fifteen. The symphonies are
distributed fairly evenly throughout his career, while the quartets are concentrated towards the latter part.
Among the most popular are the Fifth and Seventh Symphonies and the Eighth and Fifteenth Quartets. Other
works include the operas Lady Macbeth of Mtsensk, The Nose and the unfinished The Gamblers based on the
comedy of Nikolai Gogol; six concertos (two each for piano, violin and cello); two piano trios; and a large
quantity of film music.

Shostakovich's music shows the influence of many of the composers he most admired: Bach in his fugues and
passacaglias; Beethoven in the late quartets; Mahler in the symphonies and Berg in his use of musical codes and
quotations. Among Russian composers, he particularly admired Modest Mussorgsky, whose operas Boris
Godunov and Khovanshchina he re-orchestrated; Mussorgsky's influence is most prominent in the wintry scenes
of Lady Macbeth and the Eleventh Symphony, as well as in his satirical works such as "Rayok".[56] Prokofiev's
influence is most apparent in the earlier piano works, such as the first sonata and first concerto.[57] The
influence of Russian church and folk music is very evident in his works for unaccompanied choir of the 1950s.

Shostakovich's relationship with Stravinsky was profoundly ambivalent; as he wrote to Glikman, "Stravinsky

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the composer I worship. Stravinsky the thinker I despise."[58] He was particularly enamoured of the Symphony
of Psalms, presenting a copy of his own piano version of it to Stravinsky when the latter visited the USSR in
1962. (The meeting of the two composers was not very successful, however; observers commented on
Shostakovich's extreme nervousness and Stravinsky's "cruelty" to him.)[59]

Many commentators have noted the disjunction between the experimental works before the 1936 denunciation
and the more conservative ones that followed; the composer told Flora Litvinova, "without 'Party guidance' ... I
would have displayed more brilliance, used more sarcasm, I could have revealed my ideas openly instead of
having to resort to camouflage."[60] Articles published by Shostakovich in 1934 and 1935 cited Berg,
Schoenberg, Krenek, Hindemith, "and especially Stravinsky" among his influences.[61] Key works of the earlier
period are the First Symphony, which combined the academicism of the conservatory with his progressive
inclinations; The Nose ("The most uncompromisingly modernist of all his stage-works"[62]); Lady Macbeth.
which precipitated the denunciation; and the Fourth Symphony, described by Grove as "a colossal synthesis of
Shostakovich's musical development to date".[63] The Fourth Symphony was also the first in which the
influence of Mahler came to the fore, prefiguring the route Shostakovich was to take to secure his rehabilitation,
while he himself admitted that the preceding two were his least successful.[64]

In the years after 1936, Shostakovich's symphonic works were outwardly musically conservative, regardless of
any subversive political content. During this time he turned increasingly to chamber works, a field that
permitted the composer to explore different and often darker ideas without inviting external scrutiny.[65] While
his chamber works were largely tonal, they gave Shostakovich an outlet for sombre reflection not welcomed in
his more public works. This is most apparent in the late chamber works, which portray what Groves has
described as a "world of purgatorial numbness";[66] in some of these he included the use of tone rows, although
he treated these as melodic themes rather than serially. Vocal works are also a prominent feature of his late
output, setting texts often concerned with love, death and art.

Women's Rights

Shostakovich's works have quite a few social justice themes. For example, in Lady Macbeth of the Mtsensk
District, the protagonist is doomed by the patriarchal society, and the opera ends with her tragic death.
Shostakovich had actually been brought up with feminism; his godmother, Klavdia Lukashevich, was a feminist
activist and was also a powerful influence on the young Dmitri Shostakovich.[67]

Jewish themes

Even before the Stalinist anti-Semitic campaigns in the late 1940s and early 1950s, Shostakovich showed an
interest in Jewish themes. He was intrigued by Jewish music’s "ability to build a jolly melody on sad
intonations."[68] Examples of works that included Jewish themes are the Fourth String Quartet (1949), the First
Violin Concerto (1948), and the Four Monologues on Pushkin Poems (1952). He was further inspired to write
with Jewish themes when he examined Moiser Beregovsky’s thesis on the theme of Jewish folk music in 1946.

In 1948, Shostakovich acquired a book of Jewish folk songs, and from this he composed the song cycle From
Jewish Poetry. He initially wrote eight songs that were meant to represent the hardships of being Jewish in the
Soviet Union. However in order to disguise this, Shostakovich ended up adding three more songs meant to
demonstrate the great life Jews had under the Soviet regime. Despite his efforts to hide the real meaning in the
work, the Union of Composers refused to approve his music in 1949 under the pressure of the anti-Semitism
that gripped the country. From Jewish Poetry could not be performed until after Stalin’s death in March 1953,
along with all the other works that were forbidden.[69]

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Posthumous publications

In 2004, the musicologist Olga Digonskaya discovered a trove of Shostakovich manuscripts at the Glinka State
Central Museum of Musical Culture, Moscow. In a cardboard file were some "300 pages of musical sketches,
pieces and scores" in the hand of Shostakovich. "A composer friend bribed Shostakovich's housemaid to
regularly deliver the contents of Shostakovich's office waste bin to him, instead of taking it to the garbage.
Some of those cast-offs eventually found their way into the Glinka. ... The Glinka archive 'contained a huge
number of pieces and compositions which were completely unknown or could be traced quite indirectly,'
Digonskaya said."[70]

Among these were Shostakovich's piano and vocal sketches for a prologue to an opera, Orango (1932). They
have been orchestrated by the British composer Gerard McBurney and this work was premiered in December
2011 by the Los Angeles Philharmonic.[70][71][72][73][74]

Criticism

According to Shostakovich scholar Gerard McBurney, opinion is divided on whether his music is "of visionary
power and originality, as some maintain, or, as others think, derivative, trashy, empty and second-hand."[75]
William Walton, his British contemporary, described him as "The greatest composer of the 20th century."[76]
Musicologist David Fanning concludes in Grove that, "Amid the conflicting pressures of official requirements,
the mass suffering of his fellow countrymen, and his personal ideals of humanitarian and public service, he
succeeded in forging a musical language of colossal emotional power."[77]

Some modern composers have been critical. Pierre Boulez dismissed Shostakovich's music as "the second, or
even third pressing of Mahler."[78] The Romanian composer and Webern disciple Philip Gershkovich called
Shostakovich "a hack in a trance."[79] A related complaint is that Shostakovich's style is vulgar and strident:
Stravinsky wrote of Lady Macbeth: "brutally hammering ... and monotonous."[80] English composer and
musicologist Robin Holloway described his music as "battleship-grey in melody and harmony, factory-
functional in structure; in content all rhetoric and coercion."[81]

In the 1980s, the Finnish conductor and composer Esa-Pekka Salonen was critical of Shostakovich and refused
to conduct his music. For instance, he said in 1987:

Shostakovich is in many ways a polar counter-force for Stravinsky. [...] When I have said that the
7th symphony of Shostakovich is a dull and unpleasant composition, people have responded: "Yes,
yes, but think of the background of that symphony." Such an attitude does no good to anyone.[82]

It is certainly true that Shostakovich borrows extensively from the material and styles both of earlier composers
and of popular music; the vulgarity of "low" music is a notable influence on this "greatest of eclectics".[83]
McBurney traces this to the avant-garde artistic circles of the early Soviet period in which Shostakovich moved
early in his career, and argues that these borrowings were a deliberate technique to allow him to create "patterns
of contrast, repetition, exaggeration" that gave his music the large-scale structure it required.[84]

Personality
Shostakovich was in many ways an obsessive man: according to his daughter he was "obsessed with
cleanliness";[85] he synchronised the clocks in his apartment; he regularly sent cards to himself to test how well

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the postal service was working. Elizabeth Wilson's Shostakovich: A Life

Remembered (1994 edition) indexes 26 references to his nervousness.
Mikhail Druskin remembers that even as a young man the composer was
"fragile and nervously agile".[86] Yuri Lyubimov comments, "The fact that
he was more vulnerable and receptive than other people was no doubt an
important feature of his genius".[87] In later life, Krzysztof Meyer recalled,
"his face was a bag of tics and grimaces".[88]

In his lighter moods, sport was one of his main recreations, although he
Shostakovich with close friend
preferred spectating or umpiring to participating (he was a qualified football
Ivan Sollertinsky
referee). His favourite football club was Zenit Leningrad, which he would
watch regularly.[89] He also enjoyed playing card games, particularly
patience. He was fond of satirical writers such as Gogol, Chekhov and Mikhail Zoshchenko. The influence of
the latter in particular is evident in his letters, which include wry parodies of Soviet officialese. Zoshchenko
himself noted the contradictions in the composer's character: "he is ... frail, fragile, withdrawn, an infinitely
direct, pure child ... [but he is also] hard, acid, extremely intelligent, strong perhaps, despotic and not altogether
good-natured (although cerebrally good-natured)".[90]

He was diffident by nature: Flora Litvinova has said he was "completely incapable of saying 'No' to
anybody."[91] This meant he was easily persuaded to sign official statements, including a denunciation of
Andrei Sakharov in 1973; on the other hand he was willing to try to help constituents in his capacities as
chairman of the Composers' Union and Deputy to the Supreme Soviet. Oleg Prokofiev commented that "he tried
to help so many people that ... less and less attention was paid to his pleas."[92] When asked if he believed in
God, Shostakovich said "No, and I am very sorry about it."[93]

Orthodoxy and revisionism

Main article: Testimony (book)

Shostakovich's response to official criticism and, what is more

important, the question of whether he used music as a kind of covert
dissidence is a matter of dispute. He outwardly conformed to
government policies and positions, reading speeches and putting his
name to articles expressing the government line.[94] But it is evident he Shostakovich represented himself in
disliked many aspects of the regime, as confirmed by his family, his some works with the DSCH motif,
letters to Isaak Glikman, and the satirical cantata "Rayok", which consisting of D-E♭-C-B.
ridiculed the "anti-formalist" campaign and was kept hidden until after
his death.[95] He was a close friend of Marshal of the Soviet Union
Mikhail Tukhachevsky, who was executed in 1937 during the Great Purge.

It is also uncertain to what extent Shostakovich expressed his opposition to the state in his music. The
revisionist view was put forth by Solomon Volkov in the 1979 book Testimony, which was claimed to be
Shostakovich's memoirs dictated to Volkov. The book alleged that many of the composer's works contained
coded anti-government messages, that would place Shostakovich in a tradition of Russian artists outwitting
censorship that goes back at least to the early 19th century poet Pushkin. It is known that he incorporated many
quotations and motifs in his work, most notably his signature DSCH theme.[96] His longtime collaborator
Evgeny Mravinsky said that "Shostakovich very often explained his intentions with very specific images and
connotations."[97]

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The revisionist perspective has subsequently been supported by his children, Maxim and Galina, and many
Russian musicians. Volkov has further argued, both in Testimony and in Shostakovich and Stalin, that
Shostakovich adopted the role of the yurodivy or holy fool in his relations with the government. Other
prominent revisionists are Ian MacDonald, whose book The New Shostakovich put forward further revisionist
interpretations of his music, and Elizabeth Wilson, whose Shostakovich: A Life Remembered provides testimony
from many of the composer's acquaintances.

Musicians and scholars including Laurel Fay[98] and

Richard Taruskin contest the authenticity and debate the
significance of Testimony, alleging that Volkov compiled it
from a combination of recycled articles, gossip, and
possibly some information direct from the composer. Fay
documents these allegations in her 2002 article 'Volkov's
Testimony reconsidered',[99] showing that the only pages of
the original Testimony manuscript that Shostakovich had
signed and verified are word-for-word reproductions of
earlier interviews given by the composer, none of which are
controversial. (Against this, it has been pointed out by Allan
B. Ho and Dmitry Feofanov that at least two of the signed
pages contain controversial material: for instance, "on the Tombstone of Shostakovich, showing his D-E♭-C-B
first page of chapter 3, where [Shostakovich] notes that the motif. Novodevichy Cemetery, Moscow.
plaque that reads 'In this house lived [Vsevolod] Meyerhold'
should also say 'And in this house his wife was brutally
murdered'.")[100] More broadly, Fay and Taruskin argue[citation needed] that the significance of Shostakovich is in
his music rather than his life, and that to seek political messages in the music detracts from, rather than
enhances, its artistic value.

Recorded legacy
In May 1958, during a visit to Paris, Shostakovich recorded his two
piano concertos with André Cluytens, as well as some short piano
works. These were issued by EMI on an LP, reissued by Seraphim
Records on LP, and eventually digitally remastered and released on CD.
Shostakovich recorded the two concertos in stereo in Moscow for
Melodiya. Shostakovich also played the piano solos in recordings of the
Cello Sonata, Op. 40 with cellist Daniil Shafran and also with Mstislav
Rostropovich; the Violin Sonata, Op. 134, with violinist David Oistrakh;
and the Piano Trio, Op. 67 with violinist David Oistrakh and cellist
Miloš Sádlo. There is also a short sound film of Shostakovich as soloist A Russian stamp in Shostakovich's
in a 1930s concert performance of the closing moments of his first piano memory
concerto. A colour film of Shostakovich supervising one of his operas,
from his last year, was also made.[101]

Awards
Soviet Union

Hero of Socialist Labor (1966)

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Order of Lenin (1946, 1956, 1966)

Order of the October Revolution (1971)
Order of the Red Banner of Labour (1940)
Order of Friendship of Peoples (1972)
People's Artist of the USSR (1954)
People's Artist of the RSFSR (1948)
International Peace Prize (1954)
Lenin Prize (1958 - for the 11th symphony "1905")
State Stalin Prize in arts (1941 - 1st class, for piano quintet; 1942 - 1st class, 7th ("Leningrad")
Symphony; 1946 - 2nd class, a trio, 1948, 1949, 1949, 1949, 1950 - 1st class, for the music for the film
Meeting on the Elbe, 1952 - 2nd class, 10 poems for chorus)
USSR State Prize (1968 - for the poem "The Execution of Stepan Razin" for bass, chorus and
orchestra)
Glinka State Prize of the RSFSR (1974 - for the 14th string quartet and choral cycle "Fidelity")
National Prize of Ukraine Taras Shevchenko (posthumously, 1976 - USSR State Prize named after
Taras Shevchenko - for the opera "Katerina Ismailov," staged in KUGATOB Shevchenko)

Finland

Sibelius Award (1958)

United States

Oscar nomination for Khovanshchina, Best Score (Musical) in 1961

United Kingdom

Gold Medal of the Royal Philharmonic Society (1966)

Austria

Decoration for Services to the Republic of Austria in Silver (1967)

Denmark

Léonie Sonning Music Prize (1974)

List of compositions
List of compositions by Dmitri Shostakovich

Notes
1. ^ Russian: Дмитрий Дмитриевич Шостакович , tr. Dmitrij Dmitrievič Šostakovič
2. ^ Sheinberg (2000) pp.207–309
3. ^ Laurel Fay (2000), Shostakovich: A Life, p. 7
4. ^ a b Elizabeth Wilson, Shostakovich: A Life Remembered (2006), p. 4
5. ^ Laurel Fay (2000), p. 9
6. ^ Laurel Fay (2000), p. 12

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7. ^ Laurel Fay (2000), p. 17

8. ^ Laurel Fay (2000), p. 18
9. ^ The Cambridge Companion to Shostakovich, Cambridge Companions to Music by Pauline Fairclough (Editor),
David Fanning (Editor). Cambridge University Press; 1 edition (17 November 2008) p.73
10. ^ Wilson (2006): p. 84
11. ^ Wilson (2006): p. 85
12. ^ Dmitrii Shostakovich. Shostakovich: About Himself and His Times, compiled by L. Grigoryev and Y.. Platek, trans.
Angus and Neilian Roxburgh (Moscow: Progress Publishers, 1981), p. 33
13. ^ Laurel Fay (2000), p. 80
14. ^ Classical Music (8 March 2004). "When opera was a matter of life or death" (http://www.telegraph.co.uk/culture
/music/classicalmusic/3613515/When-opera-was-a-matter-of-life-or-death.html) . London: Telegraph.
http://www.telegraph.co.uk/culture/music/classicalmusic/3613515/When-opera-was-a-matter-of-life-or-death.html.
Retrieved 2011-11-07.
15. ^ Elizabeth Wilson, Shostakovich: A Life Remembered (Princeton, NJ: Princeton UP, 2006), 128–129
16. ^ McBurney, p. 287.
17. ^ Downes, Olin. "Shostakovich Affair shows shift in point of view in the U.S.S.R." (http://select.nytimes.com
/gst/abstract.html?res=F40A12FF3D5E167B93C0A8178FD85F428385F9&scp=1&
sq=Shostakovich+affair+shows&st=p) , The New York Times. 12 April 1936. p. X5.
18. ^ Wilson, Shostakovich: A Life Remembered, 130
19. ^ Wilson (2006): pp. 145-46
20. ^ Wilson (2006): pp. 143-44
21. ^ Volkov, Solomon. Testimony. New York: Harper & Row, 1979: p.59
22. ^ Volkov. Testimony: p.173
23. ^ Wilson (2006): p. 152
24. ^ Edwards 2006, p. 98
25. ^ MTV3: Shostakovitshin kiistelty teos kantaesitettiin (http://www.mtv3.fi/uutiset/arkisto.shtml/arkistot/kulttuuri
/2001/09/78462) (in Finnish)
26. ^ Wilson, Shostakovich: A Life Remembered. 171
27. ^ Blokker, Shostakovich: The Symphonies,31
28. ^ Volkov. Testimony: p.162
29. ^ Wilson (2006): p. 203
30. ^ Blokker, Shostakovich: The Symphonies, 33–34.
31. ^ Wilson,Shostakovich: A Life Remembered (2006): p. 241
32. ^ Wilson,Shostakovich: A Life Remembered (1994), p. 183.
33. ^ Wilson, Shostakovich: A Life Remembered, 252
34. ^ Wilson (2006): p.269.
35. ^ Nabokov, Nicolas. Old Friends and New Music. London: Hamish Hamilton, 1951: p. 204
36. ^ Nabokov: p. 205
37. ^ Wilson (2006): p. 274
38. ^ Wilson (2006): p. 304
39. ^ Fay (2000): p. 194
40. ^ Fay (2000): p. 194; Wilson (2006): p. 297
41. ^ "1980 Summer Olympics Official Report from the Organizing Committee, vol. 2" (http://www.la84foundation.org
/5va/reports_frmst.htm) (PDF). p. 283. http://www.la84foundation.org/5va/reports_frmst.htm. Retrieved 16 October
2007. 40-megabyte document.
42. ^ Wilson, Shostakovich: A Life Remembered, 373–380
43. ^ Ho and Feofanov, p. 390.
44. ^ Manashir Yakubov, programme notes for the 1998 Shostakovich seasons at the Barbican, London).
45. ^ Wilson (1994), p. 340.
46. ^ Ian MacDonald, The New Shostakovich (London:Plimlico, 2006), 247
47. ^ Blokker, Shostakovich: The Symphonies, 37
48. ^ Letter dated 19 July 1960, reprinted in Glikman: pp. 90-91
49. ^ Wilson (2006): p. 263
50. ^ Wilson (2006): p. 281
51. ^ Glikman: p. 102.

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52. ^ Galina Vishnevskaya, Galina, A Russian Story p. 274.

53. ^ Wilson (2006): pp. 426-27
54. ^ Glikman p. 147.
55. ^ Musicweb International. Lars-Erik Larsson. (http://www.musicweb-international.com/classrev/2003/Aug03
/Larsson_concertinos.htm) Retrieved on 18 November 2005.
56. ^ Fay (2000), pp. 119, 165, 224.
57. ^ Grove pp. 288, 290.
58. ^ Glikman p. 181.
59. ^ Wilson (1994), pp. 375–377.
60. ^ Wilson (1994), p. 426.
61. ^ Fay (2000), p. 88.
62. ^ Grove p. 289.
63. ^ Grove p. 290.
64. ^ Glikman p. 315.
65. ^ See also Grove p. 294.
66. ^ Grove p. 300.
67. ^ Volkov, Solomon (2004). Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer
and the Brutal Dictator (http://books.google.com/?id=x__ntDIlYGYC&lpg=PT47&dq=Shostakovich%20feminism&
pg=PT47#v=onepage&q=feminism&f=false) . Chapter 1: Alfred A. Knopf. ISBN 0-375-41082-1.
http://books.google.com/?id=x__ntDIlYGYC&lpg=PT47&dq=Shostakovich%20feminism&pg=PT47#v=onepage&
q=feminism&f=false.
68. ^ Wilson, Shostakovich: A Life Remembered, 268
69. ^ Wilson, Shostakovich: A Life Remembered, 267–269
70. ^ a b "Shostakovich's 'Orango' found, finished, set for Disney Hall" (http://articles.latimes.com/2011/nov
/27/entertainment/la-ca-orango-opera-20111127) . Los Angeles Times. 27 November 2011. http://articles.latimes.com
/2011/nov/27/entertainment/la-ca-orango-opera-20111127. Retrieved 17 February 2012.
71. ^ Ayala, Ted (2011-12-07). "No Monkey Business with LAPO’s World Premiere of Shostakovich’s ‘Orango’"
(http://www.crescentavalleyweekly.com/leisure/12/07/2011/no-monkey-business-with-lapo’s-world-premiere-
of-shostakovich’s-‘orango’/) . Crescenta Valley Weekly. http://www.crescentavalleyweekly.com/leisure/12/07
/2011/no-monkey-business-with-lapo’s-world-premiere-of-shostakovich’s-‘orango’/. Retrieved 2012-04-10.
72. ^ Sirén, Vesa (6 April 2009). "Šostakovitšin apinaooppera löytyi ('The ape opera by Shostakovich was found')"
(http://www.hs.fi/kulttuuri/artikkeli/%C5%A0ostakovit%C5%A1in+kadonnut+apina-ooppera+kes%C3%A4ll
%C3%A4+esityskuntoon/1135244971728) (in fi). Helsingin Sanomat (Helsinki: Sanoma Oy): pp. C1.
http://www.hs.fi/kulttuuri/artikkeli/%C5%A0ostakovit%C5%A1in+kadonnut+apina-ooppera+kes%C3%A4ll
%C3%A4+esityskuntoon/1135244971728. Retrieved 6 April 2009.
73. ^ Artsjournal (http://www.artsjournal.com/artsjournal1/2009/03/unknown_shostak.shtml) accessed 5 April 2009
(English)
74. ^ Philadephia Orchestra program, October 27, 2011.
75. ^ McBurney, p. 283.
76. ^ British Composers in Interview by R Murray Schafer (Faber 1960)
77. ^ Grove p. 280.
78. ^ McBurney, p. 288.
79. ^ McBurney, p. 290.
80. ^ McBurney, p. 286.
81. ^ Holloway, Robin. "Shostakovich horrors." The Spectator, 26 August 2000. Available at Find articles.
(http://findarticles.com/p/articles/mi_qa3724/is_200008/ai_n8906382) Retrieved on 14 October 2007.
82. ^ Salonen, Esa-Pekka & Otonkoski, Lauri: Kirja – puhetta musiikitta, p. 73. Helsinki: Tammi. ISBN 951-30-6599-5
83. ^ Haas, Shostakovich's Eighth: C minor Symphony against the Grain p. 125.
84. ^ McBurney
85. ^ Michael Ardov,Memories of Shostakovich p. 139.
86. ^ Wilson (1994), pp. 41–45.
87. ^ Wilson (1994), p. 183.
88. ^ Wilson (1994), p. 462.
89. ^ Mentioned in his personal correspondence (Shostakovich, tr. Phillips (2001)), as well as other sources.
90. ^ Quoted in Fay (2000): p. 121.

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91. ^ Wilson (1994), p. 162.

92. ^ Wilson (1994): p. 40.
93. ^ Laurel Fay (2000), p. 263
94. ^ Wilson (2006): pp. 369-70.
95. ^ Wilson (2006): p. 336
96. ^ This appears in several of his works including the Pushkin Monologues, Symphony No. 10, and String Quartets
Nos 5, 8 & 11.
97. ^ Wilson (1994), p. 139.
98. ^ Fay (2000), p. 4. "Whether Testimony faithfully reproduces Shostakovich's confidences ... in a form and context he
would have recognized and approved for publication remains doubtful. Yet even were [its] claim to authenticity not in
doubt, it would still furnish a poor source for the serious biographer.""
99. ^ Fay, 2002
100. ^ Ho & Feofanov, p. 211
101. ^ "Dmitri Shostakovich filmed in 1975 during rehearsals" (http://www.youtube.com/watch?v=C5P4x2POjSM) .
YouTube. 2008-01-09. http://www.youtube.com/watch?v=C5P4x2POjSM. Retrieved 2011-11-07.

References
Kovnatskaya, Liudmila (ed.) (2000). D. D. Shostakovich: Between the moment and Eternity. Documents. Articles.
Publications. St Petersburg: Kompozitor.
Kovnatskaya, Liudmila (ed.) (1996). D. D. Shostakovich: Collections to the 90th anniversary. St Petersburg:
Kompozitor.
Ardov, Michael (2004). Memories of Shostakovich. Short Books. ISBN 1-904095-64-X.
Edwards, Robert (2006). White Death: Russia's War on Finland 1939–40. London: Weidenfeld & Nicolson.
ISBN 0-297-84630-2.
Fay, Laurel (2002). "Volkov's Testimony Reconsidered" (http://books.google.com/books?id=-bn4yMWnpOAC&
pg=PA22&dq=Volkov's+Testimony+Reconsidered&hl=en&sa=X&ei=Bq2ET6-kKNGQiQeSvfjTBw&sqi=2&
ved=0CC8Q6AEwAA) . In Hamrick Brown, Malcolm (ed). A Shostakovich Casebook (http://books.google.com
/books?id=-bn4yMWnpOAC&printsec=frontcover&dq=a+shostakovich+casebook&hl=en&
sa=X&ei=bqyET6PNLu2aiQfu4NDRBw&sqi=2&ved=0CC8Q6AEwAA) . Indiana University Press.
ISBN 0-253-21823-3. http://books.google.com/books?id=-bn4yMWnpOAC&pg=PA22&
dq=Volkov's+Testimony+Reconsidered&hl=en&sa=X&ei=Bq2ET6-kKNGQiQeSvfjTBw&sqi=2&
ved=0CC8Q6AEwAA.
Fay, Laurel (2001). "Dmitri Shostakovich". Grove Dictionary of Music and Musicians. Macmillan Publishers.
Fay, Laurel (2000). Shostakovich: A Life. Oxford University Press. ISBN 0-19-513438-9.
Haas, David. "Shostakovich's Eighth: C minor Symphony against the Grain". In Bartlett (ed). Shostakovich in
Context.
Ho, Allan; Dmitry Feofanov (1998). Shostakovich Reconsidered. Toccata Press. ISBN 0-907689-56-6.
MacDonald, Ian (1990). The New Shostakovich. Northeastern University Press. ISBN 1-55553-089-3.
MacDonald, Ian. "Shostakovichiana" (http://www.siue.edu/~aho/musov/dmitri.html) . Music Under Soviet Rule.
http://www.siue.edu/~aho/musov/dmitri.html. Retrieved 17 August 2005.
McBurney, Gerard (2002). "Whose Shostakovich?". In Hamrick Brown, Malcolm (ed). A Shostakovich Casebook.
Indiana University Press. ISBN 0-253-21823-3.
Nabokov, Nicolas (1951). Old Friends and New Music. Hamish Hamilton.
van Rijen, Onno. "Opus by Shostakovich" (http://home.wanadoo.nl/ovar/shosopus/shosopus.htm) . Shostakovich &
Other Soviet Composers. http://home.wanadoo.nl/ovar/shosopus/shosopus.htm. Retrieved 17 August 2005.
Sheinberg, Esti (29 December 2000). Irony, satire, parody and the grotesque in the music of Shostakovich. UK:
Ashgate. p. 378. ISBN 0-7546-0226-5.
Shostakovich, Dmitri; Glikman, Isaak; tr. Phillips, Anthony (2001). Story of a Friendship: The Letters of Dmitry
Shostakovich to Isaak Glikman. Cornell University Press. ISBN 0-8014-3979-5.
Shostakovich, Dmitri; Volkov, Solomon (2000). Testimony (7th ed.). Proscenium (publisher). ISBN 0-87910-021-4.
Volkov, Solomon (2004). Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and
the Brutal Dictator. Knopf. ISBN 0-375-41082-1.
Wilson, Elizabeth (1994). Shostakovich: A Life Remembered. Princeton University Press. ISBN 0-691-04465-1.

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Wilson, Elizabeth (2006). Shostakovich: A Life Remembered (revised edition). Faber and Faber.
ISBN 0-571-22050-9.
"Lev A. Russov. The Leningrad Symphony. Conducted by Yevgeny Mravinsky. 1980. // Sergei V. Ivanov. Unknown
Socialist Realism. The Leningrad School. – Saint-Petersburg: NP – Print, 2007, plate 86. ISBN 5-901724-21-6, ISBN
978-5-901724-21-7.

External links
Complete catalogue of works, with many additional comments (http://media.sikorski.de/media/files
/1/12/190/249/336/5472/schostakowitsch_werkverzeichnis.pdf) by Sikorski
The Shostakovich Debate: Interpreting the composer's life and music (http://www.siue.edu/~aho/musov
/deb/deb.html)
One Resurrected Drunkard: A Dialogue on Tony Palmer's Testimony (http://www.brightlightsfilm.com
/76/76testimony_grossman_morse.php) Article on Palmer's Shostakovich film in Bright Lights Film
Journal
Journey of Dmitri Shostakovich (http://www.scribemedia.org/2006/11/07/shostakovich/) – an interview
with filmmaker Helga Landauer
Epitonic.com: Dimitri Shostakovich (http://www.epitonic.com/artists/dimitrishostakovich.html) featuring
tracks from Written With The Heart's Blood
Video of Shostakovich (http://www.youtube.com/watch?v=mjK7Hnxpmsg) , at a rehearsal of his opera
The Nose in 1975
BBC Presenter Stephen Johnson on Shostakovich and Depression (http://www.bbc.co.uk/radio3
/shostakovich/feature.shtml)
Altovaya sonata. Dmitriy Shostakovich (1981) (Sonata for Viola) (http://www.imdb.com/title/tt0174463/)
, documentary film on Shostakovich's life, and difficulties with Khrennikov and Stalin
Complete opus list, comprehensive discography, bibliography, filmography, list of first performances and
links (http://www.envi.osakafu-u.ac.jp/develp/staff/kudo/dsch/dsch-e.html) by Yosuke Kudo
Archive of BBC's "Discovering Music" radio show (http://www.bbc.co.uk/radio3/discoveringmusic
/listeninglibrary.shtml#s) , featuring Shostakovich's Symphony No. 5, Symphony No. 10, String Quartet
No. 8, and Cello Concerto No. 1.
Various pieces by Shostakovich in streaming media by Classical Music Archives
(http://www.classicalarchives.com/main/s.html#SHOSTAKOVICH)
Shostakovich: the 24 preludes Op. 34 (http://www.jeroenriemsdijk.com/212/index.php?100)
University of Houston Moderated Discussion List: Dmitri Shostakovich and other Russian Composers
(http://listserv.uh.edu/archives/dsch-l.html)
Shostakovich: the string quartets (http://www.quartets.de/)
Shostakovich: the quartets in context (http://uiuc.libguides.com/shostakovich)
Interview with the composer's son, conductor Maxim Shostakovich (http://www.bruceduffie.com
/shostakovich.html) by Bruce Duffie, July 10, 1992
Paterson, Harry (21 December 2000). "Shostakovich: Revolutionary life, revolutionary legacy"
(http://www.cpgb.org.uk/article.php?article_id=1000592) . Weekly Worker. http://www.cpgb.org.uk
/article.php?article_id=1000592. Retrieved 31 August 2011.
"Shostakovich's Tenth Symphony: The Azerbaijani Link – Elmira Nazirova" (http://www.azer.com/aiweb
/categories/magazine/ai111_folder/111_articles/111_shostokovich_elmira.html) by Aida Huseinova, in
Azerbaijan International, Vol. 11:1 (Spring 2003), pp. 54–59.
Ho, Allan B. & Feofanov, Dmitry (2011). "The Shostakovich Wars" (http://www.siue.edu
/~aho/ShostakovichWars/SW.pdf) (PDF). Southern Illinois University. http://www.siue.edu
/~aho/ShostakovichWars/SW.pdf. Retrieved 31 August 2011.

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Dmitri Shostakovich - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Dmitri_Shostakovich

Three Words for Dmitri Dmitriyevich Shostakovich (http://cle.ens-lyon.fr/31125400

/0/fiche___pagelibre/) by Wendy Lesser

Retrieved from "http://en.wikipedia.org/w/index.php?title=Dmitri_Shostakovich&oldid=498794047"

Categories: 1906 births 1975 deaths 20th-century classical composers Burials at Novodevichy Cemetery
Cancer deaths in the Soviet Union Communist Party of the Soviet Union members Composers for piano
Compositions by Dmitri Shostakovich Deaths from lung cancer Heroes of Socialist Labour
Lenin Prize winners Members of the Serbian Academy of Sciences and Arts Modernist composers
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Recipients of the Order of Lenin, three times Recipients of the Order of the October Revolution
Recipients of the Order of the Red Banner of Labour Recipients of the Order of Friendship of Peoples
Recipients of the Shevchenko National Prize Royal Philharmonic Society Gold Medallists
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