Dmitri Shostakovich - Revision history

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Diogooutra: Created page with "THIS PROFILE IS UNDER CONSTRUCTION Dmitri Dmitriyevich Shostakovich (Russian: About this soundДмитрий Дмитриевич Шостакович (help·info), tr. Dmitr..."

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Created page with "THIS PROFILE IS UNDER CONSTRUCTION Dmitri Dmitriyevich Shostakovich (Russian: About this soundДмитрий Дмитриевич Шостакович (help·info), tr. Dmitr..."

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 === Second denunciation ===
 [[File:Prokofiev shostakovich khachaturian (1).jpg|thumb|Left to right, Sergei Prokofiev, Shostakovich, Aram Khachaturian in 1945]]
-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 the composers (including Sergei Prokofiev and Aram Khachaturian) of 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 targeted all Soviet composers and demanded that they write only "proletarian" music, or music for the masses. The accused composers, including Shostakovich, were summoned to make public apologies in front of the committee.<sup>[50][51]</sup> Most of Shostakovich's works were banned, and his family had privileges withdrawn.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."<sup>[52]</sup>
+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 the composers (including [[Sergei Prokofiev]] and [[Aram Khachaturian]]) of 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 targeted all Soviet composers and demanded that they write only "proletarian" music, or music for the masses. The accused composers, including Shostakovich, were summoned to make public apologies in front of the committee.<sup>[50][51]</sup> 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."<sup>[52]</sup>
 The decree's consequences for composers were harsh. Shostakovich was among those dismissed from the Conservatory altogether. For him, the loss of money was perhaps the largest blow. Others still in the Conservatory experienced an atmosphere thick with suspicion. No one wanted his work to be understood as formalist, so many resorted to accusing their colleagues of writing or performing anti-proletarian music.<sup>[53]</sup>

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 Stalin's death in 1953 was the biggest step toward 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 before his dismissal from the Moscow Conservatory),<sup>[59]</sup> the meaning of which is still debated, while the savage second movement, according to Testimony, is intended as a musical portrait of Stalin. The Tenth ranks alongside the Fifth and Seventh as one of Shostakovich's 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 1939 to 1941 and then from 1947 to 1948. 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.<sup>[60]</sup> Shostakovich's daughter, Galina, recalled her father consulting her and Maxim about the possibility of Ustvolskaya becoming their stepmother.<sup>[61]</sup> 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 in 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 five years later.<sup>[62]</sup>
+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 1939 to 1941 and then from 1947 to 1948. 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.<sup>[60]</sup> Shostakovich's daughter, Galina, recalled her father consulting her and Maxim about the possibility of Ustvolskaya becoming their stepmother.<sup>[61]</sup> 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 in 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 five years later.<sup>[62]</sup>
 In 1954, Shostakovich wrote the Festive Overture, opus 96; it was used as the theme music for the 1980 Summer Olympics.<sup>[63]</sup> (His '"Theme from the film Pirogov, Opus 76a: Finale" was played as the cauldron was lit at the 2004 Summer Olympics in Athens, Greece.)<sup>[64][65]</sup>

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 The family moved to Moscow in spring 1943. At the time of the Eighth Symphony's premiere, the tide had turned for the Red Army. As a consequence, 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 in Shostakovich's output. In order to preserve Shostakovich's image (a vital bridge to the people of the Union and to the West), the government assigned the name "Stalingrad" to the symphony, giving it the appearance of mourning of the dead in the bloody Battle of Stalingrad. But the piece did not escape criticism. Its composer 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.'"<sup>[44]</sup> The work was unofficially but effectively banned until 1956.<sup>[45]</sup>
-The Ninth Symphony (1945), in contrast, was much lighter in tone. Gavriil Popov wrote that it was "splendid in its joie de vivre, gaiety, brilliance, and pungency!"<sup>[46]</sup> But by 1946 it too was the subject of criticism. Israel Nestyev asked whether it was the right time for "a light and amusing interlude between Shostakovich's significant creations, a temporary rejection of great, serious problems for the sake of playful, filigree-trimmed trifles."<sup>[47]</sup> The New York World-Telegram of 27 July 1946 was similarly dismissive: "The Russian composer should not have expressed his feelings about the defeat of Nazism in such a childish manner". Shostakovich continued to compose chamber music, notably his Second Piano Trio (Op. 67), dedicated to the memory of Sollertinsky, with a bittersweet, Jewish-themed totentanz finale. In 1947, the composer was made a deputy to the Supreme Soviet of the RSFSR.<sup>[48]</sup>
+The Ninth Symphony (1945), in contrast, was much lighter in tone. [[Gavriil Popov]] wrote that it was "splendid in its joie de vivre, gaiety, brilliance, and pungency!"<sup>[46]</sup> But by 1946 it too was the subject of criticism. Israel Nestyev asked whether it was the right time for "a light and amusing interlude between Shostakovich's significant creations, a temporary rejection of great, serious problems for the sake of playful, filigree-trimmed trifles."<sup>[47]</sup> The New York World-Telegram of 27 July 1946 was similarly dismissive: "The Russian composer should not have expressed his feelings about the defeat of Nazism in such a childish manner". Shostakovich continued to compose chamber music, notably his Second Piano Trio (Op. 67), dedicated to the memory of Sollertinsky, with a bittersweet, Jewish-themed totentanz finale. In 1947, the composer was made a deputy to the Supreme Soviet of the RSFSR.<sup>[48]</sup>
 === Second denunciation ===

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 == External links ==
-* Dmitry Shostakovich at the Encyclopædia Britannica
+* [https://www.britannica.com/EBchecked/topic/541847 Dmitry Shostakovich] at the Encyclopædia Britannica
-* Complete catalogue of works, with many additional comments by Sikorski
+* [http://www.sikorski.de/media/files/1/12/190/249/336/8953/schostakowitsch_werkverzeichnis.pdf Complete catalogue of works, with many additional comments by Sikorski]
-* The Shostakovich Debate: Interpreting the composer's life and music
+* [http://www.siue.edu/~aho/musov/deb/deb.html The Shostakovich Debate: Interpreting the composer's life and music]
-* One Resurrected Drunkard: A Dialogue on Tony Palmer's Testimony Article on Palmer's Shostakovich film in Bright Lights Film Journal
+* [http://www.brightlightsfilm.com/76/76testimony_grossman_morse.php One Resurrected Drunkard: A Dialogue on Tony Palmer's Testimony Article on Palmer's Shostakovich film in Bright Lights Film Journal]
-* Dmitry Shostakovich about Iosif Andriasov
+* [http://arshakandriasov.com/dmitry-shostakovich-about-iosif-andriasov/ Dmitry Shostakovich about Iosif Andriasov]
-* Journey of Dmitri Shostakovich – an interview with filmmaker Helga Landauer
+* [https://web.archive.org/web/20070103011523/http://www.scribemedia.org/2006/11/07/shostakovich/ Journey of Dmitri Shostakovich – an interview with filmmaker Helga Landauer]
-* Epitonic.com: Dimitri Shostakovich featuring tracks from Written with the Heart's Blood
+* [https://web.archive.org/web/20040223030309/http://www.epitonic.com/artists/dimitrishostakovich.html Epitonic.com: Dimitri Shostakovich featuring tracks from Written with the Heart's Blood]
-* Video of Shostakovich on YouTube, at a rehearsal of his opera The Nose in 1975
+* [https://www.youtube.com/watch?v=mjK7Hnxpmsg Video of Shostakovich on YouTube], at a rehearsal of his opera The Nose in 1975
-* "Discovering Shostakovich". BBC Radio 3.
+* [http://bbc.co.uk/shostakovich "Discovering Shostakovich"]. BBC Radio 3.
-* BBC Presenter Stephen Johnson on Shostakovich and Depression
+* [http://www.bbc.co.uk/radio3/shostakovich/feature.shtml BBC Presenter Stephen Johnson on Shostakovich and Depression]
-* Altovaya sonata. Dmitriy Shostakovich (1981) (Sonata for Viola), documentary film on Shostakovich's life, and difficulties with Khrennikov and Stalin
+* [https://www.imdb.com/title/tt0174463/ Altovaya sonata. Dmitriy Shostakovich (1981) (Sonata for Viola)], 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 by Yosuke Kudo
+* [http://dsch1975.web.fc2.com/dsch-e.html Complete opus list, comprehensive discography, bibliography, filmography, list of first performances and links by Yosuke Kudo]
-* Archive of BBC's "Discovering Music" radio show, featuring Shostakovich's Symphony No. 5, Symphony No. 10, String Quartet No. 8, and Cello Concerto No. 1.
+* [http://www.bbc.co.uk/radio3/discoveringmusic/listeninglibrary.shtml#s Archive of BBC's "Discovering Music" radio show, 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 Various pieces by Shostakovich in streaming media by Classical Music Archives]
-* Shostakovich: the 24 preludes Op. 34
+* [https://web.archive.org/web/20110713102123/http://www.jeroenriemsdijk.com/212/index.php?100 Shostakovich: the 24 preludes Op. 34]
-* University of Houston Moderated Discussion List: Dmitri Shostakovich and other Russian Composers
+* [http://listserv.uh.edu/archives/dsch-l.html University of Houston Moderated Discussion List: Dmitri Shostakovich and other Russian Composers]
-* Shostakovich: the string quartets
+* [http://www.quartets.de/ Shostakovich: the string quartets]
-* Shostakovich: the quartets in context
+* [http://uiuc.libguides.com/shostakovich Shostakovich: the quartets in context]
-* Interview with the composer's son, conductor Maxim Shostakovich by Bruce Duffie, 10 July 1992
+* [http://www.bruceduffie.com/shostakovich.html Interview with the composer's son, conductor Maxim Shostakovich] by Bruce Duffie, 10 July 1992
-* Paterson, Harry (21 December 2000). "Shostakovich: Revolutionary life, revolutionary legacy". Weekly Worker. Archived from the original on 8 June 2011. Retrieved 31 August 2011.
+* Paterson, Harry (21 December 2000). [https://web.archive.org/web/20110608062100/http://www.cpgb.org.uk/article.php?article_id=1000592 "Shostakovich: Revolutionary life, revolutionary legacy"]. Weekly Worker. Archived from the original on 8 June 2011. Retrieved 31 August 2011.
-* "Shostakovich's Tenth Symphony: The Azerbaijani Link – Elmira Nazirova" by Aida Huseinova, in Azerbaijan International, Vol. 11:1 (Spring 2003), pp. 54–59.
+* [http://www.azer.com/aiweb/categories/magazine/ai111_folder/111_articles/111_shostokovich_elmira.html "Shostakovich's Tenth Symphony: The Azerbaijani Link – Elmira Nazirova"] by Aida Huseinova, in Azerbaijan International, Vol. 11:1 (Spring 2003), pp. 54–59.
-* Ho, Allan B.; Feofanov, Dmitry (2011). "The Shostakovich Wars" (PDF). Southern Illinois University – Edwardsville. Retrieved 31 August 2011.
+* Ho, Allan B.; Feofanov, Dmitry (2011). [http://www.siue.edu/~aho/ShostakovichWars/SW.pdf "The Shostakovich Wars"] (PDF). Southern Illinois University – Edwardsville. Retrieved 31 August 2011.
-* Dmitri Shostakovich on IMDb
+* [https://www.imdb.com/name/nm0006291/ Dmitri Shostakovich on IMDb]
 ''Text adapted from Wikipedia''
 [[Category: Soviet Profiles]] [[Category: Russian Profiles]]

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 * Op. 141: Symphony No. 15 in A major (1971)
-== Concertos ==
+'''Concertos'''
 * Op. 35: Piano Concerto No. 1 in C minor (1933); also known as the Concerto in C minor for Piano, Trumpet, and String Orchestra
 * Op. 77: Violin Concerto No. 1 in A minor (1947–1948, originally published as Op. 99)[1]
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 * Op. 126: Cello Concerto No. 2 in G major (1966)
 * Op. 129: Violin Concerto No. 2 in C♯ minor (1967)
-* Suites
 * Op. 15a: Suite from The Nose, for tenor, baritone, and orchestra (1927–1928)
 * Op. 22a: Suite from The Age of Gold, for orchestra (1929–1930)
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 * Op. 142: String Quartet No. 14 in F♯ major (1972–1973)
 * Op. 144: String Quartet No. 15 in E♭ minor (1974) (arranged as Requiem for Strings, Op. 144bis, by Misha Rachlevsky in 1991 with the approval of composer's widow)
-* Other chamber/instrumental works
 * Op. 8: Piano Trio No. 1 in C minor (1923)
 * Op. 9: Three Pieces, for cello and piano (1923–1924, lost; a fourth piece may have been destroyed by the composer)

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 THIS PROFILE IS UNDER CONSTRUCTION
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 == Biography ==
 === Early life ===
 Born at Podolskaya Street in Saint Petersburg, Russia, Shostakovich was the second of three children of Dmitri Boleslavovich Shostakovich and Sofiya Vasilievna Kokoulina. Shostakovich's paternal grandfather, originally surnamed Szostakowicz, was of [[:Category: Poland|Polish]] Roman Catholic descent (his family roots trace to the region of the town of Vileyka in today's [[:Category: Belarus|Belarus]]), but his immediate forebears came from Siberia.<sup>[3]</sup> A Polish revolutionary in the January Uprising of 1863–4, Bolesław Szostakowicz was exiled to Narym (near Tomsk) in 1866 in the crackdown that followed Dmitri Karakozov's assassination attempt on Tsar Alexander II.<sup>[4]</sup> When his term of exile ended, Szostakowicz decided to remain in Siberia. He eventually became a successful banker in Irkutsk and raised a large family. His son Dmitri Boleslavovich Shostakovich, the composer's father, was born in exile in Narim in 1875 and studied physics and mathematics at Saint Petersburg University, graduating in 1899. He then went to work as an engineer under Dmitri Mendeleev at the Bureau of Weights and Measures in Saint Petersburg. In 1903 he married another Siberian transplant to the capital, Sofiya Vasilievna Kokoulina, one of six children born to a Russian Siberian native.<sup>[4]</sup>
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 === Early career ===
 After graduation, Shostakovich initially embarked on a dual career as concert pianist and composer, but his dry playing style was often unappreciated (his American biographer, Laurel Fay, comments on his "emotional restraint" and "riveting rhythmic drive"). He won an "honorable mention" at the First International Chopin Piano Competition in Warsaw in 1927 and attributed the disappointing result to suffering from appendicitis and the jury being all Polish. He had his appendix removed in April 1927.<sup>[11]</sup> 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. Stokowski also made the work's first recording.<sup>[12][13]</sup>
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 === 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 the composers (including Sergei Prokofiev and Aram Khachaturian) of 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 targeted all Soviet composers and demanded that they write only "proletarian" music, or music for the masses. The accused composers, including Shostakovich, were summoned to make public apologies in front of the committee.<sup>[50][51]</sup> 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."<sup>[52]</sup>
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 === Shostakovich in 1950 ===
 Shostakovich's musical response to these personal crises was the Eighth String Quartet, composed in only three days. He subtitled the piece "To the victims of fascism and war",<sup>[74]</sup> ostensibly in memory of the Dresden fire bombing that took place in 1945. Yet like the Tenth Symphony, the quartet incorporates quotations from several of his past works and his musical monogram. Shostakovich confessed to his friend Isaak 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."<sup>[75]</sup> Several of Shostakovich's colleagues, including Natalya Vovsi-Mikhoels<sup>[76]</sup> and the cellist Valentin Berlinsky,<sup>[77]</sup> were also aware of the Eighth Quartet's biographical intent. Peter J. Rabinowitz has also pointed to covert references to Richard Strauss's Metamorphosen in it.<sup>[78]</sup>
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 Shostakovich died of lung cancer on 9 August 1975. A civic funeral was held; he was interred in Novodevichy Cemetery, Moscow.<sup>[87]</sup> Even before his death he had been commemorated with the naming of the Shostakovich Peninsula on Alexander Island, Antarctica.,<sup>[88]</sup> Despite suffering from Motor Neurone Disease (or ALS) from as early as the 1960s, Shostakovich insisted upon writing all his own correspondence and music himself, even when his right hand was virtually unusable.
 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; other noted interpreters of his music include Emil Gilels, Mstislav Rostropovich, Tatiana Nikolayeva, Maria Yudina, David Oistrakh, and members of the Beethoven Quartet.
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 == 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 in a 1930s concert performance of the closing moments of his first piano concerto. A colour film of Shostakovich supervising one of his operas, from his last year, was also made.<sup>[149]</sup> A major achievement was EMI's recording of the original, unexpurgated opera Lady Macbeth of Mtsensk. There was at least one recording of the cleaned-up version, Katerina Ismailova, that Shostakovich had made to satisfy Soviet censorship. But when conductor Mstislav Rostropovich and his wife, soprano Galina Vishnevskaya were finally allowed to emigrate to the West, the composer begged them to record the full original score, which they did in April 1978. It features Vishnevskaya as Katerina, Nicolai Gedda as Sergei, Dimiter Petkov as Boris Ismailov and a brilliant supporting cast under Rostropovich's direction.<sup>[150]</sup>