Dmitri Shostakovich

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Shostakovich, Dmitri

(dyĭmē`trē shŏstŏkô`vĭch), 1906–75, Russian composer, b. St. Petersburg. Shostakovich studied at the Leningrad Conservatory (1919–25). The early success of his First Symphony (1925) was confirmed by positive public reaction to two satirical works of 1930—an opera, The Nose (Leningrad; from a tale by GogolGogol, Nikolai Vasilyevich
, 1809–52, Russian short-story writer, novelist, and playwright, sometimes considered the father of Russian realism. Of Ukrainian origin, he first won literary success with fanciful and romantic tales of his native Ukraine in
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), and a ballet, The Golden Age. Shostakovich sought Soviet approval and survived the changing tides of opinion. Severely castigated after Stalin saw a 1936 production of his popular opera Lady Macbeth of the Mzensk District (1934), he was restored to favor with his powerful, traditional, yet ironic Fifth Symphony (1937). From then on he concentrated on symphonic compositions, with later, post-Stalin symphonies tending to deconstruct the traditional Beethoven model (in all, he wrote 15 symphonies) and, during the World War II, on heroic cantatas. Influenced by MahlerMahler, Gustav
, 1860–1911, composer and conductor, born in Austrian Bohemia of Jewish parentage. Mahler studied at the Univ. of Vienna and the Vienna Conservatory.
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 in his monumental symphonies, many of which include choral portions, Shostakovich was basically a Russian nationalist composer whose work represented traditional classical forms and generally remained accessibly tonal. Nonethless, his tart harmonics and musical portrayal of pain and turmoil are distinctly 20th cent. in tone. His outstanding works include 15 string quartets, a piano concerto (1933), the Piano Quintet (1940), the Eighth Symphony (1943), 24 Preludes and Fugues for Piano (1951), and the 13th Symphony, "Babi Yar" (1962).


See Testimony: The Memoirs of Dmitri Shostakovich as Related to and Edited by Solomon Volkov (1979, repr. 2000); biographies by V. I. Seroff and N. K. Shohat (1970), E. Wilson (1994), and L. E. Fay (1999); study by N. F. Kay (1971); I. MacDonald, The New Shostakovich (1990); A. B. Ho and D. Feofanov, Shostakovich Reconsidered (1998); M. H. Brown, ed., A Shostakovich Casebook (2004); L. E. Fay, ed., Shostakovich and His World (2004); S. Moshevich, Dmitri Shostakovich, Pianist (2004); S. Volkov, Shostakovich and Stalin (2004); W. Lesser, Music for Silenced Voices: Shostakovich and The Fifteen Quartets (2011).

References in periodicals archive ?
Dmitri Shostakovich was clearly a man who identified himself with the tragedies of Russian Jewry, and he used the medium in which he was expert to show this.
Madrid, Spain: Auditorio National de Musica Bela Bartok Music for Strings, Percussion and Celesta Dmitri Shostakovich Symphony No.
Similar light has yet to be shone on Dmitri Shostakovich as a pianist.
The Shostakovich Cycle - the beginning of a five-year survey of the complete symphonies and string quartets of Dmitri Shostakovich.
Epitonic's experimental genre launches with 20th-century composers and artists such as John Cage (New Albion), The Legendary Pink Dots (Soleilmoon), Pauline Oliveros and Stuart Dempster (New Albion), Ellen Fullman (New Albion), Muslimgauze (Soleilmoon), Johnny Pinkhouse (Soleilmoon), and Dmitri Shostakovich (New Albion).
Film and what we call contemporary music are beginning to entwine, or perhaps return to an era when leading composers such as Aaron Copland, Dmitri Shostakovich, Sergei Prokofiev and Erich Korngold wrote movie music.
1 by Dmitri Shostakovich Where: Hult Center's Silva Concert Hall, Seventh Avenue and Willamette Street When: 8 p.
Her omission of Testimony: The Memoirs of Dmitri Shostakovich (ed.
The concert will be directed by Michael Grose, associate professor, and will include tuba and euphonium solos and ensemble selections featuring music by Dmitri Shostakovich, Robert Schumann, Richard Wagner, J.
There is a Douglas piece here along with original compositions and some preludes and fugues by Dmitri Shostakovich.
These include: (1) comprehensive investigations of Mahler's style that go beyond the generalizations usually encountered; (2) substantive and detailed studies of his early years, including the music of other composers of his generation who worked in Vienna; (3) studies of his influence as a conductor of both opera and symphonic music; (4) studies of his influence on the succeeding generation of composers and throughout the twentieth century, including but not limited to Jean Sibelius, Dmitri Shostakovich, and George Crumb; (5) a thorough analysis of his conducting scores and his editions of other composers' music; and (6) a comprehensive edition of his correspondence.
If I had just gone into the room, I wouldn't even have noticed the man,'' says Treger, concertmaster of the Los Angeles Philharmonic, speaking of the Russian master Dmitri Shostakovich.