Dmitri Shostakovich

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Shostakovich, Dmitri

Shostakovich, Dmitri (dyĭmēˈtrē shŏstŏkôˈvĭch), 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 Gogol), 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 Mahler 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).

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References in periodicals archive ?
"Code, Quotation and Collage: Some Musical Allusions in the Works of Dmitry Shostakovich." Translated by Tatjana M.
Within its fourteen chapters, spread Out over 374 pages, Maes charmingly and persuasively explains and documents the 140 years or so of this revisionist history, beginning with Mikhail Glinka and his Life far the Tsa r in 1836 and ending with the death of Dmitry Shostakovich in 1975.
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Debate has raged over Dmitry Shostakovich's character, as his commentators have sought to interpret his music and his public actions: was his private life characterized by dogged resistance, which manifested itself in perpetual irony and covert subversion within his public statements as an artist, or was there a much closer match between his public and private lives, ranging from regretful pragmatism through craven acquiescence to eager participation?
Oregon Mozart Players, who will celebrate their namesake's 250th birthday with a Hult Center blowout in January, start off the season with pianist Lisa Leonard and trumpeter Mark Reese in a concert of music by Dmitry Shostakovich on Oct.
The inclusion of works by certain composers -- Sergey Prokofiev and Dmitry Shostakovich, Edward Elgar and William Walton, Igor Stravinsky and Maurice Ravel, Bela Bartok, Paul Hindemith, Arnold Schoenberg, Anton Webern, and Alban Berg -- are of course de rigueur.
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The Symphonic Band, directed by Todd Zimbelman, will play Folk Dances by Dmitry Shostakovich, "To Walk With Wings" by Julie Giroux, "Huntingtower" by Ottorino Respighi, "Loch Lomond" by Frank Tichelli, "Raise of The Son" by Rossano Galante and Symphonic Dance No.