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Shostakovich in 1950 Dmitri Dmitriyevich Shostakovich (: (), Dmitriy Dmitrievich Shostakovich, pronounced; 25 September [ 12 September] 1906 – 9 August 1975) was a and. He is regarded as one of the major composers of the 20th century.
Shostakovich achieved fame in the under the patronage of Soviet chief of staff, but later had a complex and difficult relationship with the government. Nevertheless, he received accolades and state awards and served in the (1947–1962) and the (from 1962 until his death). A, Shostakovich developed a hybrid voice, combining a variety of different musical techniques into his works, his music is characterized by sharp contrasts, elements of the, and ambivalent; the composer was also heavily influenced by the style pioneered by, and (especially in his symphonies) by the late Romanticism associated with. Shostakovich's orchestral works include 15 and six, his chamber output includes 15, a, two, and two pieces for string octet.
His solo piano works include two, an early set of, and a later set of. Other works include three, several,, and a substantial quantity of; especially well known is The Second Waltz, Op. 99, music to the film (1955–1956), as well as the suites of music composed for. Shostakovich in 1925 After graduation, Shostakovich initially embarked on a dual career as concert pianist and composer, but his dry style of playing was often unappreciated (his American biographer, Laurel Fay, comments on his 'emotional restraint' and 'riveting rhythmic drive'), he nevertheless won an 'honorable mention' at the First in Warsaw in 1927. He explained the disappointment at the competition to suffering from appendicitis and the jury being all-Polish, he later had his appendix removed in April 1927. After the competition Shostakovich met the conductor, who was so impressed by the composer's that he conducted it at its Berlin premiere later that year. Was equally impressed and gave the work its U.S.
Premiere the following year in Philadelphia and also made the 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 (subtitled To October), a patriotic piece with a great pro-Soviet choral finale. Owing to its, as with the subsequent, the pieces were not critically acclaimed with the enthusiasm granted to the First. The year 1927 also marked the beginning of Shostakovich's relationship with, who remained his closest friend until the latter's death in 1944.
Sollertinsky introduced the composer to the music of, which had a strong influence on his music from the onwards. While writing the Second Symphony, Shostakovich also began work on his opera, based on the story by; in June 1929, against the composer's own wishes, the opera was given a concert performance; it was ferociously attacked by the (RAPM). Its stage premiere on 18 January 1930 opened to generally poor reviews and widespread incomprehension amongst musicians. In the late 1920s and early 1930s, Shostakovich worked at, a 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,, 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'. 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. First denunciation [ ] Shostakovich fell from official favour in 1936, the year began with a series of attacks on him in, in particular an article entitled, '. Shostakovich was away on a concert tour in when he heard news of the first Pravda article. Two days before the article was published on the evening of 28 January, a friend had advised Shostakovich to attend the production of Lady Macbeth. When he arrived, he saw that and the were there; in letters written to his friend, 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.
The article condemned Lady Macbeth as, 'coarse, primitive and vulgar'. 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 Pravda'.
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. Left to right, 1945:, Shostakovich, In 1948, Shostakovich, along with many other composers, was again denounced for formalism in the. Andrei Zhdanov, Chairman of the, accused Shostakovich and other composers (such as Sergei Prokofiev and ) 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,' which was targeted towards 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. Most of Shostakovich's works were banned, and his family had privileges withdrawn. 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.' The consequences of the decree for composers were harsh.
Shostakovich was among those who were dismissed from the Conservatory 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 his work to be understood as formalist, so many resorted to accusing their colleagues of writing or performing anti-proletarian music. In the next few years, Shostakovich composed three categories of work: film music to pay the rent, official works aimed at securing official, and serious works 'for the desk drawer', the latter included the and the song cycle. The cycle was written at a time when the postwar campaign was already under way, with widespread arrests, including that of I. Dobrushin and Yiditsky, the compilers of the book from which Shostakovich took his texts. Shostakovich in 1950 Shostakovich's musical response to these personal crises was the, composed in only three days, he subtitled the piece, 'To the victims of fascism and war', ostensibly in memory of the that took place in 1945. Yet, like the Tenth Symphony, this quartet incorporates 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.' Several of Shostakovich's colleagues, including Natalya Vovsi-Mikhoels and the cellist Valentin Berlinsky, were also aware of the Eighth Quartet's biographical intent.
Rabinowitz has also pointed to covert references to Richard Strauss's in the Eighth Quartet. In 1962 he married for the third time, to Irina Supinskaya; in a letter to 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.' According to, 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.' In November he made his only venture into conducting, conducting a couple of his own works in; 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 (subtitled ), the symphony sets a number of poems by, the first of which commemorates a massacre of Ukrainian 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, who was sentenced to five years of exile and hard labor. Shostakovich co-signed protests together with Yevtushenko and fellow Soviet artists,,, and the French philosopher. After the protests the sentence was commuted, and Brodsky returned to Leningrad. Later life [ ] In 1964 Shostakovich composed the music for the Russian film, which was favourably reviewed by: 'But the lack of this aural stimulation – of Shakespeare's eloquent words – is recompensed in some measure by a splendid and stirring musical score by Dmitri Shostakovich. This has great dignity and depth, and at times an appropriate wildness or becoming levity'.
In later life, Shostakovich suffered from chronic ill health, but he resisted giving up cigarettes and. 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. He also suffered 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 hand and then 100% of my extremities will be out of order.' A preoccupation with his own mortality permeates Shostakovich's later works, among them the later quartets and the 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 language, with twelve-tone themes and dense polyphony used throughout. Shostakovich dedicated this score to his close friend, who conducted its Western premiere at the 1970, the of 1971 is, by contrast, melodic and retrospective in nature, quoting, and the composer's own Fourth Symphony. Shostakovich died of on 9 August 1975. A civic funeral was conducted; he was interred in the, Moscow.
Even before his death he had been commemorated with the naming of the on,. Shostakovich voting in the election of the Council of Administration of Soviet Musicians in Moscow in 1974 He was survived by his third wife, Irina; his daughter, Galina; and his son,, 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,,,,, and members of the. His last work was his, which was first performed on 28 December 1975, four months after his death. Shostakovich's musical influence on later composers outside the former Soviet Union has been relatively slight, although took up his eclecticism and his contrasts between the dynamic and the static, and some of 's music shows clear links to Shostakovich's style of orchestration. His influence can also be seen in some Nordic composers, such as. Many of his Russian contemporaries, and his pupils at the were strongly influenced by his style (including,, whose 5th Symphony of 1978 is dedicated to Shostakovich's memory,, and others).
Shostakovich's conservative idiom has 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. For a thematical selection of works by Shostakovich, see. Overview [ ] Shostakovich's works are broadly and in the tradition, but with elements of and. In some of his later works (e.g., the ), he made use of. His output is dominated by his cycles of symphonies and string quartets, each totaling fifteen works, the symphonies are distributed fairly evenly throughout his career, while the quartets are concentrated towards the latter part. Among the most popular are the and Symphonies and the and Quartets. Other works include the operas, and the unfinished The Gamblers based on the comedy of; 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: in his and; in the late; in the symphonies and in his use of musical codes and. Among Russian composers, he particularly admired, whose operas and he; Mussorgsky's influence is most prominent in the wintry scenes of Lady Macbeth and the, as well as in his satirical works such as '. 's influence is most apparent in the earlier piano works, such as the first sonata and. The influence of Russian church and folk music is very evident in his works for unaccompanied choir of the 1950s. Shostakovich's relationship with was profoundly ambivalent; as he wrote to Glikman, 'Stravinsky the composer I worship. Stravinsky the thinker I despise.' He was particularly enamoured of the, 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.) 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.' Articles published by Shostakovich in 1934 and 1935 cited,,,, 'and especially Stravinsky' among his influences. Key works of the earlier period are the, which combined the academicism of the conservatory with his progressive inclinations; ('The most uncompromisingly modernist of all his stage-works' );. Which precipitated the denunciation; and the, described in Grove's Dictionary as 'a colossal synthesis of Shostakovich's musical development to date'. 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. 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 works, a field that permitted the composer to explore different and often darker ideas without inviting external scrutiny.
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 is described in Grove's Dictionary as a 'world of numbness'; in some of these he included the use of, although he treated these as melodic themes rather than. Vocal works are also a prominent feature of his late output, setting texts often concerned with love, death and art. 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 ’s 'ability to build a jolly melody on sad intonations'. Examples of works that included Jewish themes are the (1949), the (1948), and the Four Monologues on Pushkin Poems (1952), as well as the (1944). He was further inspired to write with Jewish themes when he examined ’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, 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 refused to approve his music in 1949 under the pressure of the anti-Semitism that gripped the country. From Jewish Folk Poetry could not be performed until after Stalin’s death in March 1953, along with all the other works that were forbidden. 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.' Among these were Shostakovich's piano and vocal sketches for a prologue to an opera,. They have been orchestrated by the British composer and this work was premiered in December 2011 by the Los Angeles Philharmonic. 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'., his British contemporary, described him as 'the greatest composer of the 20th century'. Musicologist concludes in Grove's Dictionary 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.' Some modern composers have been critical. Dismissed Shostakovich's music as 'the second, or even third of '.
The Romanian composer and disciple called Shostakovich 'a hack in a trance'. A related complaint is that Shostakovich's style is vulgar and strident: wrote of: 'brutally hammering. And monotonous'. English composer and musicologist described his music as 'battleship-grey in melody and harmony, factory-functional in structure; in content all rhetoric and coercion.' In the 1980s, the Finnish conductor and composer 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.
However, Salonen has since performed and recorded several of Shostakovich's works, including the Piano Concertos Nos. 1 and 2 (1999), the Violin Concerto No. 1 (2010), the Prologue to 'Orango' and the Symphony No. It is certainly true that Shostakovich borrows extensively from the material and styles both of earlier composers and of; the vulgarity of 'low' music is a notable influence on this 'greatest of eclectics'. McBurney traces this to the 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. Personality [ ].
Shostakovich with close friend Shostakovich was in many ways an obsessive man: according to his daughter he was 'obsessed with cleanliness', he synchronised the clocks in his apartment and regularly sent cards to himself to test how well the postal service was working. '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'. Yuri Lyubimov comments, 'The fact that he was more vulnerable and receptive than other people was no doubt an important feature of his genius.' In later life, recalled, 'his face was a bag of tics and grimaces.'
In his lighter moods, sport was one of his main recreations, although he preferred spectating or umpiring to participating (he was a qualified ), his favourite football club was, which he would watch regularly. He also enjoyed playing, particularly. He was fond of writers such as, and. The influence of the latter in particular is evident in his letters, which include wry parodies of Soviet. 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).' He was diffident by nature: Flora Litvinova has said he was 'completely incapable of saying 'No' to anybody.' This meant he was easily persuaded to sign official statements, including a denunciation of 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. Commented that 'he tried to help so many people that.
Less and less attention was paid to his pleas.' When asked if he believed in God, Shostakovich said 'No, and I am very sorry about it.' Orthodoxy and revisionism [ ].
Main article: 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. But it is evident he disliked many aspects of the regime, as confirmed by his family, his letters to Isaak Glikman, and the satirical ', which ridiculed the 'anti-formalist' campaign and was kept hidden until after his death. He was a close friend of, who was executed in 1937 during the. It is also uncertain to what extent Shostakovich expressed his opposition to the state in his music, the view was put forth by in the 1979 book, 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, it is known that he incorporated many and in his work, most notably his theme. His longtime collaborator said that 'Shostakovich very often explained his intentions with very specific images and connotations.'
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 or in his relations with the government. Other prominent revisionists are, 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 and 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', 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 first page of chapter 3, where [Shostakovich] notes that the plaque that reads 'In this house lived ' should also say 'And in this house his wife was brutally murdered'.'
) Maxim Shostakovich stated that Volkov's book was not his father's memories. Recorded legacy [ ]. A Russian stamp in Shostakovich's memory In May 1958, during a visit to Paris, Shostakovich recorded his two piano concertos with, as well as some short piano works, these were issued by on an LP, reissued by on LP, and eventually digitally remastered and released on CD.
Shostakovich recorded the two concertos in stereo in Moscow for. Shostakovich also played the piano solos in recordings of the Cello Sonata, Op. 40 with cellist and also with; the Violin Sonata, Op. 134, with violinist; and the Piano Trio, Op. 67 with violinist David Oistrakh and cellist.
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. 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 were finally allowed to emigrate to the West, the composer begged them to record the full original score, which they did in 1979. It features Vishnevskaya as Katerina, as Sergei, Dimiter Petkov as Boris Ismailov and a brilliant supporting cast under Rostropovich's direction. This section needs additional citations for.
Unsourced material may be challenged and removed. (September 2017) () Soviet Union • (1966) • (1946, 1956, 1966) • (1971) • (1940) • (1972) • (1954) • People's Artist of the (1948) • (1954) • (1958 – for the 11th symphony '1905') • in arts (1941 – 1st class, for Piano Quintet; 1942 – 1st class, for the; 1946 – 2nd class, for Piano Trio no. 2; 1950 – 1st class, for the music for the film; 1952 – 2nd class, for 10 poems for chorus) • (1968 – for the poem 'The Execution of Stepan Razin' for bass, chorus and orchestra) • (1974 – for the 14th string quartet and choral cycle 'Fidelity') • (posthumously, 1976 – USSR State Prize named after Taras Shevchenko – for the opera 'Katerina Ismailov,' staged in KUGATOB Shevchenko) United Kingdom • Gold Medal of the (1966) Finland • (1958) United States • nomination for, in Austria • in Silver (1967) Denmark • (1974) • 1960: member of the. See also [ ] • • • - a novel concerning Shostakovich by English author. Shostakovich: Between the moment and Eternity. St Petersburg: Kompozitor.
CS1 maint: Extra text: authors list () • Kovnatskaya, Liudmila (ed.) (1996). Shostakovich: Collections to the 90th anniversary. St Petersburg: Kompozitor. CS1 maint: Extra text: authors list () • Ardov, Michael (2004). Memories of Shostakovich. Short Books..
• Edwards, Robert (2006). White Death: Russia's War on Finland 1939–40. London: Weidenfeld & Nicolson.. • Fay, Laurel (2002)..
In Hamrick Brown, Malcolm (ed).. Indiana University Press.. CS1 maint: Extra text: editors list () • Fanning, David; Fay, Laurel (2001). 'Dmitri Shostakovich'.. Macmillan Publishers. • Fay, Laurel (2000). Shostakovich: A Life.
Oxford University Press.. • Haas, David. 'Shostakovich's Eighth: C minor Symphony against the Grain'. Shostakovich in Context. CS1 maint: Extra text: editors list () • Ho, Allan; Dmitry Feofanov (1998).
Shostakovich Reconsidered. Toccata Press.. The New Shostakovich. Northeastern University Press.. • MacDonald, Ian.. Music Under Soviet Rule.
Retrieved 17 August 2005. • McBurney, Gerard (2002).
'Whose Shostakovich?' In Hamrick Brown, Malcolm (ed). A Shostakovich Casebook. Indiana University Press.. CS1 maint: Extra text: editors list () • Nabokov, Nicolas (1951). Old Friends and New Music. Hamish Hamilton.
• van Rijen, Onno.. Shostakovich & Other Soviet Composers. Archived from on 5 September 2005. Retrieved 17 August 2005. • Sheinberg, Esti (29 December 2000).
Irony, satire, parody and the grotesque in the music of Shostakovich. • Shostakovich, Dmitri; Glikman, Isaak; tr. Phillips, Anthony (2001). Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman. Cornell University Press.. • Shostakovich, Dmitri; Volkov, Solomon (2000). On Russian Music.
University of California Press.. Testimony: The Memoirs of Dmitri Shostakovich. Faber and Faber.. • Volkov, Solomon (2004). Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and the Brutal Dictator. • Wilson, Elizabeth (1994). Shostakovich: A Life Remembered.
Princeton University Press.. • Wilson, Elizabeth (2006). Shostakovich: A Life Remembered (revised edition). Faber and Faber..
External links [ ] Wikiquote has quotations related to: Wikimedia Commons has media related to. • at • by • • Article on Palmer's Shostakovich film in Bright Lights Film Journal • • – an interview with filmmaker Helga Landauer • featuring tracks from Written With The Heart's Blood • on, at a rehearsal of his opera in 1975 •. • •, documentary film on Shostakovich's life, and difficulties with and Stalin • by Yosuke Kudo •, featuring Shostakovich's Symphony No. 5, Symphony No. 10, String Quartet No. 8, and Cello Concerto No. • • • • • • by Bruce Duffie, 10 July 1992 • Paterson, Harry (21 December 2000)..
Weekly Worker. Archived from on 8 June 2011. Retrieved 31 August 2011.
• by Aida Huseinova, in Azerbaijan International, Vol. 11:1 (Spring 2003), pp. 54–59. • Ho, Allan B.; Feofanov, Dmitry (2011). Southern Illinois University – Edwardsville.
Retrieved 31 August 2011.
Donor challenge: A generous supporter will match your donation 3 to 1 right now. $5 becomes $20! Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today.
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We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages?
Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive.
Donor challenge: A generous supporter will match your donation 3 to 1 right now. $5 becomes $20! Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. For the cost of a used paperback, we can share a book online forever.
When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff.
If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. Donor challenge: A generous supporter will match your donation 3 to 1 right now. $5 becomes $20! Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41.
If everyone chips in $5, we can keep this going for free. For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy.
We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive.
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