| Line 1: |
Line 1: |
| − | '''Dmitri Shostakovich''' (1906-1975) was a Russian composer who worked in many different styles and forms. While he is primarily known for his symphonies and string quartets, he also composed several operas, orchestral suites, concertos, and much piano music. Shostakovich actually began his musical career as a pianist in a silent movie theater; these influences can be seen in his first Trumpet Concerto (Op. 35), which features piano obbligato. | + | '''Dmitri Shostakovich''' (1906-1975) was a [[Russia]]n [[composer]] who worked in many different styles and forms. While he is primarily known for his symphonies and string quartets, he also composed several operas, orchestral suites, concertos, and much piano music. Shostakovich actually began his musical career as a pianist in a silent movie theater; these influences can be seen in his first Trumpet Concerto (Op. 35), which features piano obbligato. |
| − | | |
| − | Shostakovich has been criticized for composing "banal" music due to the restrictions placed on him by the [[Communist Party]]. However, most critics feel that he was able to successfully transcend these restrictions and create great works of art. In addition, many of his works have been interpreted by critics as being ''intentionally'' banal as a way of satirising the Soviet regime. A well-known example of this [needs a citation] is the conclusion of the Fifth Symphony, viewed by the authorities as a triumphant conclusion. However, later, in his alleged memoirs "Testimony", Shostakovich was supposed to have said that the end of the Fifth symphony is about enforced rejoicing. The authenticity of "Testimony", however, is disputed, and hence this, and much else that has been surmised about Shostakovich's intentions, has to be taken as a matter of conjecture.
| |
| | | | |
| | + | Shostakovich has been criticized for composing "banal" [[music]] due to the restrictions placed on him by the [[Communist Party]]. However, most critics feel that he was able to successfully transcend these restrictions and create great works of art. In addition, many of his works have been interpreted by critics as being ''intentionally'' banal as a way of satirising the Soviet regime. A well-known example of this [needs a citation] is the conclusion of the Fifth Symphony, viewed by the authorities as a triumphant conclusion. However, later, in his alleged memoirs "Testimony", Shostakovich was supposed to have said that the end of the Fifth symphony is about enforced rejoicing. The authenticity of "Testimony", however, is disputed, and hence this, and much else that has been surmised about Shostakovich's intentions, has to be taken as a matter of conjecture. |
| | | | |
| | ==Wartime years== | | ==Wartime years== |
| − |
| |
| | During the siege of [[Leningrad]], Shostakovich lived in the city and wrote his seventh symphony in C major (subtitled "Leningrad"). The work is notable for an extended march section in the first movement, building up an intentionally banal tune in a manner reminiscent of Ravel's "Bolero". The symphony was premiered in Leningrad in 1942, and flown out of Russia in microfilm score, and was premiered in the USA under the baton of Toscanini very shortly afterwards. The symphony, which ends with a triumphant conclusion, described by the composer as "victory - a beautiful life in the future" , was a significant propaganda coup. | | During the siege of [[Leningrad]], Shostakovich lived in the city and wrote his seventh symphony in C major (subtitled "Leningrad"). The work is notable for an extended march section in the first movement, building up an intentionally banal tune in a manner reminiscent of Ravel's "Bolero". The symphony was premiered in Leningrad in 1942, and flown out of Russia in microfilm score, and was premiered in the USA under the baton of Toscanini very shortly afterwards. The symphony, which ends with a triumphant conclusion, described by the composer as "victory - a beautiful life in the future" , was a significant propaganda coup. |
| | | | |
| Line 11: |
Line 9: |
| | | | |
| | His large scale work for [[piano]], the 24 Preludes and Fugues, Op 87, (1951) was also criticized at the Composer's union for being too abstract and "formalist". | | His large scale work for [[piano]], the 24 Preludes and Fugues, Op 87, (1951) was also criticized at the Composer's union for being too abstract and "formalist". |
| − |
| |
| | | | |
| | ==Latter years== | | ==Latter years== |