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'''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 Piano Concerto (Op. 35a), which features trumpet 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. Along with that of [[Sergei Prokofiev]], Shostakovich's music is almost universally considered by critics and listeners to be among the most compelling to come out of the [[Soviet Union]].

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's compositional legacy is complicated by the demands of the repressive political environment in which he lived. He was required to occasionally write obsequious and banal works which satisfied the doctrines of Soviet Realism.<ref>Ian MacDonald, ''The New Shostakovich,'' 1988</ref> Additionally, in the USSR, every new work had to be vetted by a committee of members from the [[Communist Party]]'s Composer's Union, which tried to ensure that no ideological rules were being broken.<ref>Laurel Fay, ''Shostakovich: A Life,'' 2000.</ref> For reasons that perhaps will never be understood (and apparently against his will<ref>Eliabeth Wilson, ''Shostakovich: A Life Remembered,'' 1995</ref>), Shostakovich also joined the Communist Party himself in 1960.

==Wartime years==

==Wartime years==

In his later years, Shostakovich's music became increasingly personal, and often involving the theme of death.  Notably, the Fourteenth Symphony (1968) is a series of eleven songs on the theme of death.  In contrast to many classical works dealing with death, the Fourteenth symphony does not seek to offer religious consolation.  The late String Quartets, notably the Thirteenth (Op 138) and the Fifteenth (Op 144) are similarly bleak and death-obsessed.  Shostakovich's final work is a sonata for viola and piano (Op 147) which was completed a few days before his death from lung cancer in 1975.

In his later years, Shostakovich's music became increasingly personal, and often involving the theme of death.  Notably, the Fourteenth Symphony (1968) is a series of eleven songs on the theme of death.  In contrast to many classical works dealing with death, the Fourteenth symphony does not seek to offer religious consolation.  The late String Quartets, notably the Thirteenth (Op 138) and the Fifteenth (Op 144) are similarly bleak and death-obsessed.  Shostakovich's final work is a sonata for viola and piano (Op 147) which was completed a few days before his death from lung cancer in 1975.

[[category:composers|Shostakovich,Dmitri]]

[[category:composers|Shostakovich,Dmitri]]