Дмитрий Шостакович
Dmitri Dmitriyevich Shostakovich (Russian: Дми́трий Дми́триевич Шостако́вич… Read Full Bio ↴Dmitri Dmitriyevich Shostakovich (Russian: Дми́трий Дми́триевич Шостако́вич, Dmitrij Dmitrievič Šostakovič) (September 25 [O.S. September 12] 1906, (St Petersburg, Russia) – August 9, 1975) was a Russian composer of the Soviet period.
Shostakovich had a complex and difficult relationship with the Soviet government, suffering two official denunciations of his music, in 1936 and 1948, and the periodic banning of his work. At the same time, he received a number of accolades and state awards and served in the Supreme Soviet. Despite the official controversy, his works were popular; he is now held to be, as Grove’s judges him, the most talented Soviet composer of his generation.
After a period influenced by Prokofiev and Stravinsky (Symphony No. 1), Shostakovich switched to modernism (Symphony No. 2 and The Nose) before developing a hybrid of styles with the opera “The Lady Macbeth of Mtsensk “and the ill-fated Fourth Symphony. This hybrid style ranged from the neo-classical (with Stravinskian influences) to the post-romantic music (with Mahlerian influences). His tonality involved much use of modality and some astringent neo-classical harmonies à la Hindemith and Prokofiev. His music frequently includes sharp contrasts and elements of the grotesque.
Shostakovich prided himself on his orchestration, which is clear, economical, and well-projected. This aspect of Shostakovich’s technique owes more to Gustav Mahler than Rimsky-Korsakov. His greatest works are generally considered to be his symphonies and string quartets, fifteen of each. Other works include operas, six concertos, and a substantial quantity of film music. David Fanning concludes in Grove 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.” Shostakovich is now regarded as “the most popular composer of serious art music of the middle years of the 20th century”.
Shostakovich had a complex and difficult relationship with the Soviet government, suffering two official denunciations of his music, in 1936 and 1948, and the periodic banning of his work. At the same time, he received a number of accolades and state awards and served in the Supreme Soviet. Despite the official controversy, his works were popular; he is now held to be, as Grove’s judges him, the most talented Soviet composer of his generation.
After a period influenced by Prokofiev and Stravinsky (Symphony No. 1), Shostakovich switched to modernism (Symphony No. 2 and The Nose) before developing a hybrid of styles with the opera “The Lady Macbeth of Mtsensk “and the ill-fated Fourth Symphony. This hybrid style ranged from the neo-classical (with Stravinskian influences) to the post-romantic music (with Mahlerian influences). His tonality involved much use of modality and some astringent neo-classical harmonies à la Hindemith and Prokofiev. His music frequently includes sharp contrasts and elements of the grotesque.
Shostakovich prided himself on his orchestration, which is clear, economical, and well-projected. This aspect of Shostakovich’s technique owes more to Gustav Mahler than Rimsky-Korsakov. His greatest works are generally considered to be his symphonies and string quartets, fifteen of each. Other works include operas, six concertos, and a substantial quantity of film music. David Fanning concludes in Grove 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.” Shostakovich is now regarded as “the most popular composer of serious art music of the middle years of the 20th century”.
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02Symphony No.11, op.103 'the Year 1905': In memoriamДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
03Symphony No.11, op.103 'the Year 1905': The Palace SquareДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
04Symphony No.11, op.103 'the Year 1905': 9. JanuarДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
05Symphony No.11, op.103 'the Year 1905': TocsinДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
07String Quartet No. 1 in C major, Op. 49: II. ModeratoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
08String Quartet No. 3 in F major, Op. 73: III. Allegro non troppoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
09Piano Concerto No. 1 in C minor, Op. 35: II. LentoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
11Piano Concerto No. 2 In F Major, Op. 102: II. AndanteДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
13String Quartet No. 1 in C major, Op. 49: III. Allegro moltoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
14String Quartet No. 1 in C major, Op. 49: IV. AllegroДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
15Cello Sonata in D minor, Op. 40: IV. AllegroДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
16Piano Concerto No. 1 in C Minor, Op. 35: I. AllegrettoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
17Symphony No. 15 in A major, Op. 141: III. AllegrettoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
19Piano Concerto No. 1 in C minor, Op. 35: III. ModeratoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
20String Quartet No. 3 in F major, Op. 73: I. AllegrettoДмитрий Дмитриевич ШостаковичДмитрий Дмитриевич Шостакович
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