Symphony No. 15 in A major, Op. 141: III. Allegretto
Dmitri Dmitriyevich Shostakovich aka Dmitri Shostakovich (Russian: Дми́трий… Read Full Bio ↴Dmitri Dmitriyevich Shostakovich aka Dmitri 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.
After a period influenced by Sergei Prokofiev and Igor Stravinsky (Symphony No. 1), Shostakovich switched to modernism (Symphony No. 2 and The Nose) before developing a hybrid of styles with the opera "Lady Macbeth of the Mtsensk District" 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 unique approach to tonality involved the use of modal scales 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 Nikolai Rimsky-Korsakov. His greatest works are generally considered to be his symphonies and string quartets, fifteen of each. His works for piano include 2 piano sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include two operas, six concertos, and a substantial quantity of film music.
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.
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".
After a period influenced by Sergei Prokofiev and Igor Stravinsky (Symphony No. 1), Shostakovich switched to modernism (Symphony No. 2 and The Nose) before developing a hybrid of styles with the opera "Lady Macbeth of the Mtsensk District" 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 unique approach to tonality involved the use of modal scales 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 Nikolai Rimsky-Korsakov. His greatest works are generally considered to be his symphonies and string quartets, fifteen of each. His works for piano include 2 piano sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include two operas, six concertos, and a substantial quantity of film music.
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.
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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Symphony No. 15 in A major Op. 141: III. Allegretto
Дмитрий Дмитриевич Шостакович Lyrics
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The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
frank stein
Fortunately, at the end's end Haitink keeps his arms up, to forestall applause (Haitink never liked applause, always was embarrassed about it). However, the end of this symphony is about the music disappearing into nothingness, into he material rattling of the world, and ultimately about the composer dying (nr 15 was composed in a hospital). In 1975, on a tour with the LPO, Haitink met the composer in Moscow, after a performance of symphony nr 10. The composer had a few months to live yet. One can imagine Haitink remembering this as he is demanding silence for a few moments.
Firebird 37
And he also started to compose his 16th symphony. If only......
Elmira Muradova
Thank you.
Francis Sadleir
I love how the whole piece reflects on possibly some of shosti's inspirations (ie: the tristan quote etc.)
Pierre-Alain Monot
the only symphony large orchestra wich can really plays pianissimo! what a sound culture, in every register. Amazing interpretation
Ivan Milatović
My favourite composer's most mysterious symphony. It is otherworldly, borders the absurd and surreal, features an opening movement that is deceptively jolly, a scherzo that goes nowhere and an ending that jangles into nothingness. Death, reflection and introspection - one to make you think.
Carlos Frederico Silveira Escobar
Supperb !
villonesques
One of my favorite endings of any symphony of any era. Into the beyond. Magic.
Thijmen Krijgsman
I definitely agree! He uses similar effects at the end of 2e movement of the 4th symphony and at the end of the 2e cello concerto, however those endings bare no resemblance to the transformative ending of the 15th symphony!
Bruce Anderson
Agreed. Topped (for me), only by Shostakovich's own 8th Symphony. After musically depicting the immense horrors inflicted by both Hitler and Stalin, the 8th concludes with a switch from minor to major, and offers a subdued hope for the future.