Concerto No. 2 in C-Sharp Minor for Violin and Orchestra, Op. 129: II. Adagio (attacca), III. Adagio - Allegro
Dmitri Dmitriyevich Shostakovich (Russian: Дмитрий Дмитриевич Шостакович) (… Read Full Bio ↴Dmitri Dmitriyevich Shostakovich (Russian: Дмитрий Дмитриевич Шостакович) (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 Nikolai 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 Nikolai 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".
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Concerto No. 2 in C-Sharp Minor for Violin and Orchestra Op. 129: II. Adagio III. Adagio
Dmitri Shostakovich Lyrics
No lyrics text found for this track.
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
Christian Vennemann
That horn solo towards the end of the second movement is so amazing.
Indio Duran
Goosebumps and a half
Gibrán Monterrubio
I thought that i was the only one who loves that part.
frank stein
@Gibrán Monterrubio everybody loves that part. DSCH was a very effective puller of our heart strings.
sltflsh
Here's an interesting detail: at 8:32 in the reprise he alters the main theme by shifting some notes up a semitone so that the violin can do those double stops on the D and G strings, and then he goes back to the "original" key at bar 312 on the D-flat- as if nothing happened! Compare this with 0:24 when this theme is first introduced. This was almost certainly done for practical reasons but it adds a bit of an intriguing kick when those intervals are slightly modified
Charles Brestel
I appreciate a composer who takes time to understand the intricacies of the instruments. Often a small change can make a nearly unplayable passage much more approachable.
The Nomad
I discovered Shostakovich a month ago.
I'm in love!
B D
35 years ago
Jack Minto
Welcome to the Shosty fanclub. I've been here my whole life!
Yaps
No one's followed that so far.
Is there really a Shostakovich fan club.