String Sextet in D Minor, Op. 70, "Souvenir de Florence": III. Allegretto moderato
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".
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String Sextet in D Minor Op. 70 "Souvenir de Florence": III. Allegretto moderato
Dmitri Shostakovich 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
Robert Ramos
Tchaikovsky always gave the violas such a key role in his music like I couldn’t imagine listening to his music without the viola sections complexity and sound
Musical_Lolu
If you start out thinking about an instrument's drawbacks, you will never become a good composer.
Cameron Jamieson
Don't kid yourself. Viola is that fellow no-one likes but everyone needs around anyway to make the group work. Put them in their place every now and then.
Akshay S. Tiwari
@Cameron Jamieson what did we ever do to you…
kateulinaa
@Cameron Jamieson every instrument is integral to the piece, stop degrading violists. they put work and effort on what they play, they don't deserve that hate
Cameron Jamieson
@kateulinaa but do they? do they really? (you know this is a joke right, viola's bloody great!)
itamar bar
I like it more in it's string orchestra version. Gives more power to each section, and when the violas and celli have the melody, the lead solos make it so much special.
Fulvio Polce
Come si fa a non amare una musica del genere? Un ispirazione melodica unica.La scelta dell' ensemble,un sestetto ,un lavoro "cameristico" di incomparabile bellezza e composizione che ne fanno uno dei migliori esempi della grande arte universale del compositore.
Ottima l'esecuzione di questo bravo complesso d'archi.
Koru
I. Allegro con spirito (0:00)
II. Adagio cantabile e con moto (10:20)
III. Allegretto moderato (20:01)
IV. Allegro con brio e vivace (26:16)
VISHNU HALIKERE
The harmonic progression at 11:19-11:22 just melts me