Relevant bibliographies by topics / Shostakovich

Academic literature on the topic 'Shostakovich'

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Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Shostakovich"

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Padgett, Andrew. "The Dialectic of Musical Socialist Realism: The Case of Dmitri Shostakovich." Transcultural Studies 9, no. 1 (2013): 103–11. http://dx.doi.org/10.1163/23751606-00901009.

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At the time of his death in 1975, Dmitri Shostakovich was widely recognised as the greatest composer of his generation, and the first master of the socialist realist symphony. However, Shostakovich’s successes were hard-won. They came on the back of denunciations in Pravda of two earlier ‘formalist’ works. In an effort to win the support of the Party leadership, Shostakovich subsequently transformed his compositional style to produce his popular Fifth Symphony. This paper examines what changed in Shostakovich’s style from his Fourth to his Fifth Symphonies, to establish precisely what musical socialist realism was, and how it was successfully composed, and the long term influence it had on the generation of Soviet composers who emerged after the thaw.
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Balshin, Vladimir Vladimirovich. "The string quartet in the works of Beethoven and Shostakovich: thematic and intonation links." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 9–20. http://dx.doi.org/10.7256/2453-613x.2023.5.68840.

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The article explores the genre of string quartet on the example of Beethoven and Shostakovich in the aspect of intonation and thematic connections, as well as the parallels of creativity of both composers. The author gives examples of thematic, interval, intonation and textural-melodic quoting of Beethoven's works in Shostakovich's quartets. Russian culture and Beethoven's influence is revealed, in particular, in relation to working with the material of Russian songs in quartets written by order of Count Razumovsky. The author reveals Shostakovich's attraction to Beethoven's work, the closeness of his compositional style and ideas in terms of conceptuality, architectonics, the use of musical and expressive means and a tendency to dynamic onslaught. The methodology of the research is based on the analysis of historical materials, musical articles, concepts of outstanding historians and music theorists. The main contribution of this study is the identification of thematic and semantic connections between the quartets of Beethoven and Shostakovich. The author concludes that Shostakovich often turned to Beethoven's work, used his methods and techniques of working with the material, the structure of the cycle, included allusions to themes, intonations in his quartets, and even used whole textured excerpts from Beethoven's music – and he made it through the prism of his creative style. The novelty of the article lies in the identification of the connection between Beethoven's work and Russian music, the composer's use of melodies of Russian songs in "Russian Quartets", as well as intonation-thematic parallels between the quartets of Beethoven and Shostakovich. In addition, the article reveals the special role of the performer in the work on the quartet of both Beethoven and Shostakovich.
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Johnson, Lee. "THE ‘HAUNTED’ SHOSTAKOVICH AND THE CO-PRESENCE OF BACH." Tempo 63, no. 249 (July 2009): 41–50. http://dx.doi.org/10.1017/s0040298209000254.

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My theoretical purpose is to distinguish between musical allusions and musical co-presences. A musical allusion is usually a citation of a melody or phrase from a work by a predecessor. In Shostakovich's Fifteenth Symphony, for example, references to Rossini's William Tell and to Wagner's Ring have tantalized listeners and provoked speculation on what these allusions could mean. In general, Shostakovich's music is notable for containing numerous allusions, often ironic, to previous composers. By contrast, Shostakovich's 24 Preludes and Fugues and the Eighth String Quartet show more than mere allusions to Bach: the very methods and forms of the Baroque master are incorporated into the later composer's works, as if Bach were a co-creator with Shostakovich; and those methods and forms are not employed ironically. That is to say, the music of Bach has a special significance for Shostakovich, a presence that goes beyond any topical value.
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DIAMANTOULI, EIRINI. "‘There shall be no musical servitude’: Towards a Multitudinous Shostakovich in the West." Journal of the Royal Musical Association 145, no. 2 (November 2020): 495–505. http://dx.doi.org/10.1017/rma.2020.19.

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Ideologically motivated attempts to elucidate Shostakovich’s political views and to determine whether and how they may be coded into his compositions have come to characterize the Western reception of the composer’s works since his death in 1975. Fuelled by the political oppositions of the cold war, Shostakovich’s posthumous reputation in the West has been largely shaped by two conflicting perspectives. These have positioned him on the one hand as a secret dissident, bent and broken under the unbearable strain of totalitarianism, made heroic through his veiled musical resistance to Communism; and on the other hand as a composer compromised by his capitulation to the regime – represented in an anachronistic musical style. Both perspectives surrender Shostakovich and his music to a crude oversimplification driven by vested political interests. Western listeners thus conditioned are primed to hear either the coded dissidence of a tragic victim of Communist brutality or the sinister submission of a ‘loyal son of the Communist Party’.1 For those prepared to accept Shostakovich as a ‘tragic victim’, the publication of his purported memoirs in 1979, ‘as related to and edited by’ the author Solomon Volkov, presents a tantalizing conclusion: bitterly yet discreetly scornful of the Stalinist regime, Shostakovich was indeed a secret dissident and this dissidence was made tangible in his music.
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Moody, Ivan. "The Music of Alfred Schnittke." Tempo, no. 168 (March 1989): 4–11. http://dx.doi.org/10.1017/s0040298200024876.

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In recent years, Alfred Schnittke has seemed to provide a point of focus for interest in Russian music which has been absent since the death of Shostakovich in 1975: not least because he appears in some respects to be the latter's natural successor. Many of Shostakovich's aesthetic as well as technical preoccupations have played a significant part in Schnittke's work. Schnittke has developed these preoccupations, in fact, to a further extreme: his principal inheritance from Shostakovich, the sense of irony and alienation, has become the most obvious trait in the music of a composer who has consistently followed his own star quite independently of any stylistic clique.
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SCHMELZ, PETER J. "What Was ““Shostakovich,”” and What Came Next?" Journal of Musicology 24, no. 3 (2007): 297–338. http://dx.doi.org/10.1525/jm.2007.24.3.297.

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The title of this article is borrowed from anthropologist Katherine Verdery's 1996 study What Was Socialism, and What Comes Next? In her book Verdery surveyed the recent changes in Eastern Europe, and specifically Romania, from her vantage point in the uncertain period following the momentous events from 1989 to 1991 in the former Soviet bloc. Similarly, this article explores how Shostakovich, widely perceived in 1975 as the musical representative of socialism, influenced what came after him. It details how Soviet composers from the younger generations, including Edison Denisov, Mieczysłław Weinberg, Boris Tishchenko, Alfred Schnittke, and Valentin Sil'vestrov, dealt with Shostakovich's legacy in their compositions written in his memory, including Denisov's DSCH, Weinberg's Symphony no.12, Tishchenko's Symphony no. 5, Schnittke's Prelude In Memoriam Dmitri Shostakovich and Third String Quartet, and Sil'vestrov's Postludium DSCH. In their memorial works, as they wrestled with the legacy of Shostakovich and his overwhelming influence, these composers also grappled with the shifting nature of the Soviet state, changing musical styles both foreign and domestic, and fundamental issues of aesthetic representation and identity associated with the move from modernism to postmodernism then affecting all composers in the Western art music tradition. The 1970s came at the heels of a decade of remarkable change in Soviet music and society, but at the time of Shostakovich's death, change in Soviet life began to seem increasingly unlikely. Despite recent interpretations by scholars such as anthropologist Alexei Yurchak that emphasize the fundamental immutability of the 1970s, however, these memorial compositions show that audible and significant developments were indeed occurring in the musical styles of the 1970s and early 1980s. Examining Shostakovich's legacy therefore also reveals the larger changes of the Soviet 1970s and early 1980s, both musical and otherwise.
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Burlina, Elena Ya. "D.D. Shostakovich in Samara — university project." Aspirantskiy Vestnik Povolzhiya 20, no. 3-4 (December 26, 2020): 48–54. http://dx.doi.org/10.17816/2072-2354.2020.20.2.48-54.

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Once of the largest event in the world culture of the twentieth century is premiere of the Seventh Symphony by D.D. Shostakovich in Kuibyshev. It took place on March 5, 1942 and is described in detail. The author of the article puts forward a hypothesis about the fixed image of Shostakovich in the citys homosphere, namely as the author of themilitary Symphony. Other works created by him in the reserve capital did not receive a philosophical and cultural understanding. The article also presents a projective idea: Shostakovichs music as a communication and University promoter. The article describes for the first time the internationalization of the almanac and the exhibition Samaras Hommage. The Samara project with this name was presented to Bonn, at The Russian Consulate General, on the anniversary of the end of World War II. Professors from Europa universities were also invited to the presentation. For the first time, describes how to participate in the intercultural project of the writer CH.T. Aitmatov. The author conclusion that the Kuibyshev period of D.D. Shostakovich is significantly shortened and read far from completely, including in a scientific and communicative way.
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Weitzman, Ronald. "Fleischmann, Shostakovich, and Chekhov's ‘Rothschild's Fiddle’." Tempo, no. 206 (October 1998): 7–11. http://dx.doi.org/10.1017/s0040298200006677.

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Shostakovich harboured a special esteem for Chekhov's literary genius, and knew by heart many of the short stories. At the same time, the composer felt an extraordinary tangible identification with the Jewish spirit, as well as a recognition of the role and importance of the Jewish contribution in history. (When it comes to the references in the disputed biography, Testimony, to Shostakovich's fierce personal stance whenever he came across the slightest expression of anti-semitism, there is sufficient independent evidence to indicate that Solomon Volkov's reporting cannot seriously be challenged.)
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Хаздан, Евгения Владимировна. "Dmitri Shostakovich and Moisey Beregovski." Музыкальная академия, no. 2(778) (June 30, 2022): 168–89. http://dx.doi.org/10.34690/242.

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. Во второй половине 1950-х годов Дмитрий Шостакович помог фольклористу, исследователю музыки восточноевропейских евреев Моисею Береговскому в получении реабилитации, а через несколько лет способствовал продвижению к печати сборника «Еврейские народные песни». Статья посвящена исследованию взаимоотношений двух ярких представителей советской музыкальной культуры. Мы ищем ответы на вопросы: было ли возможным их знакомство в годы учебы в Петроградской консерватории? в чем состояла помощь композитора? могли ли повлиять материалы, собранные Береговским, на творчество Шостаковича? В работе вводятся в научный оборот ранее неизвестные архивные документы. In the second half of the 1950s, Dmitri Shostakovich heLped the foLkLorist and the researcher of music of East European Jews Moisеy Beregovski to get rehabiLitation. A few years Later the composer made efforts to promote the coLLection of Jewish FoLk Songs for publication. The article explores the relationship between these two outstanding figures of Soviet musical culture. We try to get answers for some questions: couLd Shostakovich and Beregovski make the acquaintance whiLe studying at the Petrograd Conservatory? what was the heLp of the composer? couLd Shostakovich's music have been influenced by the foLk tunes coLLected by Beregovski? The work introduces previousLy unknown archivaL documents.
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Zinkevych, Olena. "Dmitriy Shostakovich in William Tanner Vollmann’s Novel “Europe Central”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 134–44. http://dx.doi.org/10.31318/2522-4190.2022.133.257330.

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The relevance of the study. In the foreign reception of Dmitriy Shostakovich, its out-ofmusical-professional discourse is important. Along with the play by David Pounell “Master Class”, the novel by Julian Barnes “The Noise of Time” and others, the novel by the famous American writer William T. Vollmann (William T. Vollmann) “Europe Central” (“Europe nodal”) is quite significant, it received the 2005 US National Book Award. The almost 800-page epic, which foreign critics compare with the epic of L. Tolstoy and call “War and Peace of the 20th century”, covers the events of Russian and German history from 1914 till 1975, including the Holocaust, the era of great terror, Babi Yar. The panorama of the war between two totalitarian regimes is especially widespread. Among the characters are mainly representatives of creative professions and military leaders: Hitler and Stalin, Paulus and Vlasov, Kete Kolwitz and Anna Akhmatova, Tukhachevsky and Roman Carmen, etc. The destinies of all characters are intertwined, their stories unfold in parallel or in interaction. But the real hero of the book is Dmitriy Shostakovich. Main objective of the study is to acquaint with the work of William T. Vollmann and his novel “Europe Central”, the analysis of which makes it possible to understand the peculiarities of perception of D. Shostakovich’s music by the US intellectual elite. The main results and conclusions of the study. William T. Vollmann refers to Shostakovich as a hero and admits his passion for his personality. Mainly adhering to the facts, he conjectures a lot and frankly invents. Heightened metaphor, phantasmagorism, extravagance of his descriptions are quite consistent with the style of postmodernism or absurdity. The author does not hide his liberties and in the afterword apologizes for the distortions in the book. The mythogenic situation created by Vollmann clearly echoes the well-known — including Russian — fictionalization by Dmitriy Shostakovich. And, thus, Vollmann’s novel becomes another confirmation of Shostakovich’s acquisition of the status of a “cultural hero of the era”, because it is the mythogenic processes provoked by large-scale public reflection that are decisive in the formation of this sociocultural phenomenon.
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Dissertations / Theses on the topic "Shostakovich"

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Gerald, Ginther. "Revisionism in the music history of Dmitry Shostakovich: the Shostakovich Wars." Thesis, University of Canterbury. School of Languages, Cultures and Linguistics, 2008. http://hdl.handle.net/10092/5342.

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The revisionist view of the Soviet Union’s most eminent composer, Shostakovich has been dominant in the American and British press ever since the publication of ex-Soviet journalist Solomon Volkov’s Testimony: The Memoirs of Dmitri Shostakovich as related and edited by Solomon Volkov in 1979. This pre-glasnost book proved to be the opportunity for music journalists to polish up their image of Shostakovich as a closet dissident who had been secretly laughing up his sleeve at the Soviet regime since 1932. This thesis suggests that Solomon Volkov faked the writing of Testimony and claiming that the book was the ‘memoirs of Dmitri Shostakovich’ was dubious at best. A favourite theme of revisionist writers is the perceived relationship between Shostakovich and Stalin. This thesis reveals that there was little interaction between the two despite the wild fantasies of revisionist writers and film makers. The infamous anonymous 1936 Pravda editorial ‘Muddle Instead of Music’ has been the subject of speculation ever since it was written. In the appendix of this thesis is a translation of ‘Mysteries of Lady Macbeth’ a chapter of Leonid Maksimenkov’s Muddle Instead of Music: Stalin’s Cultural Revolution 1936-1938. Archival evidence in this chapter reveals that the Pravda editorial was a product of internal Communist Party rivalry between the Cultural Education Board and the newly-formed Arts Committee. Stalin played no part in the writing of the editorial at all. This explodes many myths that have circulated since 1936 about ‘Muddle Instead of Music’. It seems that Shostakovich was a convenient target selected at random by the ambitious head of the Arts Committee – Platon Kerzhentsev.
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Abdel-Aziz, Mahmud. "Form und Gehalt in den Violoncellowerken von Dmitri Schostakowitsch." Regensburg : G. Bosse, 1992. http://books.google.com/books?id=xxpBAAAAMAAJ.

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Hibberd, Kristian Philip Gordon. "Shostakovich and Bakhtin : a critical investigation." Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416963.

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Rosen, Nevin Brian. "Part I The Seven Days of Creation For Narrator and String Orchestra Part II Shostakovich's Symphony No. 5, Movement 4: A Parametric Analysis." Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1253141186.

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Lee, Jung-Hwa. "Dmitri Shostkovich's [sic] Piano concerto op. 35 a pianist's performance guide /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227641553.

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Vici, Gabriella. "Distorted Tradition as Contemporary Expression: Models of Decadent Procedures in Bartók and Shostakovich." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/22885.

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The works of Bartók and Shostakovich are often rightly praised for their trailblazing techniques, innovatory procedures and modernist craftsmanship. Analyses of these pieces are thus invaluable to the twenty-first-century composer who seeks to understand and engage with the compositional intricacies found within these masterworks; yet, such bias towards objectivity has its limits. Equally useful to the composer but drastically under-explored in the analytical literature, is an understanding of the modes of expression that these composers have employed. By neglecting the hermeneutical pathways between technique and expression, the value of these analytical perspectives to the present-day composer is restrictively empirical and arguably hollow. It is thus necessary to implement an analytical strategy that allows composer and analyst alike to better understand how works separated by time and location can still share expressive characteristics. Such a construct can be found in the fin-de-siècle concept of decadence. Building on Stephen Downes’ analytical framework of decadence in music, the notion can be understood to transcend its original turn-of-the-century boundaries and find equal relevance in selected later works of Béla Bartók and Dmitri Shostakovich. This perspective allows one to not only assess the ways in which tradition is manipulated, distorted and even sacralised, but also consider how Bartók and Shostakovich’s re-contextualisation of the past was an essential component in expressing their present. In turn, whilst decadence itself may no longer be of contextual relevance to the contemporary composer, it still holds potent artistic value. By applying it during the composition of my own portfolio, I have been able to respond to the various decadent procedures found in these pieces, engaging with their modes of expression and continuing this ever-complex artistic relationship between convention and innovation into the twenty-first century.
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Tentser, Alexander. "The second piano sonata by Dmitrii Shostakovich a style analysis /." Full text available online (restricted access) Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/9713417.pdf.

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Tentser, Alexander 1965. "The Second Piano Sonata by Dimitrii Shostakovich: A style analysis." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290631.

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Dmitrii Shostakovich is widely recognized as one of the most significant composers of the twentieth century. A prolific composer, he left an important mark in virtually every genre, most notably in the string quartet and the symphony. His Second Piano Sonata, a work of grandiose dimensions and great originality, is the hallmark of his mature creative period, along with works such as the Seventh "Leningrad" Symphony and the Second Piano trio. This study explores the mature piano style of Shostakovich evident in the Second Piano Sonata. It examines harmony, melody and texture as signifiers of style in this Sonata, and compares these stylistic traits with those in his earlier compositions as well as contemporaneous works by other composers, most notably, Sergei Prokofiev. The craftsmanship, broad outlines, and significance of the Second Piano Sonata earn it a place among the major works of twentieth century piano repertoire.
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Davis, Anna Megan. "A Russian eschatology : theological reflections on the music of Dmitri Shostakovich." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3528.

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Theological reflection on music commonly adopts a metaphysical approach, according to which the proportions of musical harmony are interpreted as ontologies of divine order, mirrored in the created world. Attempts to engage theologically with music’s expressivity have been largely rejected on the grounds of a distrust of sensuality, accusations that they endorse a ‘religion of aestheticism’ and concern that they prioritise human emotion at the expense of the divine. This thesis, however, argues that understanding music as expressive is both essential to a proper appreciation of the art form and of value to the theological task, and aims to defend and substantiate this claim in relation to the music of twentieth-century Russian composer Dmitri Shostakovich. Analysing a selection of his works with reference to culture, iconography, interiority and comedy, it seeks both to address the theological criticisms of musical expressivism and to carve out a positive theological engagement with the subject, arguing that the distinctive contribution of Shostakovich’s music to theological endeavour lies in relation to a theology of hope, articulated through the possibilities of the creative act.
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Alexander, Justin. "The evolution of the xylophone through the symphonies of Dmitri Shostakovich." Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3625708.

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This treatise focuses on the evolution of the xylophone in the music of Dmitri Shostakovich. The xylophone occupied an important position in Shostakovich's aesthetic, evidenced in the exposed solos of the first Jazz Suite and the Polka from The Golden Age. In his symphonies, Shostakovich's use of the xylophone expands the role of the instrument from a demarcation or coloristic device to a vehicle of complex cultural and personal ideas ranging from the struggle of the Soviet people under Joseph Stalin, the composer's own hatred of war, and prominently, the multi-faceted idea of betrayal. This document presents a biographical overview of Shostakovich's life, an overview of the history of the xylophone from antiquity through the Twentieth Century, and an analysis of the use of the xylophone in Shostakovich's symphonies. Rhythmic and melodic motives, orchestrational effects, and pitch class relationships are examined in addition to specific score examples.

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Books on the topic "Shostakovich"

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Eric, Roseberry. Shostakovich. London: Omnibus Press, 1986.

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Dmitry, Feofanov, and Ashkenazy Vladimir 1937-, eds. Shostakovich reconsidered. [London]: Toccata Press, 1998.

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Khentova, S. M. Udivitelʹnyĭ Shostakovich. S.-Peterburg: Variant, 1993.

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David, Fanning, ed. Shostakovich studies. Cambridge: Cambridge University Press, 1995.

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P, Rakhmanova M., and Gosudarstvennyĭ t︠s︡entralʹnyĭ muzeĭ muzykalʹnoĭ kulʹtury imeni M.I. Glinki., eds. Shostakovich: Urtext. Moskva: GT︠S︡MMK im. M.I. Glinki, 2006.

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Sikorski, Internationale Musikverlage Hans, ed. Dmitri Shostakovich. Hamburg: Sikorski Musikverlage, 2005.

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Leĭe, T. E. Chekhov i Shostakovich. Moskva: Rossiĭskai︠a︡ akademii︠a︡ muzyki im. Gnesinykh, 2006.

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Khentova, S. M. Shostakovich v Moskvae. Moskva: Moskovskiĭ rabochiĭ, 1986.

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Rosamund, Bartlett, ed. Shostakovich in context. Oxford: Oxford University Press, 2000.

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Okrepilov, V. V. Mendeleyev, Shostakovich, Blok. Saint-Petersburg: "Legacy" Ltd., 2007.

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Book chapters on the topic "Shostakovich"

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Kalapatapu, Veena R., Aedan P. Gilkey, and Robert M. Pascuzzi. "Shostakovich and ALS." In Neurological Disorders in Famous Artists - Part 3, 92–100. Basel: KARGER, 2010. http://dx.doi.org/10.1159/000311194.

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Fay, Laurel E. "Renewal (1961-1966)." In Shostakovich, 225–46. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195134384.003.0014.

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Abstract Three months after the premiere of the Twelfth Symphony, the long postponed premiere of Shostakovich’s Fourth Symphony finally took place in Moscow on 30 December 1961. Kirill Kondrashin had been appointed chief conductor of the Moscow Philharmonic Orchestra the previous year. The idea of resurrecting Shostakovich’s mysterious “missing” symphony originated with the Philharmonic’s artistic administrator; after Kondrashin studied the reduction for piano four-hands and agreed to conduct it, they broached the idea to Shostakovich and solicited his permission.
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"SHOSTAKOVICH." In Orchestral Masterpieces under the Microscope, 436–39. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.68.

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SADYKHOVA, ROSA. "Shostakovich:." In Shostakovich and His World, edited by DMITRII FREDERIKS and ROSA SADYKHOVA, translated by ROLANDA NORTON, 1–26. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1j6677t.6.

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BROWN, MALCOLM HAMRICK. "Shostakovich:." In A Shostakovich Casebook, 325–45. Indiana University Press, 2020. http://dx.doi.org/10.2307/j.ctv11hptp2.28.

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Steinberg, Michael. "Shostakovich." In The Concerto, 434–43. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0037.

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Abstract Shostakovich wrote this Concerto in 1959. Mstislav Rostropovich received his copy on 2 August, learned and memorized the work in four days, played it for the composer at his dacha on 6 August with the pianist Alexander Dedyukhin, and gave the first performance on 4 October, with Yevgeny Mravinsky conducting the Leningrad Philharmonic. The concerto is dedicated to Rostropovich. The Cello Concerto No. 1-Shostakovich wrote another, also for Rostropovich, in 1966-comes from one of the calmer periods in this much-buffeted composer’s life. Khrushchev’s de-Stalinization campaign was in full swing; it Sessions began the first movement of his Violin Concerto in 1930 in Rome, continuing the following year at Lutjenberg, a resort on the Baltic Sea, and in Berlin and Hamburg. He wrote the second and third movements over the next two years, for the most part in Berlin, though he finished the third movement in Massachusetts. Sessions wrote the finale in San Francisco in the summer of 1935 and the score is dated “San Francisco, Calif., August 1935”; however, the orchestration was not completed until the fall of that year, in New York.
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Bowen, Meirio. "Shostakovich." In Tippett on Music, 79–82. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198165415.003.0010.

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Abstract Shostakovich’s Testimo was addressed to his countrymen, not the West—which is Shostakovich’s name for Europe and America. He was a Slavophile, not a Westerner. He disliked the West intensely, and he seems concerned in this book to make certain truths known to a future generation of Soviet com posers. In order to do this, he felt that he must send his manuscript illegally to the West, so that after his death—since the manuscript, if discovered in Russia, might have been destroyed—it could be ‘returned’ for a kind of ‘pub lication’. The mechanism is that the Russian version of the manuscript would be beamed back to Russia by radio and there picked up and transcribed by devoted listeners who type it on to samizdat. It’s a method which in principle has been used in Russia since Tolstoy. It was even for security purposes used by Krushchev.
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Fay, Laurel E. "Consolidation (1958-1961)." In Shostakovich, 207–24. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195134384.003.0013.

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Abstract n March 1957, the news that Shostakovich was at work on his first operetta, Moscow, Cheryomushki, dealing “with the life of young builders in Moscow” spread around the globe. From the composer’s standpoint, the announcement was probably premature. He had not yet completed his Eleventh Symphony. But the keen anticipation at the prospect of Russia’s preeminent composer of “serious” music crossing over into the popular theater could not be denied. It was a source of special pride for the Moscow Theater of Operetta, which recruited the composer with the help of chief conductor Grigoriy Stolyarov, whose association with Shostakovich stretched back a quarter century to the Moscow premiere of Katerina Izmailova. Another veteran of that Nemirovich-Danchenko Theater production, Vladimir Kandelaki (he created the role of Boris Timofeyevich), was also now associated with the Moscow Theater of Operetta. He undertook the direction of Shostakovich’s operetta.
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Fay, Laurel E. "Reprieve (1938-1941)." In Shostakovich, 107–22. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195134384.003.0008.

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Abstract For a whole year after submitting my Fifth Symphony I did almost nothing.” The success of his Fifth Symphony earned Shostakovich a creative reprieve, a respite from enormous pressure and stress. It restored his name to favor and removed him, for the time being, from the roster of ideologically suspect artists. The 1936 Pravda editorials, however, and the campaign they inflamed, left indelible scars on the composer. Although it is impossible to guess what creative directions he might have pursued and how his music might have developed without external interference, some of the unfortunate consequences are indisputable. A plan in the works for Shostakovich to collaborate with Sollertinsky on a ballet treatment of Don Quixote was scuttled. Shostakovich never again undertook an original score for the ballet. Even more unfortunately, at the age of twenty-nine, Shostakovich’s career as an operatic composer came to an abrupt and untimely halt. He abandoned his ambition to create a Soviet “Ring” cycle. Though there was rarely a time during the rest of his life when there was not at least one operatic project simmering on a back burner, in what was an incalculable loss for the musical stage, he never completed another opera.
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Komok, Olga. "Shostakovich and Kruchonykh." In Shostakovich in Context, 99–122. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166665.003.0007.

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Abstract It is not easy to find in the life of Dmitry Shostakovich any calm period when there was nothing to interfere with the composer’s thought processes. Each year, each decade, had its full share of the dramas, stresses, and complicated situations that are meat and drink to biographers. Yet even so, the decade of the 1940s was so filled with high drama, and with such highs and lows of fortune, as to seem positively theatrical. Among the events of those years were the blockade of Leningrad, evacuation, the death of Shostakovich’s closest friend Ivan Sollertinsky, the world-wide triumph of the ‘Leningrad’ Symphony, the composition of the Eighth and Ninth Symphonies, the Trio, Op. 67, and the Second Piano Sonata, the devastating 1948 Decree from the Communist Party Central Committee, which was followed by Shostakovich having to join an official delegation to the USA. Against this turbulent background there is one aspect of Shostakovich’s life during this period which has never been noticed by commentators, and it forms the subject of the present article.
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Conference papers on the topic "Shostakovich"

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Huang, Jincheng. "Wang Xilin-Chinese Shostakovich. Research on Wang Xilin's Musical Life and Musical Achievements." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.36.

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VÎRTOSU, Sebastian. "The Model of the Other in Shostakovich’s Work." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0004.

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The aim of this article is to conduct early research that is meant to provoke further (directions) studies based on the relationship between the art creator and his/her Self, as well as between the creator, performer and auditor or between the creator, the political power and other fellow creators. These relationships are subsumed and interpreted according to the theme of the International Conference of Doctoral Schools within “George Enescu” National University of Arts of Iasi, Intersections in Artistic Research: The Model of the Other and the Culture of Mobility, having Dmitri Shostakovici at the center of analysis and research. The article comprises three parts: Argument, Chapter I - The fugue of the inner perspective in Shostakovich’s works; Shostakovich’s interaction with his work; Shostakovich’s interaction with the public by means of his work. The interpreter’s interaction with the audience by means of Shostakovich’s work; Chapter II – Shostakovich’s intersections with the Soviet Power; The Model of the Other in Shostakovich’s work compared to other models of other modern composers of his time and Conclusions - where a practical example of the model of the Other in Shostakovich’s creation is presented in the form of a script created to the music of String Quartet No. 5, op. 92.
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Naiko, Natalia. "The Refraction of Musical Ideas by P. Tchaikovsky in the Works of D. Shostakovich." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.11.

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"Study on the Musical Language and Structure of the String Quartets of Shostakovich in Later Period." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.76.

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