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Dmitri Shostakovich. Dmitri Dmitriyevich Shostakovich [n 1] (25 September [ O.S. 12 September] 1906 – 9 August 1975) was a Soviet-era Russian composer and pianist [1] who became internationally known after the premiere of his First Symphony in 1926 and thereafter was regarded as a major composer.
- 9 August 1975 (aged 68), Moscow, Soviet Union
- Overview
- Early life and works
- Later life and works
Dmitri Shostakovich (born September 12 [September 25, New Style], 1906, St. Petersburg, Russia—died August 9, 1975, Moscow, Russia, U.S.S.R.) Russian composer, renowned particularly for his 15 symphonies, numerous chamber works, and concerti, many of them written under the pressures of government-imposed standards of Soviet art.
Shostakovich was the son of an engineer. He entered the Petrograd (now St. Petersburg) Conservatory in 1919, where he studied piano with Leonid Nikolayev until 1923 and composition until 1925 with Aleksandr Glazunov and Maksimilian Steinberg. He participated in the Chopin International Competition for Pianists in Warsaw in 1927 and received an honourable mention but made no subsequent attempt to pursue the career of a virtuoso, confining his public appearances as a pianist to performances of his own works.
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Composers & Their Music
Even before his keyboard success in Warsaw, he had a far greater success as a composer with the Symphony No. 1 (1924–25), which quickly achieved worldwide currency. The symphony’s stylistic roots were numerous; the influence of composers as diverse as Pyotr Ilyich Tchaikovsky and Paul Hindemith (and, avowedly, Shostakovich’s contemporary Sergey Prokofiev) is clearly discernible. In the music Shostakovich wrote in the next few years, he submitted to an even wider range of influences. The cultural climate in the Soviet Union was remarkably free at that time; even the music of Igor Stravinsky and Alban Berg, then in the avant-garde, was played. Béla Bartók and Hindemith visited Russia to perform their own works, and Shostakovich openly experimented with avant-garde trends. His satiric opera The Nose (composed 1927–28), based on Nikolay Gogol’s story Nos, displayed a comprehensive awareness of what was new in Western music, although already it seems as if the satire is extended to the styles themselves, for the avant-garde sounds are contorted with wry humour. Not surprisingly, Shostakovich’s incomparably finer second opera, Lady Macbeth of the Mtsensk District (composed 1930–32; revised and retitled Katerina Izmaylova), marked a stylistic retreat. Yet even this more accessible musical language was too radical for the Soviet authorities.
From 1928, when Joseph Stalin inaugurated his First Five-Year Plan, an iron hand fastened on Soviet culture, and in music a direct and popular style was demanded. Avant-garde music and jazz were officially banned in 1932, and for a while even the stylistically unproblematic Tchaikovsky was out of favour, owing to his quasi-official status in tsarist Russia. Shostakovich did not experience immediate official displeasure, but when it came it was devastating. It has been said that Stalin’s anger at what he heard when he attended a performance of Lady Macbeth of the Mtsensk District in 1936 precipitated the official condemnation of the opera and of its creator.
Shostakovich was bitterly attacked in the official press, and both the opera and Symphony No. 4 (1935–36) were withdrawn. The composer’s next major work was his Symphony No. 5 (1937), which was described in the press as “a Soviet artist’s reply to just criticism.” A trivial, dutifully “optimistic” work might have been expected; what emerged was compounded largely of serious, even sombre and elegiac music, presented with a compelling directness that scored an immediate success with both the public and the authorities.
Shostakovich’s works written during the mid-1940s contain some of his best music, especially the Symphony No. 8 (1943), the Piano Trio (1944), and the Violin Concerto No. 1 (1947–48). Their prevailing seriousness, even grimness, was to contribute to Shostakovich’s second fall from official grace. When the Cold War began, the Soviet authorities sought to impose a firmer ideological control, demanding a more accessible musical language than some composers were currently using. In Moscow in 1948, at a now notorious conference presided over by Andrey Zhdanov, a prominent Soviet theoretician, the leading figures of Soviet music—including Shostakovich—were attacked and disgraced. As a result, the quality of Soviet composition slumped in the next few years. Shostakovich’s personal influence was reduced by the termination of his teaching activities at both the Moscow and Leningrad conservatories. Yet he was not completely intimidated, and, in his String Quartet No. 4 (1949) and especially his Quartet No. 5 (1951), he offered a splendid rejoinder to those who would have had him renounce completely his style and musical integrity. His Symphony No. 10, composed in 1953, the year of Stalin’s death, flew in the face of Zhdanovism, yet, like his Symphony No. 5 of 16 years earlier, compelled acceptance by sheer quality and directness. His Symphony No. 11 (1957), a paean to revolution, earned him both the Lenin Prize and the Wihuri Sibelius Prize in 1958.
From that time on, Shostakovich’s biography is essentially a catalog of his works. He was left to pursue his creative career largely unhampered by official interference. He did, however, experience some difficulty over the texts (Baby Yar) by the poet Yevgeny Yevtushenko on which he based his Symphony No. 13 (1962), and the work was suppressed after its first performance. Yet he was undeterred by this, and his deeply impressive Symphony No. 14 (1969), cast as a cycle of 11 songs on the subject of death, was not the sort of work to appeal to official circles. The composer visited the United States in 1949, and in 1958 he made an extended tour of western Europe, including Italy (where already he had been elected an honorary member of the Accademia Nazionale di Santa Cecilia, Rome) and Great Britain, where he received an honorary doctorate of music at the University of Oxford. In 1966 he was awarded the Royal Philharmonic Society’s Gold Medal.
Feb 21, 2024 · Dmitri Shostakovich (1906-1975) was a Russian composer of operas, ballets, concertos, string quartets, and 15 symphonies. Shostakovich was frequently denounced by the repressive Soviet state, but in some periods, he also gained official favour.
- Mark Cartwright
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Learn about the controversial and brilliant Soviet composer who faced political persecution and censorship. Discover his musical style, influences, works and legacy through this comprehensive guide.
Aug 7, 2015 · On 9 August it will be 40 years since the death of Dmitri Shostakovich, one of the most significant musical figures of the 20th Century. Born in St Petersburg in 1906, he studied the piano with...
Dmitri Dmitriyevich Shostakovich ( 25 September [ O.S. 12 September] 1906 – 9 August 1975) was a Soviet-era Russian composer and pianist who became internationally known after the premiere of his First Symphony in 1926 and thereafter was regarded as a major composer. Quick Facts Born, Died ... Close.
Learn about Dmitri Shostakovich, one of the most celebrated composers of the 20th century. Explore his life, works, top pieces and most shared features on Classic FM.
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Albums
Shostakovich: Piano Music
2005
Shostakovich Plays Shostakovich - Vol. 5
1998
Classical Collection Master Series, Vol. 53
2012
Shostakovich: Fantastic Dances Op5; Prelude & Fugue in Dm No24, Op87/24
1997
Shostakovich: Piano Concertos; 3 Fantastic Dances; 5 Preludes & Fugues Op. 87
2003
Dmitri Shostakovich: Piano Quintet; String Quartet No. 2
1994
