Dmitri Shostakovich Biography

Dmitri Dmitrievich Shostakovich (September 25, 1906 [O.S. September 12]–August 9, 1975) was a Russian composer of the Soviet period. He had a complex 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 remained the most popular Soviet composer of his generation and received a number of accolades and state awards, and served in the Supreme Soviet.

After an initial avant-garde period, Shostakovich wrote primarily in the romantic idiom, drawing heavily on the influence of Mahler. However, he combined this with atonality and occasional tone rows. His music frequently includes sharp contrasts and elements of the grotesque. 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's response to official criticism is disputed. It is clear that outwardly he conformed with the state, reading speeches and putting his name to articles expressing the government line. It is also generally agreed that he disliked the regime, a view confirmed by his family, his letters to Isaak Glikman, and the satirical cantata "Rayok", which ridiculed the "anti-formalist" campaign and was kept hidden until after his death.

What is uncertain is the extent to which Shostakovich expressed his opposition to the state in his music. The revisionist view was put forth by Solomon Volkov in the 1979 book Testimony, which was claimed to be Shostakovich's memoirs dictated to Volkov. The book claimed that many of the composer's works contained coded anti-government messages. It is known that he incorporated many quotations and motifs in his work, most notably his signature DSCH theme. His longtime collaborator Yevgeny Mravinsky said that "Shostakovich very often explained his intentions with very specific images and connotations". The revisionist perspective has subsequently been supported by his children, Maxim and Galina, and many Russian musicians. More recently, Volkov has argued that Shostakovich adopted the role of the yurodivy or holy fool in his relations with the government. Shostakovich's widow Irina supports the general revisionist thesis but denies the authenticity of Testimony. Other prominent revisionists are Ian MacDonald, whose book The New Shostakovich put forward more interpretations of his music, and Elizabeth Wilson, whose Shostakovich: A Life Remembered provides testimony from many of the composer's acquaintances.

Many musicians and scholars (notably Laurel Fay and Richard Taruskin) contest the authenticity (and debate the significance) of Testimony, alleging that Volkov compiled it from a combination of recycled articles, gossip, and possibly some information direct from the composer. More broadly, they argue that the significance of Shostakovich is in his music rather than his life, and that to seek political messages in the music detracts from, rather than enhances, its artistic value.