Dmitri Dmitriyevich Shostakovich (1906–1975) was a Soviet composer and pianist, and a prominent figure of 20th-century music. His style evolved from the brash humor and experimental character of his early works to the stark tragedy of his later compositions, encapsulating the artist’s own experiences and serving as a reflection of the hardships, struggles, and spirit of his era.
Early life
Shostakovich was born on September 25, 1906, in Saint Petersburg, Russia, into a family of moderate income. His parents were both amateur musicians; his father, Dmitri Boleslavovich Shostakovich, worked as an engineer and his mother, Sofiya Vasilievna Kokoulina, was a pianist.
Shostakovich’s interest in music began at an early age. His mother taught him to play the piano when he was nine years old, and he demonstrated an exceptional talent for it. At the age of thirteen, he entered the Petrograd Conservatory (later renamed the Leningrad Conservatory), where he studied composition under Maximilian Steinberg and piano with Leonid Nikolayev.
Early career
Shostakovich’s first major musical achievement came in 1926 with the Symphony No. 1, which he composed as his graduation piece. The work was acclaimed for its innovative and original approach, mixing elements of the symphonic tradition with a fresh, youthful perspective. It brought him immediate fame both domestically and internationally.
Throughout the 1920s and 1930s, Shostakovich embraced the revolutionary spirit of the times, producing music that pushed boundaries and explored new artistic expressions. Among his notable works from this period are the operas “The Nose” (1930), based on the satirical story by Nikolai Gogol, and “Lady Macbeth of the Mtsensk District” (1934), which presented a tragic, disturbing portrayal of a lonely woman in 19th century Russia.
Confrontation with the Soviet Regime
In 1936, the composer’s career took a dramatic turn when Soviet leader Joseph Stalin attended a performance of “Lady Macbeth of the Mtsensk District.” The opera, which had been well-received by critics, was denounced in Pravda, the official Communist Party newspaper, shortly after Stalin saw it. The article condemned the opera as formalist, coarse, vulgar, and alien to the Soviet people.
This marked the beginning of Shostakovich’s complex and fraught relationship with the Soviet government, which would continue to influence his life and work for many years. His music was effectively blacklisted, and he was dismissed from his teaching positions.
Facing potential exile or worse, Shostakovich rebounded with his Symphony No. 5 in 1937, subtitled “A Soviet Artist’s Reply to Just Criticism”. This work, with its more traditional and accessible style, was seen as the composer’s public penance and was acclaimed by both critics and the public. The symphony saved Shostakovich’s career and is still considered one of his greatest works.
World War II and later years
World War II was a profoundly influential period in Shostakovich’s life. His Symphony No. 7, known as the “Leningrad Symphony”, composed during the Siege of Leningrad, became a symbol of Russian resistance to Nazi invasion. It was performed in Leningrad during the siege itself, broadcast to the German lines as a sign of Soviet defiance.
After the war, Shostakovich faced another wave of official denunciations and was again forced to adapt his style. Despite the challenges, he continued to produce a vast range of work, including film scores, concertos, chamber music, and songs. Among his notable later works are the Symphony No. 8 (1943), considered one of his most powerful war symphonies; the String Quartet No. 8 (1960), a deeply personal work reflecting on war and his own life; and Symphony No. 13 “Babi Yar” (1962), a powerful commentary on the Holocaust and antisemitism in the Soviet Union.
Throughout the 1960s and early 1970s, Shostakovich’s health deteriorated, but he remained musically active. He composed his last symphony, the Symphony No. 15, in 1971, embedding it with a multitude of musical quotations and personal reflections.
Personal life & legacy
Shostakovich was married three times. His first wife was Nina Varzar until her death in 1954. They had two children: Galina, born in 1936, and Maxim, born in 1938, who became a successful conductor and pianist. He later married Margarita Kainova, who died in 1959, and then married Irina Antonovna Supinskaya.
Dmitri Shostakovich died on August 9, 1975. He is remembered as one of the most significant composers of the 20th century, with a body of work that is both deeply personal and reflective of the turbulent times in which he lived.
His music remains widely performed and studied, offering insight not only into his own experiences and emotions but also into the complexities of life and art under the Soviet regime. His life and career continue to be the subject of intense scrutiny and debate, reflecting the deep and enduring impact of his music.
Dmitri Shostakovich (1906 – 1975)
Dmitri Dmitriyevich Shostakovich (1906–1975) was a Soviet composer and pianist, and a prominent figure of 20th-century music. His style evolved from the brash humor and experimental character of his early works to the stark tragedy of his later compositions, encapsulating the artist’s own experiences and serving as a reflection of the hardships, struggles, and spirit of his era.
Early life
Shostakovich was born on September 25, 1906, in Saint Petersburg, Russia, into a family of moderate income. His parents were both amateur musicians; his father, Dmitri Boleslavovich Shostakovich, worked as an engineer and his mother, Sofiya Vasilievna Kokoulina, was a pianist.
Shostakovich’s interest in music began at an early age. His mother taught him to play the piano when he was nine years old, and he demonstrated an exceptional talent for it. At the age of thirteen, he entered the Petrograd Conservatory (later renamed the Leningrad Conservatory), where he studied composition under Maximilian Steinberg and piano with Leonid Nikolayev.
Early career
Shostakovich’s first major musical achievement came in 1926 with the Symphony No. 1, which he composed as his graduation piece. The work was acclaimed for its innovative and original approach, mixing elements of the symphonic tradition with a fresh, youthful perspective. It brought him immediate fame both domestically and internationally.
Throughout the 1920s and 1930s, Shostakovich embraced the revolutionary spirit of the times, producing music that pushed boundaries and explored new artistic expressions. Among his notable works from this period are the operas “The Nose” (1930), based on the satirical story by Nikolai Gogol, and “Lady Macbeth of the Mtsensk District” (1934), which presented a tragic, disturbing portrayal of a lonely woman in 19th century Russia.
Confrontation with the Soviet Regime
In 1936, the composer’s career took a dramatic turn when Soviet leader Joseph Stalin attended a performance of “Lady Macbeth of the Mtsensk District.” The opera, which had been well-received by critics, was denounced in Pravda, the official Communist Party newspaper, shortly after Stalin saw it. The article condemned the opera as formalist, coarse, vulgar, and alien to the Soviet people.
This marked the beginning of Shostakovich’s complex and fraught relationship with the Soviet government, which would continue to influence his life and work for many years. His music was effectively blacklisted, and he was dismissed from his teaching positions.
Facing potential exile or worse, Shostakovich rebounded with his Symphony No. 5 in 1937, subtitled “A Soviet Artist’s Reply to Just Criticism”. This work, with its more traditional and accessible style, was seen as the composer’s public penance and was acclaimed by both critics and the public. The symphony saved Shostakovich’s career and is still considered one of his greatest works.
World War II and later years
World War II was a profoundly influential period in Shostakovich’s life. His Symphony No. 7, known as the “Leningrad Symphony”, composed during the Siege of Leningrad, became a symbol of Russian resistance to Nazi invasion. It was performed in Leningrad during the siege itself, broadcast to the German lines as a sign of Soviet defiance.
After the war, Shostakovich faced another wave of official denunciations and was again forced to adapt his style. Despite the challenges, he continued to produce a vast range of work, including film scores, concertos, chamber music, and songs. Among his notable later works are the Symphony No. 8 (1943), considered one of his most powerful war symphonies; the String Quartet No. 8 (1960), a deeply personal work reflecting on war and his own life; and Symphony No. 13 “Babi Yar” (1962), a powerful commentary on the Holocaust and antisemitism in the Soviet Union.
Throughout the 1960s and early 1970s, Shostakovich’s health deteriorated, but he remained musically active. He composed his last symphony, the Symphony No. 15, in 1971, embedding it with a multitude of musical quotations and personal reflections.
Personal life & legacy
Shostakovich was married three times. His first wife was Nina Varzar until her death in 1954. They had two children: Galina, born in 1936, and Maxim, born in 1938, who became a successful conductor and pianist. He later married Margarita Kainova, who died in 1959, and then married Irina Antonovna Supinskaya.
Dmitri Shostakovich died on August 9, 1975. He is remembered as one of the most significant composers of the 20th century, with a body of work that is both deeply personal and reflective of the turbulent times in which he lived.
His music remains widely performed and studied, offering insight not only into his own experiences and emotions but also into the complexities of life and art under the Soviet regime. His life and career continue to be the subject of intense scrutiny and debate, reflecting the deep and enduring impact of his music.
Discography
TRPTK nine-year anniversary sampler
Various Artists
Innermost
Dmitry Ferschtman
Mila Baslawskaja
Sonatas
Alexander Warenberg
Giuseppe Guarrera