Summary Dmitry Dmitrievich Shostakovich


The genus. in 1906

Shostakovich is one of the greatest contemporary composers, an outstanding music and public figure, and a teacher. In the work of Shostakovich are represented all genres of musical art – opera and ballet, symphony and concerto, instrumental ensemble and romance, song and oratorio, operetta and music for cinema and theatrical productions. Shostakovich’s music is characterized by high citizenship, the sharpness of conflicts, emotional tension. The tremendous, sometimes tragic contradictions of the modern world, the continuing struggle of the creative and destructive forces of life, the bright humanistic ideals of freedom and justice found in his person a talented interpreter. The musical style of Shostakovich is bright and original. In the rich alloy of various elements, the main place is occupied by the influence of Mussorgsky and Tchaikovsky, and of foreign composers – Mahler,

Dmitri Shostakovich

was born on September 25 (new) in 1906 in St. Petersburg. Rare musical talent manifested itself early; the first compositional experiments belong to the 11-year-old age. Two years later Shostakovich entered the Petrograd Conservatoire, which ends in 1923 as a pianist (class of L. Nikolaev), and in 1925 as a composer (M. Steinberg’s class). The central product of this period is the First Symphony (1926), which until now has been widely performed. In the late 20’s and early 30’s, Shostakovich passes a period of intense, multifaceted search. Opera “Nose” (after Gogol, 1927-1928), ballets “The Golden Age” (1930) and “Bolt” (1931), The Second (“Dedication to October”, 1927) and the Third (“May Day”, 1929) symphonies, music for the dramatic theater and cinema talked about the gravitation of hot topics and ideas, The desire for novelty of the musical language. The most important works of these years are the opera “Lady Macbeth of Mtsensk” (1932, in the second edition of “Katerina Izmailova”, 1956), Concerto for piano, trumpet
and string orchestra (1933), Fourth Symphony (1936).

Since that time the central place in Shostakovich’s work is occupied by a symphony; The fifth (1937), the Seventh, the Leningrad (1941), the Eighth (1943), and the piano trio (1943) are particularly notable for the breadth and significance of the ideological concepts. At the turn of the 40s and 50s, the vocal and vocal symphonic genres, represented by the cycle “From Jewish Folk Poetry” (1948), the oratorio “Song of the Forests” (1949), the Ten poems for the unaccompanied chorus the words of poets-revolutionaries (1951). The largest works of the postwar period – the Tenth (1953), the Eleventh “1905” (1957), the Twelfth (“Lenin”, 1960), the Thirteenth Symphony (for the poems of Evgeny Evtushenko, 1962), violin (1948) and cello (1959) concerts, 24 preludes and fugues for piano (1951),

Heading the class composition in the Leningrad (1937-1941) and Moscow (1943-1948) Conservatory, Shostakovich raised a number of talented Soviet composers.

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Summary Dmitry Dmitrievich Shostakovich