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Stars | / Celebrities "Composers" Dmitry Dmitrievich Shostakovich
Biography of Dmitry Dmitrievich Shostakovich
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Biography of Dmitry Dmitrievich Shostakovich
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Biography, life story of Dmitry Dmitrievich Shostakovich
Dmitry Dmitrievich Shostakovich [September 12 (25), 1906, Saint Petersburg — August 9, 1975, Moscow], Russian Soviet composer, People's Artist of the USSR (1954), Doctor of Art History, Hero of Socialist Labor (1966), Lenin Prize (1958), State Prize of the USSR (1941, 1942, 1946, 1950, 1952, 1968), The State Prize of the RSFSR (1974), the International Peace Prize (1954), the Sibelius Prize, an honorary member of academies and a doctor of universities in many countries of the world.
In 15 symphonies (1925-1971), a piano trio (1944), a number of string quartets and other compositions, the complex spiritual world of the humanist artist of the 20th century is embodied by modern means of instrumental music: the protest of the individual against tyranny, the experience of the inevitability of death, enlightened lyrics.
Opera "The Nose" (1928), "Katerina Izmailova" (2nd edition, 1956), ballet "The Golden Age" (1930), "Bolt" (1931), operetta "Moscow, Cheryomushki" (1959), vocal and symphonic poem "The Execution of Stepan Razin" (1964), 10 poems for unaccompanied choir on poems by Russian poets (1951), chamber works (15 string quartets, piano quintet, 24 preludes and fugues for piano), music for plays, movies.
Professor of the Leningrad (since 1939), Moscow (since 1943) conservatories.
Childhood
Shostakovich was the middle of three children in the family.
The family held liberal political views.
His older sister, Maria (1903-1973), later became a pianist, the younger, Zoya (1908-1990), a veterinarian.
Shostakovich began composing at the age of 9.
In 1915, Shostakovich entered the Commercial Gymnasium of Maria Shidlovskaya, and his first serious musical impressions belong to this time: after attending the performance of the opera by N. A. Rimsky Korsakov "The Tale of Tsar Saltan", the young Shostakovich declared his desire to seriously study music.
His first piano lessons were given to him by his mother, and after several months of classes, Shostakovich was able to start studying at a private music school of the then famous piano teacher I. A. Glyasser.
CONTINUE BELOW
While studying with Glasser, Shostakovich achieved some success in piano performance, but he did not share his student's interest in composition, and in 1918 Shostakovich left his school.
In the summer of the following year, the young musician was listened to by A. K. Glazunov, who spoke approvingly about his compositional talent.
In the autumn of the same year, Shostakovich entered the Petrograd Conservatory, where he studied harmony and orchestration under the direction of M. O. Steinberg, counterpoint and fugue under N. A. Sokolov, while also conducting.
At the end of 1919, Shostakovich wrote his first major orchestral work — the Scherzo fis moll.
The following year, Shostakovich entered the piano class of L. V. Nikolaev, where among his classmates were M. V. Yudina and V. V. Sofronitsky.
During this period, the "Anna Vogt Circle" was formed, focusing on the latest trends in Western music of that time.
Shostakovich also becomes an active participant in this circle, he gets acquainted with composers B. V. Asafyev and V. V. Shcherbachev, conductor N. A. Malko.
Shostakovich writes "Two fables of Krylov" for mezzo soprano and piano and "Three Fantastic Dances" for piano.
In 1923, he graduated from the Petrograd Conservatory with a piano class and in 1925 with a composition class.
Early period of creativity
Shostakovich's early works - "Fantastic Dances" and other pieces for piano, scherzo for orchestra, "Two Fables of Krylov" for voice and orchestra, etc. are marked by the influence of the school of N. A. Rimsky Korsakov.
The first truly original work of Shostakovich was his thesis — Symphony No. 1; after its premiere (Leningrad, 1926), critics began talking about Shostakovich as an artist who could fill the void that had formed in Russian music as a result of the emigration of S. V. Rachmaninov, I. F. Stravinsky, S. S. Prokofiev.
Already in this youthful score, Shostakovich's tendency to irony and sarcasm, to sudden, dramatically saturated contrasts, to the extensive use of symbol motifs, often subjected to radical figurative and semantic transformation, was manifested.
In the same 1926, Shostakovich's work marked a shift from the relatively traditional language of the symphony to bold stylistic experiments, which the official ideology simply did not reach yet.
In the works of Shostakovich of 1926-31, many discoveries of the Western European musical avant garde of the 1950s and 60s are anticipated.
(sonorica, micropolyphony, pointillism, automatic writing, etc.).
In symphonies No. 2 ("October" with chorus, 1927) and No. 3 ("May Day" with chorus, 1929), the extremely radical musical language at that time is put at the service of propaganda tasks.
The peak of early Shostakovich is the opera "The Nose" (based on the novel of the same name by Nikolai Gogol), written in 1928 and staged in Leningrad in 1930.
Among the sources that influenced the concept of the " Nose "are the play" The Inspector "staged by V. E. Meyerhold (1926), A. Berg's opera" Wozzek "(staged in Leningrad in 1927), as well as, perhaps, the art of Shostakovich's peers — the writers of the Leningrad OBERIU group, who laid the foundations of the" literature of the absurd " of the 20th century.
During the same period, Shostakovich created sonata No. 1 (1926) and the cycle "Aphorisms" (1927) for piano, the ballets "The Golden Age" (1930) and "Bolt" (1931), as well as a number of extravagant scores for theater and cinema.
Among his early works, the romantically refined vocal cycle "Six Romances to the words of Japanese Poets" (1928-32) stands apart.
In 1928, Shostakovich worked as the head of the musical part of the Theater.
Meyerhold (Moscow), in 1930-33 head of the musical part of the Leningrad Theater of Working Youth.
In 1927, he took part in the 1st International Piano Competition named after Chopin in Warsaw, where he was awarded an honorary diploma.
From "Lady Macbeth of the Mtsensk District" to Symphony No. 5
In 1932, Shostakovich completed work on the score of his second opera, Lady Macbeth of the Mtsensk District.
The plot of the novel of the same name by N. S. Leskov was reinterpreted by Shostakovich as a drama of an outstanding female nature in the conditions of an unfair social structure.
The author himself called his opera "a tragedy of satire".
In her musical language, the grotesque in the spirit of "Nose" is combined with elements of Russian romance and a long song.
In 1934, the opera was staged in Leningrad and Moscow, under the name "Katerina Izmailova"; then a number of premieres followed in theaters in North America and Europe.
At first, Soviet critics almost unanimously assessed Shostakovich's new opera as a remarkable victory of the Soviet musical theater.
Among the works written during 1932-35, there are 24 preludes for piano, Concerto No. 1 for piano and orchestra, sonata for cello and piano, as well as music for the film "Counter" with the famous "Song about Counter" (in 1945, its melody briefly became the UN anthem).
In 1935-36, Shostakovich worked on the monumental symphony No. 4, in which the influence of the symphonism of Mahler, one of his most beloved composers (along with Bach, Beethoven and Mussorgsky) is especially noticeable.
Meanwhile, clouds were gathering over Shostakovich.
In January 1936, the performance "Katerina Izmailova" was visited by Stalin.
The opera shocked the dictator, whose taste was brought up on popular classics and primitive pseudo folk crafts; his reaction was expressed in the editorial "Confusion instead of music", published in Pravda and for many years determined the ways of development of Soviet music.
A few days later, Pravda published another editorial on the musical theme - "Ballet Falsity"; this time Shostakovich's ballet "The Bright Stream" (1935)was subjected to scathing criticism After the articles of Pravda, most of Shostakovich's works written before 1936 practically disappeared from the cultural life of the country.
The composer was forced to cancel the premiere of Symphony No. 4 scheduled for the autumn of 1936 (it was first performed in 1961).
"Katerina Izmailova" was "rehabilitated" at home only in 1962.
The compositions of the 1920s (with the exception of Symphony No. 1 and some miniatures) were not performed in the USSR until the mid 1960s, and the "Nose" was resumed only in 1974.
From 1937 to 1953
The years between 1937 and 1941 turned out to be relatively cloudless for Shostakovich, which affected the emotional structure of the scores of this period (string quartet No. 1, symphony No. 6, quintet for piano and strings).
Shostakovich responded to the fascist invasion with Symphony No. 7 (1941), dedicated to the city of Leningrad and received worldwide recognition as a symbol of the fight against fascism.
The tragic experiences associated with the war and hopes for post war renewal were reflected in the most significant works of 1942-44: piano sonata No. 2, symphony No. 8, piano trio, string quartet No. 2; the monumental string quartet No. 3 (1946) is perceived as a generalizing reflection on the past war.
On the other hand, in Symphony No. 9 (summer autumn 1945), the mood of a kind of "black humor"prevails.
The symphony caused the displeasure of official critics, who expected a more optimistic response from the composer to the end of the war.
From that moment on, the clouds over Shostakovich began to thicken again.
In February 1948, the Resolution of the Central Committee of the CPSU(b) was published on V. I. Muradeli's opera "The Great Friendship", in which the music of the largest Soviet composers — including Prokofiev, Shostakovich, Khachaturian — was declared "formalistic" and "alien to the Soviet people".
The new wave of attacks on Shostakovich in the press significantly surpassed the one that rose in 1936 Forced to submit to the dictate, Shostakovich, "realizing his mistakes," made an oratorio " The Song of the Forests "(1949), the cantata" The Sun Shines on our Motherland " (1952), music for a number of films of historical and military patriotic content, etc., which partially eased his situation.
In parallel, works of higher artistic merit were composed — concerto No. 1 for violin and orchestra, the vocal cycle " From Jewish Folk Poetry "(both 1948), string quartets No. 4 and No. 5 (1949, 1952), the cycle" 24 preludes and Fugues " for piano (1951); with the exception of the latter, all of them were performed only after Stalin's death.
The era of the "thaw" in Soviet music symbolically opened with Shostakovich's Symphony No. 10 (1953) — a deeply intimate confession of the artist who defended his "I" in a desperate, almost hopeless opposition to Stalinism.
After her, a crisis came in Shostakovich's work, which lasted for several years.
Even his best works of the mid 1950s — "Festive Overture" for orchestra (1954), music for the film "Gadfly" with the famous "Romance" (1955), string quartet No. 6 (1956) — are written in a light style.
Shostakovich's work of the last twenty years of his life is heterogeneous and ambiguous
And although the symphony No. 11 "1905" created in 1957 (Lenin Prize, 1958), symphony No. 12 "1917" dedicated to the memory of Lenin (1961), the symphonic poem "October" (1967), the cycle of choral ballads "Fidelity" (1970) are somewhat opportunistic, yet in these works Shostakovich managed to remain Shostakovich.
And in the works based on the poems of E. A. Yevtushenko — symphony No. 13 for bass and male choir and orchestra (1962) and the vocal symphonic poem "The Execution of Stepan Razin" (1964) — there were obvious features of free thinking.
But the true scale of the late Shostakovich is manifested primarily in an amazing series of autobiographical scores, each of which is an experience of saying goodbye to a life that has been lived, exhausted itself.
This series of mournful "auto epitaphs" consists of string quartet No. 8 (1960), symphony No. 14 for soprano, bass and chamber orchestra based on poems by Apollinaire, Rilke, Kuchelbecker and other poets (1969), symphony No. 15 (1971), string quartet No. 15 (1974), suite to the words of Michelangelo for bass and piano or orchestra (1974-75), sonata for viola and piano (1975, the last composition Shostakovich).
In all these works, motifs and symbols are widely used, the function of which sometimes includes quotations from earlier scores of the composer himself or from the music of other authors.
Despair, protest, and tragic detachment determine the emotional climate of string quartets No. 7 (1960) and No. 9-14 (1964-73), sonatas for violin and piano (1968), vocal cycles based on poems by A. A. Blok (1967) and M. I. Tsvetaeva(1973), concertos for cello and orchestra (1959, 1966), concerto No. 2 for violin and orchestra (1967).
At the same time, a number of works of a humorous nature were written ("Satires" on the poems of Sasha Cherny, 1960, 5 romances on words from the magazine "Crocodile", 1965, "4 poems of Captain Lebyadkin" on words from the novel "Demons" by F. M. Dostoevsky, 1974).
In the last few years of his life, the composer was very ill, suffering from lung cancer.
Dmitry Shostakovich died in Moscow on August 9, 1975 and was buried at the Novodevichy Cemetery in the capital (plot No. 2).
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Gena (Pervomaisk)
2015-04-11 06:39:21
Anna
It's good
2013-05-16 21:12:02
Valentina Kokorina
About 15 years ago I listened to the fifth concert (?)
Shostakovich performed by the RNO under the direction of V. Spivakov.
The impression is amazing.
Purity in its highest manifestation.
For me, at least.
And the visual association is a field of small white flowers.
On "Culture" I listened to the 10th Symphony performed by the orchestra of the St. Petersburg Philharmonic under the baton of Yuri Temirkanov.
I was shocked by the author's story about the scale of the universe.
First there was a story about the vain earthly life.
Then they flew out into the expanses of the starry worlds.
2013-05-16 11:58:34
Natalia (Ekaterinburg)
I love Shostakovich's symphonies, every single one, also the cello concerto is especially impressive, his music always awakens a fighting mood in me, I like the woodwind parts in all his symphonies, I am a bassoonist and it is always a pleasure for me to play solos in his works, especially in the ninth!
2013-04-12 21:14:22
Elena (Moscow)
I am proud that I turned out to be a contemporary of Shostakovich.
I may not know much about classical music (I donot have enough knowledge to understand "difficult" music), but the feelings caused when listening to his music written for films cannot be described in words, only emotions.
He's not a star, he's a galaxy.
2012-12-27 17:28:50
Arkady (Moscow)
His name and creativity are eternal!
The names of his persecutors are in the garbage of the history of Russia.
2012-12-15 15:42:35
Alexander
A legendary man!!!...
I love his "Prelude 5".
2012-12-08 15:34:40
Julia
I am proud that there are such great people in our history!
I love his "Leningrad Symphony".
2012-10-18 19:06:54
Alexander
An outstanding composer.
2012-06-10 18:21:27
valik
You can love him, you can not understand him, but Shostakovich is the face of Russia.
2011-07-12 07:32:26
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