Dmitri Shostakovich: Perbedaan antara revisi
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{{Infobox musical artist
|Name = Dmitri Shostakovich
|Img =
|Img_capt = Dmitri Shostakovich l.k. 1942
|Img_size =
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|Notable_instruments =
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[[File:Dmitri Shostakovich credit Deutsche Fotothek adjusted.jpg|thumb|212px]]
'''Dmitri Dmitrievich Shostakovich''' {{Audio|Ru-Dmitri Dmitrievich Shostakovich.ogg|listen}} ([[bahasa Rusia]]: {{lang|ru|Дмитрий Дмитриевич Шостакович}}, ''Dmitrij Dmitrievič Šostakovič'') ({{OldStyleDate|25 September|1906|12 September}}–[[9 Agustus]] [[1975]]) adalah seorang [[komponis]] [[Rusia]] dari masa [[Uni Soviet|Soviet]]. Ia mempunyai hubungan yang kompleks
Setelah melalui tahap modernis pada awalnya, Shostakovich menulis denagn berbagai gaya yang merentang dari neo-klasik (dengan pengaruh Stravinski) hingga pasca-romantik (dengan pengaruh Mahler).
<blockquote>"Di tengah-tengah tekan-tekanan yang saling berlawanan dari tntutan-tuntutan resmi, penderitaan massal saudara-saudara setanahairnya, dan cita-cita ideal
== Kehidupan ==
=== Masa kecil ===
[[Berkas:Shostakovichbirthplaque.JPG|
Shostakovich dilahirkan di 2 Podolskaya Ulitsa di [[Saint Petersburg|St. Petersburg]], [[Rusia]]. Ia adalah anak kedua dari tiga orang anak yang dilahirkan dalam keluarga Dmitri Boleslavovich Shostakovich dan Sofiya Vasilievna Shostakovich. Secara politik keluarganya [[liberalisme|liberal]] (salah seorang pamannya adalah seorang [[Bolshevik]], tetapi di keluarganya juga terdapat sejumlah ekstremis sayap kanan). Dmitri adalah seorang anak yang jenius, baik sebagai seorang [[pianis]] maupun komponis. Bakatnya menjadi kelihatan setelah ia mulai mengambil pelajaran piano pada usia 9 tahun. Pada 1918, ia mengarang sebuah mars pemakaman untuk mengenang dua pemimpin dari [[Partai Demokrat Konstitusional|Partai Kadet]], yang dibunuh oleh para pelaut [[Bolshevik]]. Pada 1919, ia diizinkan masuk ke [[Konservatorium Saint Petersburg|Konservatorium Petrograd]], yang saat itu dipimpin oleh [[Alexander Glazunov]]. Namun, ia menderita karena kurang memiliki semangat politik dan mula-mula gagal dalam ujian metodologi [[Marxisme|Marxisnya]]. Sukses musik pertamanya yang besar adalah [[Simfoni No. 1 (Shostakovich)|Simfoni No. 1]] (pertama kali dimainkan pada [[1926 dalam musik)|1926]]), yang ditulisnya sebagai karya untuk kelulusannya.
Setelah lulus, mulanya ia ingin mengembangkan karier ganda sebagai pianis konser dan komponis, tetapi gaya bermainnya yang kering <!--(Fay comments on his "emotional restraint" and "riveting rhythmic drive")-->
karya-karyanya sendiri. Pada [[1927]], ia mengarang [[Simfoni No. 2(Shostakovich)|Simfoni No.2-nya]]
Tahun 1927 juga menandai awal hubungan sang komponis dengan [[Ivan Sollertinsky]], yang tetap menjadi teman terdekatnya hingga Sollertinsky meninggal dunia pada 1944. Sollertinsky memperkenalkan Shostakovich kepada musik [[Gustav Mahler]], yang mempunyai pengaruh yang kuat kepada musinya mulai [[Simfoni No. 4 (Shostakovich)|Simfoni keempatnya]]. Pada 1932 ia menikah dengan istrinya yang pertama, Nina Varzar. Kesulitan-kesulitan awal menyebabkan mereka menempuh proses perceraian pada 1935, namun keduanya kemudian rujuk kembali. ▼
▲Tahun 1927 juga menandai awal hubungan sang komponis dengan [[Ivan Sollertinsky]], yang tetap menjadi teman terdekatnya hingga Sollertinsky meninggal dunia pada 1944. Sollertinsky memperkenalkan Shostakovich kepada musik [[Gustav Mahler]], yang mempunyai pengaruh yang kuat kepada musinya mulai [[Simfoni No. 4 (Shostakovich)|Simfoni keempatnya]]. Pada 1932 ia menikah dengan istrinya yang pertama, Nina Varzar. Kesulitan-kesulitan awal menyebabkan mereka menempuh proses perceraian pada 1935,
Pada akhir 1920-an dan awal 1930-an ia bekerja di [[Teater Pemuda Buruh|TRAM]], seuah teater pemuda proletar. Meskipun ia tidak banyak bekerja dalam posisi ini, hal ini melindunginya dari serangan ideologis. Banyak dari masa ini dilaluinya dengan mengarang operanya ''[[Lady Macbeth dari Distrik Mtsensk (opera)|Lady Macbeth dari Distrik Mtsensk]]''. Karyanya ini pertama kali dipertunjukan pada [[1934]] dan langsung sukses, baik di tingkat masyarakat umum maupun di tingkat resmi. Opera ini dikatakan sebagai "hasil dari sukses umum dari pembangunan Sosialis, dari kebijakan yang tepat dari Parati" dan bahwa opera seperti ini "hanya dapat ditulis oleh seorang komponis Soviet yang dibesarkan dalam tradisi terbaik dari budaya Soviet."<ref>Dmitrii Shostakovich, Shostakovich: About Himself and His Times, disusun oleh L. Grigoryev dan Ya. Platek, terj. Angus dan Neilian Roxburgh (Moskwa: Progress Publishers, 1981), 33.</ref>
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===Joining the Party===
The year 1960 marked another turning point in Shostakovich's life: his joining of the [[Communist Party of the Soviet Union|Communist Party]]. This event has been interpreted variously as a show of commitment, a mark of cowardice, or as the result of political pressure. On the one hand, the ''apparat'' was undoubtedly less repressive than it had been prior to Stalin's death. On the other, his son recalled that the event reduced Shostakovich to tears,<ref>Allan Ho and Dmitry Feofanov, ''Shostakovich Reconsidered'' p. 390.</ref> and he later told his wife Irina that he had been blackmailed.<ref>Manashir Yakubov, programme notes for the 1998 Shostakovich seasons at the [[Barbican Arts Centre|Barbican]], [[London]]).</ref> Lev Lebedinsky has said that the composer was suicidal.<ref>Wilson p. 340.</ref> Around this time, his health also began to deteriorate.
Shostakovich's musical response to these personal crises was the [[String Quartet No. 8 (Shostakovich)|Eighth String Quartet]], which like the Tenth Symphony incorporates quotations and his musical monogram.
In 1962 he married for the third time, to [[Irina Supinskaya]]. In a letter to his friend Isaak Glikman, he wrote that, "her only defect is that she is 27 years old. In all other respects she is splendid: clever, cheerful, straightforward and very likeable".<ref>Dmitri Shostakovich and Isaak Glikman, ''Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman'' p. 102.</ref> In November Shostakovich made his only venture into [[conducting]], conducting a couple of his own works in [[Nizhny Novgorod|Gorky]]: otherwise he declined to conduct, giving nerves and ill-health as his reasons.
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Shostakovich died of [[lung cancer]] on [[August 9]] [[1975]] and after a civic funeral was interred in the [[Novodevichy Cemetery]], [[Moscow, Russia|Moscow]]. The official obituary did not appear in [[Pravda]] until three days after his death, apparently because the wording had to be approved at the highest level, by [[Brezhnev]] and the rest of the [[Politburo of the CPSU Central Committee|Politburo]].<ref>[http://english.mn.ru/english/issue.php?2005-31-23 Moscow News N49 2005], accessed [[23 December]] [[2005]].</ref> Even before his death he had been commemorated in the naming of the Shostakovich [[Peninsula]] on [[Alexander Island]], [[Antarctica]].
He was survived by his third wife Irina, his daughter Galina, and his son [[Maxim Shostakovich|Maxim]], a pianist and conductor who was the dedicatee and first performer of some of his father's works. Shostakovich himself left behind several recordings of his own piano works, while other noted interpreters of his music include his friends [[Emil Gilels]], [[Mstislav Rostropovich]], [[Tatiana Nikolayeva]], [[Maria Yudina]], [[David Oistrakh]] and members of the [[Beethoven Quartet]].
Shostakovich's musical influence on later composers outside the former Soviet Union has been relatively slight, although [[Alfred Schnittke]] has taken up his eclecticism, and his contrasts between the dynamic and the static, and some of [[André Previn]]'s music shows clear links to Shostakovich's style of orchestration. His influence can also be seen in some Nordic composers, such as [[Kalevi Aho]]<ref>Finnish Music Information Centre, [http://www.fimic.fi/fimic/fimic.nsf/mainframe?readform&7118B64EF463A14FC22566A5003B5FB7 Kalevi Aho in Profile] Accessed [[18 November]] [[2005]].</ref> and [[Lars-Erik Larsson]].<ref>Musicweb International, [http://www.musicweb-international.com/classrev/2003/Aug03/Larsson_concertinos.htm Lars-Erik Larsson] Accessed [[18 November]] [[2005]].</ref> Many of his Russian contemporaries, and his pupils at the [[St. Petersburg Conservatory]], however, were strongly influenced by his style (including [[German Okunev]], [[Boris Tishchenko]], whose 5th Symphony of 1978 is dedicated to Shostakovich's memory, [[Sergei Slonimsky]], and others). Shostakovich's conservative idiom has nonetheless grown increasingly popular with audiences both within and beyond Russia, as the avant-garde has declined in influence and debate about his political views has developed. According to Grove, he has now become "the most popular composer of serious art music of the middle years of the 20th century".<ref>Grove p. 300.</ref>
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Shostakovich's works are broadly [[Tonality|tonal]] and in the [[Romantic music|Romantic]] tradition, but with elements of [[atonality]] and [[Chromatic scale|chromaticism]]. In some of his later works (e.g. the [[String Quartet No. 12 (Shostakovich)|Twelfth]] Quartet), he made use of [[tone row]]s.
His output is dominated by his cycles of [[symphony|symphonies]] and [[string quartet]]s, fifteen of each. The symphonies are distributed fairly evenly throughout his career, while the quartets are concentrated towards the latter part. Among the most popular are the [[Symphony No. 5 (Shostakovich)|Fifth]], [[Symphony No. 7 (Shostakovich)|Seventh]] and [[Symphony No. 10 (Shostakovich)|Tenth]] Symphonies and the [[String Quartet No. 8 (Shostakovich)|Eighth]] and [[String Quartet No. 15 (Shostakovich)|Fifteenth]] Quartets. Other works include the [[opera]]s ''[[Lady Macbeth of the Mtsensk District (opera)|Lady Macbeth of Mtsensk]]'', ''[[The Nose (opera)|The Nose]]'' and the unfinished ''[[The Gamblers]]''; six concertos (two each for [[piano concerto|piano]], [[violin concerto|violin]] and [[cello concerto|cello]]); and a large quantity of [[film music]].
Shostakovich's music shows the influence of many of the composers he most admired: [[Johann Sebastian Bach|Bach]] in his [[fugue]]s and [[passacaglia]]s; [[Ludwig van Beethoven|Beethoven]] in the late [[quartet]]s; [[Gustav Mahler|Mahler]] in the symphonies and [[Alban Berg|Berg]] in his use of musical codes and quotations. Among Russian composers, he particularly admired [[Modest Mussorgsky]], whose [[opera]]s ''[[Boris Godunov (opera)|Boris Godunov]]'' and ''[[Khovanshchina]]'' he [[Orchestration|re-orchestrated]]; Mussorgsky's influence is most prominent in the wintry scenes of ''Lady Macbeth'' and the Eleventh Symphony, as well as in his satirical works such as "Rayok".<ref>Laurel Fay, ''Shostakovich: A Life'' pp. 119, 165, 224.</ref> [[Sergei Prokofiev|Prokofiev]]'s influence is most apparent in the earlier piano works, such as the first sonata and [[Piano Concerto No. 1 (Shostakovich)|first concerto]].<ref>Grove pp. 288, 290.</ref> The influence of Russian church and folk music is very evident in his works for unaccompanied choir of the 1950s.
Shostakovich's relationship with [[Igor Stravinsky|Stravinsky]] was profoundly ambivalent; as he wrote to Glikman, "Stravinsky the composer I worship. Stravinsky the thinker I despise".<ref>Glikman p. 181.</ref> He was particularly enamoured of the [[Symphony of Psalms]], presenting a copy of his own piano version of it to Stravinsky when the latter visited the USSR in 1962. (The meeting of the two composers was not a great success, however; observers commented on Shostakovich's extreme nervousness and Stravinsky's "cruelty" towards him.)<ref>Wilson pp. 375-377.</ref>
Many commentators have noted the disjunction between the experimental works before the 1936 denunciation and the more conservative ones which followed; the composer told Flora Litvinova, "without 'Party guidance'... I would have displayed more brilliance, used more sarcasm, I could have revealed my ideas openly instead of having to resort to camouflage".<ref>Wilson p. 426.</ref> Articles published by Shostakovich in 1934 and 1935 cited [[Alban Berg|Berg]], [[Arnold Schoenberg|Schoenberg]], [[Ernst Krenek|Krenek]], [[Paul Hindemith|Hindemith]], "and especially Stravinsky" among his influences.<ref>Fay p. 88.</ref> Key works of the earlier period are the [[Symphony No. 1 (Shostakovich)|first symphony]], which combined the academicism of the conservatory with his progressive inclinations; ''[[The Nose (opera)|The Nose]]'' ("The most uncompromisingly modernist of all his stage-works"<ref>Grove p. 289.</ref> ''{{Audio|Nose interlude.ogg|listen}}''); ''[[Lady Macbeth of the Mtsensk District (opera)|Lady Macbeth]]'', which precipitated the denunciation; and the [[Symphony No. 4 (Shostakovich)|Fourth Symphony]], described by Grove as "a colossal synthesis of Shostakovich's musical development to date".<ref>Grove p. 290.</ref> The fourth symphony was also the first in which the influence of Mahler came to the fore, prefiguring the route Shostakovich was to take to secure his rehabilitation, while he himself admitted that the preceding two were his least successful.<ref>Glikman p. 315.</ref>
In the years after 1936, Shostakovich's symphonic works were outwardly musically conservative, regardless of any subversive political content. However, during this time he turned increasingly to [[chamber music|chamber]] works, "a field where he could compose with maximum seriousness and minimum external pressure".<ref>Grove p. 294.</ref> While these were also largely tonal, they did give Shostakovich an outlet for the darker content which was not welcomed in his more public works. This is most apparent in the late chamber works, which portray a "world of [[Purgatory|purgatorial]] numbness";<ref>Grove p. 300.</ref> in some of these he included the use of [[tone row]]s, although he treated these as melodic themes rather than [[serialism|serially]]. Vocal works are also a prominent feature of his late output, setting texts often concerned with love, death and art.
One prominent criticism of Shostakovich has been that his symphonic work in particular is, in the words of Shostakovich scholar Gerard McBurney, "derivative, trashy, empty and second-hand". The view has been expressed both by western figures such as [[Pierre Boulez]] ("I think of Shostakovich as the second, or even third pressing of [[Gustav Mahler|Mahler]]") and by Soviet figures such as [[Filip Gershkovich]], who called Shostakovich, "a hack in a trance". A related complaint is that he is vulgar and strident: [[Igor Stravinsky|Stravinsky]] wrote of ''[[Lady Macbeth of the Mtsensk District (opera)|Lady Macbeth]]'' being, "brutally hammering... and monotonous", while the famous [[Pravda]] editorial ''Muddle Instead of Music'' said of the same work, "All is coarse, primitive and vulgar. The music quacks, grunts and growls".<ref>Gerard McBurney, [http://www.geocities.com/kuala_bear/articles/mcburney.html Whose Shostakovich?] Accessed [[18 November]] [[2005]].</ref>
It is certainly true that Shostakovich borrows extensively from the material and styles both of earlier composers and of [[popular music]]; the vulgarity of "low" music is a notable influence on this "greatest of eclectics".<ref>Haas, ''Shostakovich's Eighth: C minor Symphony against the Grain'' p. 125.</ref> McBurney traces this to the [[avant-garde]] artistic circles of the early Soviet period among which Shostakovich moved early in his career, and argues that these borrowings were a deliberate technique to allow him to create, "patterns of contrast, repetition, exaggeration" which gave his music the large-scale structure it required.<ref>Gerard McBurney, op cit.</ref>
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Shostakovich was in many ways an obsessive man: according to his daughter he was "obsessed with cleanliness"<ref>Michael Ardov,''Memories of Shostakovich'' p. 139.</ref>; he synchronised the clocks in his apartment; he regularly sent cards to himself to test how well the postal service was working. Wilson's ''Shostakovich: A Life Remembered'' indexes 26 references to his nervousness. Even as a young man, Mikhail Druskin remembers that the composer was "fragile and nervously agile".<ref>Wilson pp. 41–45.</ref> Yuri Lyubimov comments, "The fact that he was more vulnerable and receptive than other people was no doubt an important feature of his genius".<ref>Wilson p. 183.</ref> In later life, Krzysztof Meyer recalled, "his face was a bag of tics and grimaces".<ref>Wilson p. 462.</ref>
In his lighter moods, sport was one of his main recreations, although he preferred spectating or umpiring to participating (he was a qualified [[football (soccer)|football]] [[referee (football)|referee]]). He also enjoyed playing [[card game]]s, particularly [[Solitaire|Patience]].
Both light and dark sides of his character were evident in his fondness for [[satirical]] writers such as [[Gogol]], [[Anton Chekhov|Chekhov]] and [[Mikhail Zoshchenko]]. The influence of the latter in particular is evident in his letters, which include wry parodies of Soviet [[officialese]]. Zoshchenko himself noted the contradictions in the composer's character: "he is ... frail, fragile, withdrawn, an infinitely direct, pure child... [but he is also] hard, acid, extremely intelligent, strong perhaps, despotic and not altogether good-natured (although cerebrally good-natured)".<ref>Quoted in Fay, p. 121.</ref>
He was diffident by nature: Flora Litvinova has said he was "completely incapable of saying 'No' to anybody".<ref>Wilson p. 162.</ref> This meant he was easily persuaded to sign official statements, including a denunciation of [[Andrei Sakharov]] in 1973; on the other hand he was willing to try to help constituents in his capacities as chairman of the Composers' Union and Deputy to the [[Supreme Soviet]]. Oleg Prokofiev commented that "he tried to help so many people that... less and less attention was paid to his pleas".<ref>Wilson p. 40.</ref>
==Orthodoxy and revisionism==
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 (Shostakovich)|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 (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 [[motif (music)|motif]]s in his work, most notably his signature [[DSCH (Dmitri Shostakovich)|DSCH]] theme. His longtime collaborator [[Yevgeny Mravinsky]] said that "Shostakovich very often explained his intentions with very specific images and connotations".<ref>Wilson p. 139.</ref> 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.
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==References==
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== Bibliografi ==
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== Lihat pula ==
* [[:Kategori:
* [[Daftar komposisi oleh Dmitri Shostakovich]]
== Pranala luar ==
{{Commons|Dmitri Shostakovich}}
* [http://phonoarchive.org/Shostakovich phonoarchive.org/Shostakovich]{{Pranala mati|date=Maret 2021 |bot=InternetArchiveBot |fix-attempted=yes }}, Works of Shostakovich at phonoarchive.org
* ''[http://www.shostakovich.tk Shostakovich.tk] {{Webarchive|url=https://web.archive.org/web/20141218092517/http://shostakovich.tk/ |date=2014-12-18 }}'' Site of Shostakovich(in Spanish)
* [http://www.korschmin.com/forum/?p=29/ About Viola Sonata] {{Webarchive|url=https://web.archive.org/web/20070927222702/http://www.korschmin.com/forum/?p=29%2F |date=2007-09-27 }} "Letter from Leningrad" By: Boris Tishenko a former student of Dmitri Dmitrievich Shostakovich and a head figure of the Composers’ Union in St. Petersburg. Notes and translation by: Sergei V. Korschmin
* [http://www.korschmin.com/gallery/Shostakovich/ D. Shostakovich Photos]{{Pranala mati|date=Maret 2021 |bot=InternetArchiveBot |fix-attempted=yes }}
* [http://www.scribemedia.org/2006/11/07/shostakovich/ Journey of Dmitri Shostakovich] {{Webarchive|url=https://web.archive.org/web/20070103011523/http://www.scribemedia.org/2006/11/07/shostakovich/ |date=2007-01-03 }} An Interview with Filmmaker Helga Landauer''
* [http://shostakovich100anos.iespana.es/index.htm 100 years's special of Dmitri Shostakovich]{{Pranala mati|date=Januari 2021 |bot=InternetArchiveBot |fix-attempted=yes }} download all symphonies in mp3(site in Spanish)''
* [http://www.epitonic.com/artists/dimitrishostakovich.html Epitonic.com: Dimitri Shostakovich] featuring tracks from ''Written With The Heart's Blood''
* [https://web.archive.org/web/20040626120249/http://www.bbc.co.uk/radio3/discoveringmusic/audioarchive.shtml Archive of BBC's "Discovering Music" radio show], featuring Shostakovich's Symphony No. 5, Symphony No. 10, String Quartet No. 8, and Cello Concerto No. 1.
* [http://www.classiccat.net/shostakovich_d/index.htm Classic Cat - Dimitri Shostakovich]: An overview of free downloadable Shostakovich music on the internet by Classic Cat - the free classical music directory.
* [http://www.therestisnoise.com/2004/07/the_case_of_the.html Alex Ross: The Rest is Noise: Free Shostakovich!]: Alex Ross explains why he has changed his views on Testimony, and now accepts Laurel Fay's evidence that it is a forgery.
* [http://www.shostakovich-composer.info Shostakovich Information Repository] {{Webarchive|url=https://web.archive.org/web/20070929151705/http://www.shostakovich-composer.info/ |date=2007-09-29 }}
* [http://www.jmc.co.il/livecon2003/chamber3.html The Aviv String Quartet and Guest] {{Webarchive|url=https://web.archive.org/web/20030731175442/http://jmc.co.il/livecon2003/chamber3.html |date=2003-07-31 }}: String Quartet No. 8 in C minor, op. 110.
* [http://www.panufniktrio.com/sites_eng/mp3_eng.html Trio E-Minor op. 67] {{Webarchive|url=https://web.archive.org/web/20070315203238/http://www.panufniktrio.com/sites_eng/mp3_eng.html |date=2007-03-15 }} - streaming webcast performed by Panufnik Trio
* [http://www.classicalarchives.com/main/s.html#SHOSTAKOVICH Various pieces of him in streaming media by Classical Music Archives]
* [http://www.violinmp3.com/ ViolinMP3.com - Streaming webcasts of Piano Quintet Op.57 and Romances on Verses by Alexander Blok Op.127]
* [http://www.imdb.com/title/tt0096250/ imdb.com entry for 'Testimony']: a film adaptation of the Solomon Volkov book, starring [[Ben Kingsley]] in the lead role of Dimitri Shostakovich
* [http://www.bbc.co.uk/radio3/shostakovich/feature.shtml BBC Presenter Stephen Johnson on Shoshtakovich and Depression] {{Webarchive|url=https://web.archive.org/web/20191203032853/http://www.bbc.co.uk/radio3/shostakovich/feature.shtml |date=2019-12-03 }}
* Shostakovich at his original publisher [http://www.sikorski.de/de/frameloader.html?frame=http%3A//www.sikorski.de/composers/composer17.html Sikorski] {{Webarchive|url=https://web.archive.org/web/20200726224227/https://www.sikorski.de/de/frameloader.html?frame=http%253A%2F%2Fwww.sikorski.de%2Fcomposers%2Fcomposer17.html |date=2020-07-26 }} (German)
* [http://features.classicalmusic.gr/article.php?id=1150 Two Greek Conductors, Alkis Mpaltas and Byron Fidetzis are giving an interview to Paris Konstantinidis for Classicalmusic.gr about D.Shostakovich] {{Webarchive|url=https://web.archive.org/web/20070927031954/http://features.classicalmusic.gr/article.php?id=1150 |date=2007-09-27 }} In Greek
* [http://www.youtube.com/watch?v=zYOpnq6h_Ms Video of the young Shostakovich playing the end of his Piano Concerto No.1]
==
{{Commonscat|Dmitri Shostakovich}}▼
{{reflist}}
{{lifetime|1906|1975|Shostakovich, Dmitri}}▼
{{Authority control}}
▲{{Commonscat|Dmitri Shostakovich}}
▲{{lifetime|1906|1975|}}
[[Kategori:Komponis klasik abad ke-20]]
[[Kategori:Tokoh Rusia Belarus]]▼
[[Kategori:Komponis ilustrasi film]]
[[Kategori:Kematian
[[Kategori:Komponis modernis]]
[[Kategori:Komponis opera]]
Baris 315:
[[Kategori:Penerima penghargaan Picasso]]
[[Kategori:Penerima Medali Emas Royal Philharmonic Society]]
[[Kategori:Pianis klasik Rusia]]
[[Kategori:Komponis Rusia]]
[[Kategori:Komponis ilustrasi film Soviet]]
[[Kategori:Penerima Penghargaan Stalin]]
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