Works Cited

Alto Saxophone. N.d. Colour Box. Web. 2 Feb. 2014.

<http://www.colourbox.com/preview/1478928-592427-alto-sax-against-white-

background.jpg>. The alto saxophone is one of the prime instruments used in

Shostakovich's symphonies, and it is featured in Waltz No.2 as the lead voice. The alto's

bright and melodious tone really puts a contrast to the dark tone of the cello and string

bass. I purposely picked a YAS-62, which is an earlier sax that Shostakovich probably

used to designate to his soloist. The picture also stands for our own interpretation as we

purposely found a YAS- 62 to record our piece with the same selmer mouthpiece used in

order to replicate the tone as close as possible. This is the main reason why we included

the alto sax.

Ashkenazy, Vladimir. Interview by John Stratford and John Riley. Oct. 1991. This interview is a

personal account of Shostakovich's character and personality that only a close friend

would be able to decipher. This interview may be our most valuable primary source

because it allows us to decipher the facts about Shostakovich that were written in books

and his actual character. History is often distorted and tampered with to suit the person in

power, and by taking a non- objective personal account of him, we can truly decipher the

parts of his character that played a part in his music. The interview also granted an insight

into the music writing process, and how certain chords were inserted to counterbalance

the minor dissonance and the hopeful chords. Overall, this source was extremely helpful.

Belyakov, Vladmir, and Weider History Group. "COMPOSED UNDER ENEMY FIRE,

DMITRI SHOSTAKOVICH'S `SEVENTH SYMPHONY' IS A MUSICAL PORTRAIT

OF RUSSIA AT WAR." World War II Feb. 1998: n. pag. Academic Research Center.

Web. 1 Dec. 2013. <http://search.ebscohost.com/login.aspx?

direct=true&db=ulh&AN=565029&site=ehost-live>. This source dictates the effect of

the historical events of Leningrad and how that served as an impediment and sometimes

as an inspiration for his musical works. The biggest theme of this source is that

Shostakovich stuck to his craft, regardless of the amount of violence happening right

outside of his door. He knew he had the responsibility to show his musical talent to the

world, and he stuck to his craft even though he wanted to serve at the front line, with the

rest of his comrades. He adapted his music so it could serve as an inspiration for soldiers

at war, using instruments like the cello and violin which were easily transported. This

article, overall, showed his inspirations for his pieces and how his musical efforts may

have been as valuable as him actually fighting on the front line.

Bettmann/Corbis. Shostakovich at Work. N.d. The Guardian. Web. 2 Feb. 2014.

<http://www.theguardian.com/music/2013/oct/06/bernard-haitink-shostakovich-london-

interview>. This source begins with an interview with the conductor of the Royal

Concertgebouw Orchestra of Amsterdam in Moscow. He conducted Shostakovich's 4th

and 15th Symphony, at a venue which Shostakovich was able to come to. Shostakovich

greatly praised him, saying he was moved by the conductor's innate interpretation of his

symphony. This lead us to believe that Shostakovich had written his symphonies to be

extremely versatile.It helped us develop the connection to history and how his music was

meant to cheer up, mourn, and organize.The rest of the source is a detailed biography on

his interactions with Soviet Union Leaders and his inspirations on his further symphonies

in chronological order.

Boitz, Michael. E-mail interview. 1 Feb. 2014. This interview was conducted over email with

our high school music director. This source may be the most valuable of our primary

sources because a lot of the information and techniques he used to deal with

Shostakovich are things we have noticed when he conducts us. Our director talked about

the mood of the piece and how he reacted to it. On top of this, our director had to do a

huge research project in college on Shostakovich's Symphony No.5. This incredibly

helped us in our musical analysis because we were able to refine our own musical

analysis and take an expert's opinion on it. Also, he related the tonality of the piece to

common pieces and showed us some basic elements of music theory that once again

contributed to our work. Overall, this interview is our most valuable primary source.

"Classical Net - Basic Repertoire List - Shostakovich." N.d. Classical Net. Web. 1 Dec. 2013.

<http://www.classical.net/music/comp.lst/shostakovich.php>. This source is an extremely

comprehensive biography of Shostakovich's life, focuses mostly on his political leanings

and interactions. It provides a pretty interesting early life summary of Shostakovich and

his father and mother's effects on Shostakovich is evident. It then talks about how

Shostakovich may not be the grand, avant-garde composer everyone takes him to be.

Even though his music was embedded with chords and triads that went against Stalin, it

was all buried under Communist approved music. It then goes on to discuss his most

famous opera "The Lady of Macbeth". There was a lot of substantive analysis about the

opera which could be used to relate to his symphonies. Overall, this source was

extremely helpful.

"Dmitri Shostakovich." Columbia Electronic Encyclopedia. 6th ed. N.p.: n.p., 2013. N. pag.

Print. This source provided invaluable insight on the musical intentions of his complex

and intriguing works. The source heavily discusses the insinuation present in certain

chords and reveals how Shostakovich was able to manipulate certain melodies and

pitches in order to invoke a nationalistic feeling from the audience. We utilized this

information in order to dissect Dmitri Shostakovich's numerous symphonies and truly

understand the hidden insinuations hidden beneath them, aiding us in comprehending the

purpose of his symphonies to as deep a level as possible.

Dmitri Shostakovich. 20 July 1942. Times Magazine. Web. 11 Feb. 2014.

<http://content.time.com/time/covers/0,16641,19420720,00.html>. This source is a

picture of Shostakovich covering the July 20, 1942 edition of Time Music. The picture

stood out to us ,firstly, because of his headwear. He is wearing Soviet Union headwear,

which is extremely ironic considering that his music was considered to be anti-

Communist. Through this picture, it was derived that he may have been the most clever

composer out there. To the public and for a majority of his pieces, he composed highly

communistic tunes. However, every 20 or 30 measures he put in a chord or a rhythm that

Stalin heavily opposed. Also, the background is of Russia in flames, and I feel this

contradicting image was doing him the best. He wasn't being condemned by the

Communist Party nor by the public by appropriately mixing his compositions. Overall,

this source really taught us a lot about the contradicting image of Shostakovich.

"Dmitri Shostakovich | Explore the Arts." The Kennedy Center. The John F. Kennedy Center for

the Performing Arts, n.d. Web. 1 Dec. 2013.

<http://www.kennedy-center.org/explorer/artists/?entity_id=3497&source_type=C>. This

source is yet another biography of Shostakovich's life, but focusing more on the general

overviews. It progressed through 5 -10 year jumps of Shostakovich's life. This source

was extremely helpful, in that it allowed us to almost zoom out from all the specific

details and get an overall image. The biography was pretty objective, as it is focused on a

cause and effect relationship between a Russian diplomatic leader and the influences on

his music. The biographer also delves into his romantic life and some of the events of his

life that added to emotional tonality of the piece. Overall, this source was a good

overview of his life.

[1/5] Shostakovich Symphony NO.5 (1st: Moderato). Youtube. N.p., 19 Aug. 2010. Web. 2 Feb.

2014. <http://www.youtube.com/watch?v=fpU86ZdfUwo>. This source is a Youtube

Clip of the first movement of Shostakovich's 5th Symphony performed by the KBS

Symphony Orchestra. We sifted through many interpretations of the movement before we

picked this interpretation. This interpretation was extremely clear and concise,and no

rhythms were muddled or hard to hear. Also the conductor was extremely clear in his

conducting pattern so it was easy to detail the count structures and relate it to specific

rhythms in the piece. Also, the orchestra was much more cello and string bass powered

which was more beneficial because Shostakovich focuses on low string melodies and

counter-melodies in this particular symphony. Overall, this interpretation served as a

strong tool for our musical interpretation and was extremely helpful, in general.

"Great Performances: Dmitry Shostakovich." Great Performances. PBS. Fresno, California.

Television. This source was essential in attaining reliable interpretation on the

insinuations woven into Shostakovich's works. By making use of the analysis of experts

and their opinions on the works of Shostakovich, we were able to supplement our own

interpretations and ensure our ideas were as accurate as possible and truly reflected the

intentions of Dmitri Shostakovich. In addition, the program discussed at length the

political background surrounding the major symphonies that Shostakovich produced, and

we used this in order to be sure that our explications about the triggers of his works were

as true as possible. It essentially provided first hand analysis surrounding Shostakovich's

life and works and was imperative in creating accurate and deep insight on the topic.

Gulag. Balkan Studies. N.p., n.d. Web. 18 Feb. 2014.

<http://www.balkanstudies.org/blog/burden-soviet-past/>. The effective words of the

bleek, dark, and mere images spoke through our report, especially in the historical

emphasis of Stalin’s suppressive reign. Pictures capture ideas that can’t be expressed in

words, and the prisons and imprisonment camps featured the imminent threats of Stalin’s

wrath to anyone who opposed him. Not only did Stalin spread his wrath to Dmitri

Shostakovich, but to any maverick who challenged his rule. Eastern Europe in the mid-

twentieth century explores and symbolizes the figure of the imprisonment camps and

destruction of souls and rights of its prisoners. These camps destroyed Russian culture,

tradition, and hope beyond measure.

Gulag. Gulag History. N.p., n.d. Web. 18 Feb. 2014.

<http://gulaghistory.org/nps/onlineexhibit/stalin/work.php>. This image of workers being

subject to arduous labor in one of Stalin's gulag camps is representative of the overall

oppression and totalitarian nature of the government he ran. We used this photograph to

strengthen the notion that Stalin truly had complete control over the lives of every citizen

in the Soviet Union, Shostakovich included. By supplementing this premise we were able

to emphasize the hopelessness of Shostakovich's situation and highlight the incredible

courage it took for this man to come out and openly defy Stalin's regime through his

symphonies and defiantly stand his ground against all the opposition thrown against him.

Hammer and Sickle. N.d. Aquiziam. Web. 2 Feb. 2014.

<http://www.aquiziam.com/pictures/symbol-hammer-sickle.jpg>. The image of a

hammer and sickle is the symbol associated with communism, and as this is the kind of

government that suppressed Shostakovich, it seemed fitting that it was included. They

embody the oppressive regime that strove to suppress Shostakovich's right to musical

expression, and also the suppression of every Russian citizen's natural rights. From the

widespread purges to the restructuring of the nations economy that resulted in a

disastrous famine, Stalin's communist regime held constant authority over every aspect of

its citizens' lives, and is a symbol that could simply not be excluded in a portrayal of

Dmitri Shostakovich's plight for expression in Soviet Russia.

Hugo Chavez Arrives. Ushanka. N.p., n.d. Web. 18 Feb. 2014.

<http://blog.ushanka.us/2011/08/commie-chavez-hat.html>. This image contains the soul,

the premise, and the living reign of Stalin’s propaganda. With Venezuela’s Hugo Chavez

visiting the grand city Moscow, the president is greeted with fatherly portraits and godly

images of Joseph Stalin. The image supplemental contributes the image sought out by

Joseph Stalin for preventing foreign inclusion and intervention in his oppression of the

arts and civil rights in Russia. The portraits, eminent in the welcoming of Chavez,

demonstrate the extreme nature at which Stalin used to spread his hands and influence

across Russia. The fatherly figures and Father Russia allusions dream and concoct the

diaphanous and false illusion of Stalin’s regime.

Jackson, Stephen. Classic FM Lifelines: Dmitri Shostakovich. London: Pavilion, 1997. Print.

Classic FM lifelines. This book provided us with essential information regarding the

specifics of Shostakovich's symphonies and the triggers and consequences associated

with them. There was imperative insight about what actions by the Soviet government

resulted in Shostakovich deciding to begin developing his iconoclastic works, and what

events in his personal life led him to create certain symphonies. Additionally, the source

discusses at length the repercussions that Shostakovich faced for a great deal of his

operas and symphonies, and the threats that the government threw at him as a result. The

simple prose that Jackson utilizes allows us to determine the background to

Shostakovich's symphonies to a very deep extent and consequently aided us in analyzing

the complex background to Shostakovich's numerous symphonies.

Keith, Mano D. "Testimony: The Memoirs of Dmitri Shostakovich." Editorial. National Review:

423-25. Print. Mano D. Keith’s review of Testimony: The Memoirs of Dmitri

Shostakovich, describes the political bias that co-author and annotator by Solomon

Volkov and its influence on the memoirs of the late Shostakovich. The conspiracy and

influence of Volkov’s relations altered the presence of Shostakovich’s true memoirs,

leaving Keith in a questionable state of mind, allowing him to clear and guide the readers

of the memoirs for its intended meanings. The bestowed scrutiny of the memoirs is

evident, and Keith allows an alternate form of scholarly interpretation of these memoirs

through clearing and unmasking the alterations Volkov made, further developing our

knowledge and thesis behind Shostakovich’s alienation of manifested rights.

Labor camp. Latvia 50 Years of Tryanny. N.p., n.d. Web. 18 Feb. 2014.

<http://thecelotajs.com/latvia-50years/Appendix-X-%E2%80%93-Joseph-Stalin-Great-

Purge.php>. This labor camp is one of several that Stalin utilized in order to crush all

opposition to his regime and keep the Soviet populous in check. By doing so, he

maintained his ascendancy over the rest of the nation and maintained complete control

over every aspect of every citizen's life. We used this photograph in order to portray the

manners Stalin ensured the absolutely nobody could check his power. in doing so, we

were able to underscore the difficulty in achieving what Shostakovich did. In a nation

under such tight control, he was able to find a way to shine through and stand his ground,

and we used this photograph to embody how truly impressive such a feat was.

Lang, Robert. "Shostakovich.org: Dedicated to the Music of Dmitri Dmitrievich Shostakovich."

Shostakovich.org. Robert Lang, n.d. Web. 1 Dec. 2013. <http://www.shostakovich.org/>.

This is a collection of testimonials about things from Shostakovich's life to his music. It

contains various quotes from different personal acquaintances of Shostakovich. This was

extremely helpful in that it provided an insider's look into Shostakovich's actual behavior.

It also includes a lot of references to preferable recordings. It also had a lot of related

sites that really helped us narrow down our research to only prestigious sites. Finally, it

had a catalogue of his works, which helped compile all his works into one easy page for

us to read and analyze.Overall, this source served as a database, mostly to link us to other

related sites and to reputable quotes and recordings of his most famous symphonies.

Laue, Angela Von, and Theodore Von Laue, Dr. Faces of a Nation: The Rise and Fall of the

Soviet Union, 1917-1991. Illus. Dmitri Baltermants. Golden: Fulcrum, 1996. Print. This

source is a book about the economic and social rising and falling of the Soviet Union. It

mainly capitalizes on the plight of the poor and how they were being downsized,

regardless of the economic prosperity in the nation. It really focuses on how Stalin

affected this plight with such actions like the Reign of Terror and the 5 year Plan. It then

goes on to briefly gloss over Shostakovich's musical impact on the poor's economic

stability. Laue claims that his music inspired the poor to work hard to overcome their

poverty and reach out of their innate depths of despair. Overall, this book is extremely

helpful on the historical background and analysis of Shostakovich's work.

Lesser, Wendy. "Three Words for Dmitri Dmitriyevich Shostakovich." La Clé Des Langues.

N.p., 14 Feb. 2012. Web. 8 Dec. 2013. <http://cle.ens-lyon.fr/anglais/three-words-for-

dmitri-dmitriyevich-shostakovich-142600.kjsp?STNAV=&RUBNAV=>. This source

heavily emphasizes the negative consequences Dmitri Shostakovich's actions had on his

life. We used this perspective in order to bring forth the notion that Shostakovich felt a

burning responsibility to continue his bitter battle against Stalin and his regime. Despite

the fact that his work to advance the rights of the people resulted in things such as the

prospect of his own death, he tirelessly continued to go on with his work and he refused

to let the Soviet government win. We used all of this perspective in order the clearly

delineate how Dmitri Shostakovich and his life's works directly relate to theme of

responsibilities in numerous, related aspects.

Moore, David. "Shostakovich and the Jerusalem Quartet." Rev. of String Quartet. American

Record Guide: n. pag. Academic Research Center. Web. 1 Dec. 2013.

<http://search.ebscohost.com/login.aspx?

direct=true&db=ulh&AN=88457153&site=ehost-live>. A thorough and variegated

review of the Jerusalem String Quarter’s performance, Shostakovich and the Jerusalem

Quartet articulate the performance of the quartets that played at the Alice Tully Hall in

early 2013. The concise, contemporary music review allows generations of

interpretations, passed on and synthesized by reviewer David Moore, to assimilate itself

into the fine reporting and analysis that contemporary and modern music historians and

scholars, like ourselves, would appreciate and use to develop more rigorous and complete

understanding of Dmitri Shostakovich’s quartet concertos. The image provided captures

the string quartets in action, allowing David Moore’s words to come to a visual

representation

"Muddle Instead of Music." Rev. of Lady Macbeth, by Andrie Zhdanov, trans. Arnold Schalks.

Pravda: n. pag. Print. The article serves as musical criticism towards Shostakovich's

"Lady Macbeth".  Zhdanov illustrates through his work the flaws within his

workmanship, and how it serves as a vessel for anti-nationalistic beliefs. Pertaining to the

majority of avid musicians, "Muddle instead of Music" served as an example to Soviet

Union’s musical committee on how not to anger one of the most respected man within

the Union. Stalin irritated by the garrulous echoes of the percussion would continue to

degrade Shostakovich’s most popular piece through the commission of Andrie Zhdanov.

Zhdanov conveys the message that rather than “Macbeth” being a piece of musical

mastery is purely a culmination of conflicting sounds and melody’s that only serve to

ruin the audience’s evening. 

Musical Notes. N.d. Evidence Based Living. Web. 2 Feb. 2014.

<http://evidencebasedliving.human.cornell.edu/2013/07/29/the-evidence-on-music-

therapy/>. These musical notes are extremely fitting as a large part of Shostakovich's life

revolved around music, especially his own personal compositions. Since the dawn of

music, compositions have been written in the form of musical notes, such as the ones

present in the image. As a result, it is very fitting for such an image to be featured when

discussing the musical genius that was Dmitri Shostakovich. Shostakovich utilized such

notes in order to not only invoke a wide spectrum of feelings and pleasure for his

audience, but also to rebel against the oppression of the regime that towered over him.

These notes were Shostakovich's weapons in a fierce war that strived to allow for the

natural right of human expression.

National Review. "Dmitri Shostakovich R.I.P." Academic Research Center. EBSCO Host, n.d.

Web. 1 Dec. 2013. <http://search.ebscohost.com/login.aspx?

direct=true&db=ulh&AN=18917054&site=ehost-live>. The sensitive column that both

celebrates and mourns the departure of Dmitri Shostakovich left the Russian population

with a gaping hole in its arts, culture, and music. The obituary mourns the heeded

advancements Dmitri Shostakovich could have made if he had not been under the iron

fist of the Soviet Union. His genius sparked wonders with his first symphony at the age

of 19. His contemporaries sought to perfect the world's arts and culture amidst the

political fiasco that turbulated the path for peace. His faithful beginnings all began with

the resistance he sought in every note of every symphony.

An Older Shostakovich at Work. N.d. Dmitri Shostakovich. Web. 2 Feb. 2014.

<http://shostakovich.hilwin.nl/>. This photograph was essential in our interpretation of

how Dmitri Shostakovich's efforts to oppose the Soviet government had a massive toll on

his life, both physically and emotionally. He is very concentrated on his work, but he

comes off as almost exasperated, which is a result of the constant belittling and criticism

he faced every single day. We made use of this photograph to display the manner in

which his works slowly deteriorated at his quality of life, yet he continued to fight

regardless. This was a clear indication that Shostakovich's inclination that he had a

responsibility to aid the people of the Soviet Union was so great, that he continued his

work despite the deleterious aftermath it had on him personally.

"The Renee and Henry Segerstrom Concert Hall and Samueli Theater." South Coast Metro. N.p.,

n.d. Web. 18 Feb. 2014.

<http://www.southcoastmetro.com/images/photos/Concert_Hall.jpg>. Amidst the beauty

and glory of the The Renee and Henry Segerstrom Concert Hall and Samueli Theater,

Dmitri Shostakovich's symphonies were designed for the acoustic and harmonic balance

of the often articulated orchestral strings, such as the violin and viola. Dmitri

Shostakovich dreamed of the very concert hall now known as the Tchaikovsky Concert

Hall. Designed to anger impetuous and unserene listeners, the The Renee and Henry

Segerstrom Concert Hall and Samueli Theater is designed to amplify the loud clashes

made by the percussion parts, which initially infuriated Joseph Stalin, leading him to

begin suppressing music with his first viewing of Lady Macbeth.

A Russian Composer. N.d. Bolshoi Moscow. Web. 2 Feb. 2014.

<http://www.bolshoimoscow.com/>. This image is of none other than Dmitri

Shostakovich himself. We used this image to capture the intense resilience of his

personality. This photograph generally embodies the bright light of hope that

Shostakovich was in a dark, oppressed Soviet society. Although a seemingly simple

image, this photograph of him carries a great deal of weight, as his confident face stares

right through the audience. He stared right through Stalin's policies in a similar fashion,

regarding them as garbage and pursuing the improvement of the personal rights of the

citizens of the nation. We used this striking picture to ultimately exemplify the courage

and bold nature of the moves he made throughout his life.

Shostakovich, Dmitri Dmitrievich. Testimony: The Memoirs of Dmitri Shostakovich. Ed.

Solomon Volkov. Trans. Antonina W. Buois. New York: Harper, 1979. Print. This book

is full of personal rantings and insights by Dmitri Shostakovich during his time of

persecution in Soviet Russia. We utilized this source in order to gain direct information

from the mind of Shostakovich himself. This book verified all of our interpretations of

his actions and proved to be an invaluable primary source that was undoubtedly accurate

as the information present in it was written by Shostakovich himself. We used this

veracious information in order to trace Shostakovich's motives for his actions throughout

his complex life and extrapolate the triggers of his decisions throughout his battle against

Stalin and his oppressive regime.

Shostakovich against Stalin. N.d. Pantip. Web. 2 Feb. 2014.

<http://topicstock.pantip.com/chalermkrung/topicstock/2008/05/C6660828/

C6660828.html>. The image of a poster which illustrates the fight it dubs the "War

Symphonies" embodies the bitter battle that took place between the oppression

communist regime of Stalin and Shostakovich. While Shostakovich desired only to be

granted the right to create whatever music he pleased, the Soviet government continually

shut him down. In protest, Shostakovich created a symphony that embodied a rebellion

against such suppression; consequently, the government forced him to withdraw this now

famous work, Symphony No. 4. Clearly, the most significant parts of Shostakovich's life

resulted from the struggle between him and Stalin, and this makes such an image

essential to portraying his life and accomplishments.

Shostakovich Album Cover. N.d. Last.fm. Web. 2 Feb. 2014.

<http://www.last.fm/music/Dmitri+Shostakovich/Symphony+No.+5>. This source is an

album cover for the London Philharmonic Orchestra program for their concert of

Shostakovich's Symphony No.5. This picture really interested us because it was a

modern, contemporary outlook on Shostakovich's Symphony No.5, and it was a cool one

picture representation of a 20 minute long symphony. The designers put Shostakovich

into a fragmented sun, but the sun is still shining brightly, indicating that even though

nature was against the Communist party with its endless barrage of snow, the light of the

Communist party still shone brightly. Overall, this album cover really helped us get a

glance into a contemporary view of Shostakovich's life.

Shostakovichiana. N.p., n.d. Web. 1 Dec. 2013.

<http://www.siue.edu/~aho/musov/dmitri.html>. This source provided a plethora of

documents and photographs that we were able to utilize in order to clearly portray the

intentions of Shostakovich's symphonies and operas. These excellent first hand sources

gave us essential information that we were certain was reliable and this allowed us to be

sure the information we interpreted was as veracious as possible. Using this source we

were able to use items of historic evidence to back multiple aspects of our analysis and

ensure that every component of our interpretation was spot on and in depth.

Shostakovich in Thought. N.d. Kenneth Woods. Web. 2 Feb. 2014.

<http://kennethwoods.net/blog1/2012/03/15/explore-the-score-shostakovich-symphony-

no-5-in-d-minor/>. This image displays Dmitri Shostakovich deep in thought, likely

considering his next move against the Stalin regime to continue his battle for free musical

expression. Shostakovich was forced into such situations quite often, and frequently had

to consider his next move carefully. The Soviet government constantly bombarded

Shostakovich with threats and demands, forcing the composer to often have to resort to

disappearing for a short while to gather his thoughts. This image generally embodies the

fact that Shostakovich was forced to plan out his steps carefully in order to both reach his

goals and stay relatively safe from Stalin and his regime.

Shostakovich Peering into the Distance. N.d. Seventeen Moments in Soviet History. Web. 2 Feb.

2014. <http://www.soviethistory.org/>. This inspiring picture is of the magnificent

Dmitri Shostakovich staring out into the distance, contemplating his situation in life. This

image is incredibly significant sue to the fact that it singlehandedly reflects the life of

Shostakovich. His contemplative disposition is symbolic of the careful consideration he

took in crafting his beautiful symphonies that aimed not only to please the public, but

also to undermine the oppressive regime that followed his every move. His almost

hopeless face can be seen to symbolize the nature of his stance; although he fought

tirelessly, a victory seemed out of reach for Shostakovich. Yet, despite the obstacles he

faced daily, Shostakovich continued to plow on forward with that contemplative glance

of his, and continue the fight for expression.

Shostakovich Symphony No.1 1st Mvt LSO Valery Gergiev 2006. Youtube. N.p., 28 Aug. 2008.

Web. 2 Feb. 2014. <http://www.youtube.com/watch?v=v2W8kGdCwmA>. This source

is a recording of Shostakovich's Symphony No.1 by the LSO Valery Gargiev Orchestra

in 2006. Throughout our constant listening of Shostakovich's Symphony No.5, we

realized that we needed a holistic perspective of not only his most famous symphonies,

but the offbeat ones as well. This was an extremely well done interpretation of the

Symphony's movement I because this movement really focused on the dynamic contrast

that this interpretation executes solidly. Also, the violin and viola section of this orchestra

are outstandingly talented at moving their fingers to the time and it really helped us

evaluate the rhythms that Shostakovich aimed to portray. Overall, this recording was

extremely helpful for our project

"Shostakovich – Symphony No. 5, Op. 47." Horn Exceprts. N.p., n.d. Web. 2 Feb. 2014.

<http://www.hornexcerpts.org/excerpt_pages/shostyS5/shostyS5_2.html>. This image is

of the alto saxophone solo in one of Shostakovich's works and of the one we feature on

an audio clip. We used this image in order to provide the audience with a piece of sheet

music that supplements the audio recording. The audience can easily follow the rise and

fall and emotion patterns of the piece given that they have both visual and auditive

sources from which to interpret. We used this image to ensure that readers were given

sufficient aid to comprehending Shostakovich's musical genius, as every individual is not

very well read in musical analysis. As a result, it is necessary to supply readers with a

plethora of different methods of understanding Shostakovich's complex music, such as

this image of sheet music.

Simon, John. "Shostakovich and the Politics of Survival." New Leader Nov.-Dec. 2004: 50-52.

Print. This except discussed in length the struggles Shostakovich underwent to struggle

against the political regime of Stalin so he could advance his right to musical expression.

We used this information to highlight the fierce opposition that Shostakovich faced when

he attempted to release symphonies that were so rebellious in nature. By emphasizing the

strict bind the government had over citizens, we were able to discuss how much raw

determination in took from Shostakovich to break through and continue his battle by

releasing more works. This clearly demonstrates the massive responsibility he felt to fight

for the rights of the people, as he continued to plow forward despite the heavy criticism

he received as a result of his work.

- - -. "Shostakovich and the Politics of Survival." New Leader Nov. 2004: n. pag. Academic

Research Center. Web. 1 Dec. 2013. <http://search.ebscohost.com/login.aspx?

direct=true&db=ulh&AN=15509387&site=ehost-live>. This source provided excellent

insight on the harsh nature of the opposition that Dmitri Shostakovich faced when

releasing his iconoclastic musical works and the bitter grind he was forced to endure in

order to continue to take on the oppressive Stalin regime. We utilized this to have

addition information regarding the actions Shostakovich committed in order to safely

continue his battle. Continuing such a struggle clearly was a complex ordeal;

Shostakovich needed to find a manner in which he could both ensure his won safety and

continue to produce works that would aid the struggle of advocating the right of

expression. This source was essential in our portrayal of the responsibility Shostakovich

felt to fight for these rights as well; this is due to the fact that despite the horrid situation

he was placed in, he continued to grind on and keep fighting for the rights of the Soviet

populous.

Slonimsky, Nicolas. The Great Composers and Their Works. Ed. Electra Yourke. Vol. 2. N.p.:

Schirmer, 2000. Print. The Great Composers and Their Works. This source provided

essential insight on the works of other Russian composers who worked in the same era as

Dmitri Shostakovich. We took advantage of this information because it let us understand

how different Shostakovich's symphonies truly were compared to others of his time. A

great deal of the composers of that time were very willing to follow Stalin's demands

exactly in order to avoid any potential conflict; very differently, Shostakovich insisted on

doing things his way, and kept battling for more rights, especially the right to expression.

This source gave us insight on how Shostakovich's work was truly impressive, as most

others of his time did not even dare to step out of line, let alone openly defy the

government as he did.

Stalin Family Propaganda. N.d. Soviet History. Web. 2 Feb. 2014.

<http://soviethistory.org/images/Large/1936/stalin_childhood.jpg>. Stalin often utilized

such propaganda in order to tog at the heart strings of the Soviet populous and

emotionally appeal to them. By taking advantage of the technique of pathos in posters

and programs such as the one depicted, Stalin strengthened his causes and justified his

actions. By doing so, he was able to suppress the rights of the people, which clearly

included Dmitri Shostakovich as a victim. These kinds of campaigns are the ones that

allowed for the stripping of rights that forced Shostakovich to take the drastic measures

he did and rebel aainst the Soviet government and Stalin through his genius and

breathtaking symphonies.

Stalin Giving a Speech. 1937. Daily Mail. Web. 2 Feb. 2014.

<http://www.dailymail.co.uk/news/article-1219076/Russian-court-opens-hearing-libel-

suit-brought-Stalins-grandson-newspaper.html>. This image of the man of steel himself

is representative of the overall oppression of the Stalin regime that ruled over Soviet

Russia during the time of Shostakovich. In speeches such as the one featured in the

photograph, Stalin would rally his fellow comrades and use effective rhetoric in order to

sway them into believing that his rule over Soviet Russia was in fact beneficial. Stalin

utilized such tactics to secure complete dominance and crush all opposition to his

totalitarian rule. This accomplished many things for Stalin; one of these was the ability to

completely suppress Shostakovich's right to musical expression. When considering the

robbery of a natural right, it is always imperative to consider the source which caused this

atrocity, and in this case, Stalin and his power plays accomplished this.

Stalin Propaganda with Children. N.d. Miss O'Keefe History. Web. 2 Feb. 2014.

<http://missokeeffehistory.weebly.com/uploads/1/9/7/2/19726989/5968211_orig.jpg>.

This image is an example of one of Stalin's many propaganda campaigns that served to

essentially brainwash the common citizen in Soviet Russia to blindly followneach and

every one of his policies. This greatly contributed to his totalitarian rule and ensured his

absolute authority over the nation; this control directly resulted in Stalin's ability to strip

Shostakovich of his right to free musical expression. The fact that Shostakovich could not

compose his own music freely and under his own consent is what triggered his dramatic

rise and fall that resulted from his attempts to challenge the power of Stalin himself.

Stalin's ability to control everything is essentially the root of all of the major iconoclastic

actions that Shostakovich committed. Therefore this poster is an essential element to be

included in our detailing of the life and struggles of Dmitri Shostakovich.

The St.Petersburg Symphony Orchestra. N.d. Ballet and Opera. Web. 2 Feb. 2014.

<http://www.balletandopera.com/?person=456&page=catalog>. This photograph is of an

orchestra seated and ready to begin their performance. Shostakovich had similar setups

for when his own symphonies were exhibited to the public, and utlilized the same sort of

instrumentation present in order to have a wide range of different pitches and melodies

present in his works. An orchestra such as the one pictured was Shostakovich's main tool

of combatting the oppression of the Stalin regime, as he utlilized them in order to present

his brilliant symphonies to the public. Consequently, it was necessary for us to include

such an image when discussing the musical genius of Shostakovich, as it is necessary to

provide the audience with a visual aid in order to comprehend material to a deeper extent.

"Symphony No. 5." Shostakovich at 100. NPR. 25 Sept. 2006. Radio. National Public Radio’s

in-depth report and celebration of the premiere of Shostakovich’s first works one hundred

years previously includes highly specialized and exhaustive accounts from his

adversaries, contemporaries, and musical scholars dedicated to studying Dmitri

Shostakovich’s works. The report is especially thorough and concise by including

interviews with Dmitri Shostakovich’s son and composer, Maxim Shostakovich. The

excerpts featured in the celebration include Dmitri’s final, nebulous symphony that

capped his career in 1972. Along with exclusive interviews, correspondents part of

National Public Radio also feature the modern-day executions of his most famous pieces,

such as “Symphony No. 15”.

Teachout, Terry. "The Problem of Shostakovich." A Second Chrestomathy Oct. 1994: n. pag.

Academic Research Center. Web. 1 Dec. 2013. <http://search.ebscohost.com/login.aspx?

direct=true&db=ulh&AN=9502083567&site=ehost-live>. This source takes an

interesting view on Shostakovich's music and life. It focuses more on his Western

experience. Surprisingly enough, Shostakovich's popularity didn't expand all the way

from coast to coast of the world. The West heavily rejected his music as Communistic ,

even though Shostakovich was persecuted by Soviet Russia for being just the opposite.

This irony of what constitutes being Communistic reveals a big cultural divide between

the Soviet Union and the United States, which could be one of the contributions to the

outbreak of the Cold War. Overall, this is a big global view onto Shostakovich's

contributions and music.

Trotter, Herman. "Ewazen Premiere and Shostakovich Anniversary." Rev. of Symphony No. 13.

American Record Guide: n. pag. Academic Research Center. Web. 1 Dec. 2013.

<http://search.ebscohost.com/login.aspx?

direct=true&db=ulh&AN=85689914&site=ehost-live>. Herman Trotter’s Ewazen

Premiere and Shostakovich Anniversary chronicles the two concerts executed and

orchestrated by the Buffalo Philharmonic’s concert season during 2012-2013. The review

includes Dmitri Shostakovich’s “Symphony No. 13”, which details and includes Trotter’s

personal understanding and interpretation of Shostakovich’s message to Joseph Stalin

and the Soviet Union. Trotter’s review is pivotal to our research because of the

concurring and parallel thoughts and connections made between a musical expert and our

eclectic expertise in music. Equipped with the musings of Herman Trotter, we

strengthened our musical analysis and the true depth behind Shostakovich’s “Symphony

No. 13”.

University of Texas at Austin. University of Texas, n.d. Web. 31 Jan. 2014.

<http://www.utexas.edu/cola/centers/creees/_files/pdf/curriculum/CREEES-developed-

units/shostakovich.pdf>. Nicole Angotti, the Curriculum Specialist for Russian and

Soviet Studies at the University of Texas at Austin, details and unearths the beginning

rumbles and genesis of the grand Soviet Union’s rise. The detailed introduction to the

Union of Soviet Socialist Republics, the rise of Stalin, accompanied with his oppressive

despotism that came with the defeat of his adversaries, traces the evolution and

beginnings of his antipathy for free musical reign. The biography of Dmitri Shostakovich

includes the rise and emergence of the future of contemporary music and arts, soon to be

squashed under the malice of Stalin’s fists and reign.

Wilson, Elizabeth. Shostakovich: A Life Remembered. 2nd ed. London: Faber, 2006. Print.

Shostakovich: A Life Remembered embodies an illusory and detailed repertoire that

Shostakovich mastered, composed, and executed from his early beginnings. Elizabeth

Wilson provides important details of Shostakovich’s peers and colleagues that he worked

with over his novel operas and ballads. The recognition as a premier and revolutionary

composer began to arise after his death, shortly after the Stalin regime that terrorized and

imprisoned his works and the living spirit inside him. Within the full-length report and

novel, Shostakovich’s memoirs and letters reveal his light personality towards the events

of the times and the discerning events that afflicted him. Overall, the novel details and

examines his role as a major figure in the cultural life of twentieth-century Russia.

A Young Shostakovich. 1925. Cyber USSR. Web. 2 Feb. 2014.

<http://www.cyberussr.com/rus/shostakovich/>. This photo graph is of Dmitri

Shostakovich as a child and marks the beginning of his inspiring life. His musical talents

were first discovered when he was a small child, and thisbultimatelynled to his illustrious

musical career. In our discussion of his early life, it seemed only fitting to include such

an image; excluding it would deprive our audience of a glimpse into what Shostakovich

was like as a younder child. It is always extremely relevant to consider the past of one's

life when examining the major events that embody their life. For Shostakovich

especially, his childhood was a major factor in his life, and consequently it seemed

necessary for us to include a photograph of him as a child.