Bibliography Primary Sources Artzyboshoff, Boris. Fireman Shostakovich. New York Time 20 July 1942: n. pag. www.zeitschichten.com. N.p.

, n.d. Web. 21 Nov. 2011. <http://www.zeitschichten.com/content////.jpg>. This illustration is of Shostakovich on the front cover of Time Magazine in 1942. Here, the caption reads, Fireman Shostakovich: Amid bombs bursting in Leningrad, he heard the chords of victory. This is a tribute to Shostakovichs 7th symphony, titled Leningrad. The caption and illustration can be interpreted in different ways, but the way that I interpreted it was that Shostakovich was triumphing over Stalin through the subliminal messages he put in his music, such as the 7th symphony. Shostakovich was going to victorious because he was beginning to influence the public audience by expressing the oppression they had all faced under Stalins rule. This illustration helped me understand the extent of Shostakovichs fame; he was known in Europe as well as in the West. For the westerners, Shostakovich was known for trying to overcome Stalins communist rule through his influence in music. Bezymensky, Alexander. Album notes for Shostakovich: Symphonies Nos. 2 & 11 . N.p., n.d. Web. 2 Mar. 2012. This article provided a translation of the Russian Chorale, To October that Shostakovich incorporated into his second symphony. Just having the original Russian lyrics as well as the English lyrics helped me in my research by demonstrating what kind of praise Shostakovich had to write through his music. This was one of his earlier works that were commissioned to him, and seeing this chorus was the beginning of Shostakovichs forced compliances with his government. Because I was not able to read the Russian lyrics, the English translation really helped in the understanding of the lyrics.

Boitz, Michael. Personal interview. 20 Jan. 2012. Mr. Michael Boitz, the music director and conductor at Saratoga High School, was very knowledgable in the topic of Shostakovichs musical impact in the music world. Having conducted several of they symphonies himself, he knew the interpretations that many other conductors had taken, and he had studied the score very thoroughly. He provided helpful insight on his opinions on messages in music and he agreed Shostakovichs music was indeed quite revolutionary in its own way. Mr. Boitzs interview gave me a broader view of the interpretation of Shostakovichs music and he showed that he valued what Shostakovich was doing during this time in history. Burton, Stephan L. Letters. Letter. National Review 7 Dec. 1979: 1524-1526. MAS Ultra School Edition. Web. 21 Nov. 2011. This article particularly highlights the ending of the 5th symphony, which features a very choking-like sound of a repeated note for 39 measures. This chocking effect, according to this author, was Stalin trying to illustrate the heavy oppression under the Stalinist government. Thought the ending may sound victorious, the author writes, the rejoicing is forced, created under threat, as if someone is repeatedly beating you with a stick and forcing you to rejoice. This is what Shostakovich faced throughout his entire musical career; he was forced to write music that would please Stalin, but often it was forced and underlying motives were clearer than before. I found this article useful because it was the kind of response that many people felt when they watched or listened to Shostakovichs work, but were often too afraid to say so. It really highlighted how influential Shostakovich was not only in the musical scene, but also in the political scene. Conclon, James. The Whole Truth. Opera News 10 Dec. 1994: 18. MAS Ultra - School Edition. Web. 21 Nov. 2011. This was an indepth look on the opera Lady Macbeth of Mtsensk,

which had been a source of controversy between the Stalinist officials(and Stalin himself) and Shostakovich. It mainly depicted the lowly status of Russian women during Soviet rule. It animated the hypocrisy and brutality of the soviet society. This author portrayed the piece as a sardonic portrayal of Stalins extensive police network and how it was a factor in oppressing the Russian people. The main character, described as a victim of love and crime, struggles with her own allegiances, and perhaps Shostakovich wanted the audience to symphatize with her for her desire to be loved and accepted. This opera also introduced the alienation effect that Shostakovich first used. This effect called for not delving too deep into any situation, but keeping oneself reasonably aloof. This document was important because Lady Macbeth was one of the turning points of Shostakovichs career, and Stalins response to the work caused considerable influence in the musical public. It was through this work that Stalin began to add and mix in underlying messages into his music, trying to portray his true thoughts without getting caught by the government officials. Conrad, Peter. Changing Rooms. New Statesman 19 Apr. 2004: n. pag. Literary Reference Center. Web. 21 Nov. 2011. In this document, the author describes Shostakovichs opera Lady Macbeth. Apparently, Shostakovich justified the various murders that the protagonist commits as revolutionary acts, or private campaigns of social retaliation. He essentially put the murderer in the light because of her revolutionary ideals and almost praises her for it. This author pointed out possible connections between Shostakovich and soviet literary theorist Mikhail Bakhtin, who both led coded attacks on the lethal officialdom of Stalin. Shostakovichs pornographic trombone glissandos that were incorporated into Lady Macbeth greatly shocked Stalin, and the composer may have put those effects in to startle

Stalin, as well as to send coded messages to the public. This document was important to me because it pointed out a connection between two revolutionary figures and also demonstrated Shostakovichs effect in musical history and politics in soviet Russia. Dimitri Shostakovich - Symphony No. 13 Babi Yar: 2nd Movement - Humour, Allegretto. youtube.com. N.p., n.d. Web. 21 Nov. 2011. <http://www.youtube.com/? v=aD196YkBYRs>. This is the 2nd movement to Shostakovichs 13th Symphony, which was name Babi Yar. This symphony was particularly important because it was a song cycle that contained various poems, including one about the Babi Yar massacre in WWII. In this symphony, he goes against the government by almost outright condemning anti-semitism. He portrays the hardships and losses the Jews had to go through during WWII and that time period. The second movement is ironic because it is very upbeat and bouncy, yet many interpretations have said that it is a mockery of a Jew being endlessly tortured. With this kind of satiric play, Shostakovich incorporates suffering and loss into his symphony in a way that moves the audience. This clip was important to my research because it shows what kinds of tools Shostakovich used to influence his audience through subliminal political messages in his music. Freed, Richard. Rev. of Copland Symphony No. 3, by National Symphony Orchestra. The Kennedy Center. N.p., n.d. Web. 2 Mar. 2012. <http://www.kennedy-center.org//? fuseaction=composition&composition_id=2860>. This article provided an analysis of Aaron Coplands Symphony No. 3, performed by the National Symphony Orchestra. Though this was not a work of Shostakovich, the author contrasted and compared this work to Shostakovichs 5th Symphony, which I thought was appropriate to the topic. The author describes the interpretations of the music as well as the similarities and differences between

the two works. He also analyzes the message and power that both pieces held. This article was helpful in my research because it demonstrated that Shostakovichs works were really influential and their effects showed up in other works as well. Im, Sung. E-mail interview. 14 Jan. 2012. Maestro Sung Im had just recently conducted the famous 5th Symphony by Shostakovich and he had very helpful insights about the work. His stories and interpretation of the piece vividly described the scenes that Shostakovich had to live through, and these feelings and emotions were played through the music, almost 80 years later. He knew about the music tonality and structure and illustrated how even those factors contributed to Shostakovichs motives. Not only were his symphonies famous, but also his quartets. Maestro Im described the quartets with eloquence and revealed the overlooked parts of Shostakovichs work. This interview was helpful because Maestro Im provided such deep opinion and insight about Shostakovichs influence in history, and also gave an analysis of the music structure itself. Kolchinsky, Camilla, Dr. Personal interview. 6 Nov. 2011. This conversation was enlightening because Kolchinksky, as a musical expert, was from Russia and thus very familiar with Shostakovichs influence in Russia. She described Shostakovich as constantly being in fear of being taken away and exiled to Siberia for his music that he had a small suitcase that he would carry in case of that every happening. In addition to the oppression the Shostakovich himself, during the time of his 14th symphony was about to be revealed, the government officials began to take away the musicians music and the score from the stage so that it could not be played. However, some musicians were able to keep the manuscripts and then copied the score secretly by hand so that it could be performed. This interview was helpful Dr. Kolchinsky was able to provide specific incidents and stories that demonstrated Stalins

oppressive regime that Shostakovich tried to capture through his music. LADY MACBETH OF THE MTSENSK DISTRICT / KATERINA ISMAILOVA Opera in four acts. http://www.impresario.ch. N.p., n.d. Web. 21 Nov. 2011. <http://www.impresario.ch//schlad_e.htm>. This is a mounted script of the opera Lady Macbeth of Mtsensk District, and the first thing I noticed was that this was a very short opera, consisting of only four short acts. The story is about a woman named Katerina Lvovna who lives a troubled life with a husband who is seldom home. Katerina lives with her father-in-law who is not the best companion. She meets a man by the name of Sergey, whom she has an affair with. After her husband returns and finds out, there is frantic confusion and murder back and forth. Katerina ultimately ends up drowning while trying to drown Sergeys lover. From this manuscript, I was able to understand what kind of music Shostakovich was trying to write in order to fit this storyline, and it made me realize how much creativity it required and how brilliant Shostakovich had made it, only to be shut down by Stalin. Okponik, Benjamin. BABI YAR By Yevgeni Yevtushenko. http://remember.org. N.p., n.d. Web. 21 Nov. 2011. <http://remember.org//.html>. This poem, titled Babi Yar by Yevgeni Yevtushenko, describes a Jewish point of view and the harshness of Russian antisemitism. The poet talks about the bloodshed and beatings and the helplessness that he feels. He cannot believe the amount of murder and bloodshed that the Nazis have been exerting, and even worse, the Russians are saying Kill the Jews, and save our Russia!. This is one of the inspirations Shostakovich had for his 13th symphony, titled Babi Yar. He was openly defying Russian anti-Semitism and coming out to defend all the lives that were lost. Like the Russians were oppressed under Stalin, the Jews were likewise

oppressed and worse, almost exterminated, and Shostakovich wanted the public to know the wrongness of this. This helped me understand what kind of person Shostakovich really was; I had previously imagined him as a very cold person, but seeing his bravery in stepping out for Jews, I would say that he is brilliant as a composer and a man. Rabinowitz, Peter J. The Rhetoric of Reference; or, Shostakovichs Ghost Quartet. Narrative 15.2: 239-256. Advanced Placement Source. Web. 21 Nov. 2011. This document extensively covers the 8th quartet, which was written in 1960. At this time, there was increasing pressure on Shostakovich to join the communist party. Titled In Memory of the Victims of Fascism and War, this quartet was to commemorate the devastation of the city of Dresden. This work was set apart from many of his other works because of the numerous incidents of self-quotation and self expression, even in the main theme which was D-S-C-H (D, E flat, C, B3), which was Shostakovichs first name in German lettering. Shostakovich made his 8th quartet a very personal statement. He showed the oppression that he had to endure through the extensive use of the Russian prison song, Exhausted by Grievous Bondage. The lack of freedom was expressed throughout the piece, and Shostakovichs individual expression was quite evident throughout the work. This document was useful because it really touched on the mechanics of the music and connected it back to Shostakovichs original motives. Sanderling, Kurt. Interview. Close Up: Shostakovich. Oliver Becker. 2006. Film. This documentary was very useful in that it contained accounts and interviews from people that were close to Shostakovich and knew him very well during his lifetime. Figures such as Karl Sanderling were Shostakovichs friends, and Shostakovichs wife and daughter also were interviewed for this documentary. Through personal accounts, I was able to identify

and feel the emotions of Shostakovichs life, something that would not have been so illustrated in an article or book. Schalks, Arnold. Muddle Instead of Music. Arnold Schalks Internet Archive. N.p., n.d. Web. 21 Nov. 2011. <http://www.arnoldschalks.nl/tlte1sub1.html>. This article, printed in the Russian newspaper Pravda (meaning truth) was titled Muddle Instead of Music and was a direct lash at Shostakovichs opera, Lady Macbeth. The article, which some say may have been written by Stalin himself after he watched Lady Macbeth, effectively pounds Shostakovich for his Leftist art and mentions that the music is not lacking in talent, but it has grounds in the wrong ideals. The article also condemns Shostakovich for being too crude, by adding quacking, shrieking, and moaning into the music.This article was essentially the turning point of Shostakovichs musical career; after this article was published, Shostakovich became aware that his music was being condemned by the government. Following this, Shostakovich began to be more careful in his works. This condemnation was a source of controversy among the public, and thus people began to pay even more attention to Shostakovichs works. Schonberg, Harold C. The Lives of the Great Composers. 3rd ed. New York: WW Norton & Company, 1970. Print. This source was a collection of the lives of many composers. Shostakovich was paired with Prokofiev in this book because they both composed in the Soviet Union. This book discusses Shostakovichs pieces, and examines the origination of the piece and any quoted material from other composers. This is always helpful to me because I can see why Shostakovich composed a certain piece of music and where he got his inspiration. Fear of Stalins iron fist put Shostakovich in a dual position; he had to keep composing music that was not formalistic, something that was easily understood by the

public and expressing triumph and glory of the Soviet Union, but on the other hand, he also wanted to include the oppression and harsh conditions that one had to face during these times. Again, this source helped me understand the origins of many of his pieces and his reasons for writing them and including specific quotes from other symphonies. Shostakovich, Dmitri. Testimony: The Memoirs of Dmitri Shostakovich. Ed. Solomon Volkov. Trans. Antonina W Buois. N.p.: Harper & Row Publishers Inc., 1979. Print. This book is a compilation of Shostakovichs memoirs, told to Solomon Volkov. In this book, Shostakovich, with the urge and questioning of Volkov, tells the stories of his music and the intentions he had when writing his pieces. What was interesting about Shostakovich was that he was actually very reluctant to always tell Volkov about his own music; he was much more content talking about other peoples music or his own students. Also, Shostakovich was very self-conscious in a way; he always read the reviews about his music, and got very anxious if his reviews were not positive. Perhaps this is because of the Muddle instead of Music criticism that was harsh for him. From this book, I could get a sense of Shostakovichs character, which was very different from what I had orginally thought. This book was very useful in gaining a better perspective on who the composer really was and what kind of background or personality made him write his music. Shostakovich 7-Ending- Chicago Symphony Orchestra. youtube.com. N.p., 21 Feb. 2011. Web. 21 Nov. 2011. This is the finale of the 7th Symphony, conducted by Bernstein in 1989 with the Chicago Symphony. This symphony, also known as the Leningrad symphony had caused great commotion as to what cause it was dedicated to. Some said that it was written in memory of the siege of Leningrad by the Germans, while others saw that Shostakovich was actually trying to portray the terrifying siege of the country as a whole by the Stalinist

government. Either way, this piece was very moving and was the equivalent to an epic poem. Shostakovich again incorporated famous Russian melodic lines, along with his famous invasion theme that slowly crept up on the music, starting very soft and ending with blaring brass. The finale of the symphony sounds very ironic if one listens very closely, the theme seems to be one of joyous celebration, but there is a hint of melancholy that is noticeable. This source was useful to me because it really showed Shostakovichs sensitiveness to pleasing the Soviet government but at the same time honoring and remembering all the lives lost and sufferings that the people of Russia had together endured. Shostakovich, Symphony No. 5 Mvt. 4. youtube.com. N.p., n.d. Web. 21 Nov. 2011. This performance, which took place in Leningrad, was essentially a commemoration of the pieces premiere in 1937. The piece was first conducted by this conductor, Mravinsky, with the Leningrad Philharmonic. The final movement of this symphony begins with almost a military-like march, but proceeds into a whirlwind of strings and winds. The piece continues to swerve at unexpected places, sometimes slow and sweet, evoking the sad Russian folk songs, and sometimes animated and ferocious, like the steps of an angry dictator. The infamous section of this symphony is the last section of the final movement, which has a thin melodic line held in the wind section, which is practically drowned out by a choking effect of the strings who play one note in unison over and over again for 39 measures. This effect was profound and it really reached out to the Russian audience who could sense the forced compliance and choking in the music that was representative of the oppressive soviet regime. Additionally, Shostakovichs addition of the melodic lines created a sense of nationality because they were all famous Russian tunes that he had

incorporated into the symphony. This recording really helped me understand all the critics responses to Shostakovichs work because I was able to hear for myself what the audience had heard. Stein, Howard F. Upon Listening to the Fifteen Quartets of Dimitri Shostakovich. Families, Systems & Health: The Journal of Collaborative Family HealthCare 21.1: 119. Literary Reference Center. Web. 21 Nov. 2011. This was a very curt and almost crude interpretational poem about Shostakovichs 15 quartets. The author mentions that the composer starts with a familiar tune in many of the works, which turn around and end up gasping for air later. He mentions the harsh, cruel oppression, talking about shooting and torture. The whole poem is a whirlwind of sarcasm and crude frankness that is imbued with attempts to keep it a happy poem. To me, the poem was disturbing, but I could completely understand where the writer was coming from, and it became clearer to me the effects of Stalins music. The harsh oppression and cruelty could evidently be sensed right away from his music that it convinced this writer to write this almost grotesque poem. I found this poem useful not only because it was a different form of interpretation, but also because it went straight to the point and concentrated on Stalins iron-fisted government.This was a very curt and almost crude interpretational poem about Shostakovichs 15 quartets. The author mentions that the composer starts with a familiar tune in many of the works, which turn around and end up gasping for air later. He mentions the harsh, cruel oppression, talking about shooting and torture. The whole poem is a whirlwind of sarcasm and crude frankness that is imbued with attempts to keep it a happy poem. To me, the poem was disturbing, but I could completely understand where the writer was coming from, and it became clearer to me the effects of Stalins music. The harsh oppression and cruelty could

evidently be sensed right away from his music that it convinced this writer to write this almost grotesque poem. I found this poem useful not only because it was a different form of interpretation, but also because it went straight to the point and concentrated on Stalins iron-fisted government. Volkov, Solomon. When Opera was a Matter of Life or Death. The Telegraph. N.p., n.d. Web. 2 Mar. 2012. <http://www.telegraph.co.uk/////opera-was-a-matter-of-life-or-death.html>. This article, written by the same editor who helped write Shostakovichs biography, was a very in-depth look at Shostakovichs first opera, Lady Macbeth. Instead of just providing a simple synopsis, this article really demonstrated the feelings that Shostakovich felt before and after the article in the Pravda was published. It really illustrated the grief, frustration, and the drama of the event and gave a full look on how the audience and government reacted. This article was helpful in providing informative details and creating the image of the time. The War Symphonies.- Shostakovich Against Stalin (1997). Larry Weinstein. 1997. youtube.com. Web. 23 Mar. 2012. This documentary included various primary sources that became very useful to my research. The historians and musicologists who speak in the documentary provided first hand information and analysis of the music of Shostakovich and how it influenced the time period. Many of the historians had lived in Russia during that time, and were able to give very detailed and specific information. This source was helpful to my research because it provided very useful analysis from musical experts and also gave a clear picture of the life in Russia and the hardships of musical expression during the reign of Stalin.

Secondary Sources Graham, Strahle. Liberated Vision Of Leningrad - ADELAIDE FESTIVAL OF THE ARTS. The Australian 21 Mar. 2006: n. pag. Newspaper Source Plus. Web. 21 Nov. 2011. This document describes an interpretation of Shostakovichs 7th Symphony, dedicated to the city of Leningrad. The piece was written during the Nazi seize of the city, where Shostakovich had been staying nearby. At first, the four movements of the symphony were to be named War, Memories, The Vast Homeland, and Victory in honor of the brave city. However, Shostakovich had scratched this idea because he wanted the audience to feel a more emotional image of the piece, not a literal one. This article highlighted the intent of Shostakovichs pieces, versus how the pieces were received by the public. I used this document because it gave me background information about the 7th symphony and the conditions surrounding the piece. Shostakovichs writing of this piece caused mixed interpretations across the board, with some claiming that Shostakovich was supporting the Soviets and celebrating the victory of the city, while others thought he was silently feigning allegiance and actually mocking the Soviets. Jackson, Stephen. Dmitri Shostakovich: An Essential Guide to His Life and Works. Great Britain: Pavilion Books Limited, 1997. Print. This book was useful in showing Shostakovichs life as a whole, but at the same time it was not as methodical as a biography. The middle chapters discussed to great lengths Shostakovichs motives and goals for achievement through his musical repertoire. As many of the previous sources mentioned, Shostakovich was greatly affected by the oppression of the Soviet Union. On the side, he was also against the anti-Semitism that existed during that time in Russia. With his composition of Babi Yar, his 13th symphony, Shostakovich expressed the view he had about anti-Semitism and

was greatly influential in the public through this view as well. This source provided me with inside information about the reactions that the public had to his music, as well as his childhood background that could have influenced his compositions. Kozinn, Allan. Beethoven and Shostakovich on War. New York Times 7 Feb. 1994: 16. Newspaper Source Plus. Web. 21 Nov. 2011. This New York times article describes Shostakovichs 7th Symphony, the Leningrad Symphony, as two forms of poster art in one. The symphony was composed in 1941 in Leningrad, and was an expression of solidarity and hope. On the other hand, after Stalins destruction of Leningrad, the piece could also be interpreted as garish, grotesque, overflowing with false victorious flourish. It was interesting to me how the author used the term victorious flourish but meant for the reader to see it as a false celebration. The whole symphony seems so sarcastic and false, just like Shostakovich wanted it to be interpreted as. The article mentions that Shostakovichs symphonies were essentially musical propaganda, or poster art. This poster art had two sides to it in Shostakovichs case, and the author described the composer as a terrified artist mixing the poster paints. This document really illustrated the large impact Shostakovichs works had, and also portrayed Shostakovich as terrified because he was trying to pledge allegiance to both sides in fear of punishment from Stalin. Musical Life of a Russian. The Press 26 July 2000: 34. Newspaper Source Plus. Web. 21 Nov. 2011. This article reviews a version of Shostakovichs 5th Symphony, performed by Christchurch Symphony under Vladimir Verbitsky in 2000. Written to a general audience, the article gives background information about the composition. His 5th symphony was composed in the mid 1930s, when he had been subject to harsh criticisms of his opera Lady Macbeth of Mtsensk District and faced hazardous situations. About this piece Shostakovich

had said himself that it was a soviet artists practical, creative reply to just criticism. Shostakovich was trying to evade any additional criticisms from the government about his work. This symphony was an immediate success in Russia, and was popular in the West as well. Aside from any political meanings behind the symphony, the work was well received. This article helped in providing a view on the general response to Shostakovichs 5th symphony. The article was objective and thus I only used it as a starting point for evaluating the varying and numerous responses to Shostakovichs work. Teachout, Terry. Composers for Communism. Commentary May 2004: 57-62. Advanced Placement Source. Web. 21 Nov. 2011. This document traces Shostakovichs musical career as a whole and provides insight on his works and specific messages. The author describes his music as unequivocal, tonal, music, which was censored by the Central Committee of the Communist Party. Stalin had condemned Shostakovichs opera, Lady Macbeth, as classical music turned inside out and because of this condemnation, Shostakovich lived his life under fear of the Great Terror. Shostakovichs critics accused him of formalism (a form of music that deviated from the simple minded optimism of Soviet artists). He had mixed reviews in the West; some critics opposed the Soviet condemnation of formalism, while others claimed that he was a Communist supporter. This document highlights important messages in his works: in the 10th symphony, Shostakovich paints a disapproving picture of Stalin, who had given Shostakovich troubles his whole life. This article helped me because the author clearly stated what Shostakovich had to deal with and what sides he took on certain issues. Additionally, the clues about the 10th symphony were useful in determining Shostakovichs musical intents.