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Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and the Brutal Dictato rBy Solomon Volkov
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“Music illuminates a person and provides him with his last hope; even Stalin, a butcher, knew that.” So said the Russian composer Dmitri Shostakovich, whose first compositions in the 1920s identified him as an avant-garde wunderkind. But that same singularity became a liability a decade later under the totalitarian rule of Stalin, with his unpredictable grounds for the persecution of artists. Solomon Volkov—who cowrote Shostakovich’s controversial 1979 memoir, Testimony—describes how this lethal uncertainty affected the composer’s life and work.
Volkov, an authority on Soviet Russian culture, shows us the “holy fool” in Shostakovich: the truth speaker who dared to challenge the supreme powers. We see how Shostakovich struggled to remain faithful to himself in his music and how Stalin fueled that struggle: one minute banning his work, the next encouraging it. We see how some of Shostakovich’s contemporaries—Mandelstam, Bulgakov, and Pasternak among them—fell victim to Stalin’s manipulations and how Shostakovich barely avoided the same fate. And we see the psychological price he paid for what some perceived as self-serving aloofness and others saw as rightfully defended individuality.
This is a revelatory account of the relationship between one of the twentieth century’s greatest composers and one of its most infamous tyrants.
From the Hardcover edition.
- Sales Rank: #133354 in eBooks
- Published on: 2007-12-18
- Released on: 2007-12-18
- Format: Kindle eBook
From Publishers Weekly
Shostakovich's tortured relationship to the Soviet authorities was a main subject of Testimony, a book published after the composer's death by Volkov, who claimed that it contained Shostakovich's own remembrances. Controversy about the authenticity of Testimony swirled for years, until the publication in 1999 of Laurel E. Fay's Shostakovich: A Life, accepted by many scholars as decisively countering Testimony's claims to accuracy. The appearance of a new study by Volkov on Shostakovich (1906-1973), then, is sure to raise critical hackles. Volkov argues that Shostakovich survived the denunciation of his 1934 opera Lady Macbeth of Mtensk, and more minor controversies thereafter, in part by relying on a Russian tradition of playing the "holy fool" when under political pressure. When Stalin asked that Shostakovich henceforth submit operas and ballets for approval, the composer solved the problem by refraining from writing these musical forms. Volkov finds that luck played a role as well in Shostakovich surviving while so many other artists were killed or banned, but the "holy fool" argument as a whole only partially convinces: at times, Shostakovich's reticence regarding the regime seemed to turn into compliance, as when he signed a letter late in his life that denounced human rights activist Andrei Sakharov, an act Volkov says Shostakovich regretted. The book assumes a lot of knowledge of Soviet history for a general readership; nonspecialists interested in the composer and his work will still be better served by Fay.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
After hearing Shostakovich's Fifth Symphony, an envious Boris Pasternak wrote, "He went and said everything, and no one did anything to him for it." The extent of the composer's complicity or dissidence under Stalin has been much debated. Volkov, a prominent adherent of the latter view, marvels at this timid man's ability to express suffering in music that was nonetheless outwardly optimistic, and suggests that Shostakovich found an important model in Pushkin, who survived the cruelties of Tsar Nicholas I by juggling three classically Russian roles—"pretender," " chronicler," and "holy fool." Volkov's story depends too often on hunches and assumptions, but he is illuminating when he places the composer in the context of other artists (Pasternak, Bulgakov, and Mandelstam) who attempted dialogue with Stalin and were alternately supported and persecuted by him.
Copyright © 2005 The New Yorker
From Booklist
Like Czar Nicholas I a century before him, Stalin was a tyrant who ruled with an iron fist, using people like pawns in a game. During his era of fear and yearning for freedom, Soviet cultural figures, taking the writer Pushkin as a model, resorted to subterfuge and double entendre to express their true beliefs. Volkov, coauthor of Shostakovich's memoirs, speaks from firsthand knowledge of the composer vis-a-vis Stalin, and he compares Shostakovich to the poet Pimen in Pushkin's play Boris Godunov, who embodied the holy fool, the pretender, and the chronicler. With the opera Lady Macbeth of Mtensk, Shostakovich ran afoul of Stalin. Thereafter, to express his covert rebellion, he quoted extensively from Berlioz, Tchaikovsky, and others who composed, as he often did, with death in mind. Volkov includes material about all the noted writers, artists, and composers of Shostakovich's era to describe the repressive environment and how it shaped Soviet culture, thereby offering invaluable insight into the subversive life of the intelligentsia of the time. Alan Hirsch
Copyright © American Library Association. All rights reserved
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