Dmitri Shostakovich By Megan West

Beginnings Dmitri Shostakovich was born in St. Petersburg, Russia. Dmitri Shostakovich was born in St. Petersburg, Russia. His entire family was musical His entire family was musical He began taking piano at the age of nine and when he was 10, he was invited to play for the director of the St. Petersburg Conservatory. He began taking piano at the age of nine and when he was 10, he was invited to play for the director of the St. Petersburg Conservatory.

Family life He was the middle child or three. The other two were girls. His father’s job provided them luxuries not many families at the time had. They owned a piano, two cars, a summer house, and had a nanny and a tutor.

Musical Beginning  At age nine Dmitri started formal piano lessons.  He had perfect pitch  He was already composing at the age of eleven.

Musical Schooling In 1919, Aleksandr Glazunov recruited him for the Petrograd Conservatory In 1919, Aleksandr Glazunov recruited him for the Petrograd Conservatory He was trained in violin, composing and conducting He was trained in violin, composing and conducting

Life grows harder His father died in 1922 His father died in 1922 He contracted tuberculosis and had an operation before his final piano exam. He contracted tuberculosis and had an operation before his final piano exam.

Music, Life and School Shostakovich began his first symphony at age 17 He had a brief affair with Tatyana Glivenko He was denied acceptance to his former conservatory He completed his first symphony at 19.

His music He had a very experimental dissonant textures and spare counter point musical style. He had a very experimental dissonant textures and spare counter point musical style. His music was chastised by the Soviet government. His music was chastised by the Soviet government.

Personal life and musical criticism In 1932, he married Nina Varzar In 1936, his opera ‘Lady Macbeth’ was criticized by Stalin His first child, Galina, was born in 1936 and his second, Maksim, in 1938.

Crippling musical decrees The Communist Party passed a decree criticizing the works of many composers in Despite the criticism, he moved to Moscow and became a full professor at the Moscow Conservatory.

Freedom from Stalin Stalin died in 1953, and the criticized composers took to performing their banned works. Stalin died in 1953, and the criticized composers took to performing their banned works. However, his wife died of cancer in 1954, followed by his mother in 1955, he married Margarita Kavanova, but divorced her and contracted polio. However, his wife died of cancer in 1954, followed by his mother in 1955, he married Margarita Kavanova, but divorced her and contracted polio.

The last years  He joined the Communist party in 1960  He married Irina Supinskava in 1962  He had a heart attack in 1966 and another in 1971  He died of lung cancer on August 9, 1975 at the age of 65.

Symphony Number Five in D minor

The Piece Dmitri Shostakovich began the Fifth Symphony on April 18, 1937 and finished it three months later on July 20.

Russia The Communist government controlled every aspect of life for the composers and Shostakovich tried his best not to draw attention to him and his family.

Success after failure The Fifth Symphony was first performed in Leningrad, Russia on October 21, 1937 Shostakovich complied with the government’s orders, but the Symphony was a big hit, nevertheless.

The Musical Style of the Piece Dmitri did not write the piece to please the government, as he infused a good deal of satire and parody in the piece. Dmitri did not write the piece to please the government, as he infused a good deal of satire and parody in the piece. It has a completely different orchestral sound from the first four with dominate winds and broader themes and more emotion. It has a completely different orchestral sound from the first four with dominate winds and broader themes and more emotion.

The Piece Itself It is about 45 minutes long It is about 45 minutes long It has four movements: Moderato, Allegretto, Largo and Allegro Non-Troppo. It has four movements: Moderato, Allegretto, Largo and Allegro Non-Troppo. Musicians argue the first movement is a cry of despair brought on by the opposition of the Soviet government. Musicians argue the first movement is a cry of despair brought on by the opposition of the Soviet government.

The Secret Meanings The government was highly unaware of the truth behind the music. The government was highly unaware of the truth behind the music. The third movement of the piece is probably the most despairing piece of music ever written. The third movement of the piece is probably the most despairing piece of music ever written. It testifies of and is seen as a witness of one man’s struggle to escape the rule of a vicious tyrant. It testifies of and is seen as a witness of one man’s struggle to escape the rule of a vicious tyrant.

A Closer Look Now we will take a closer look at the Fifth Symphony in D minor. Now we will take a closer look at the Fifth Symphony in D minor. ned&id=tra &remote=undefined&pa ge=undefined&pageregion=undefined&guid=u ndefined&from=undefined&__pcode=rcom ned&id=tra &remote=undefined&pa ge=undefined&pageregion=undefined&guid=u ndefined&from=undefined&__pcode=rcom

 0:02 The Symphony opens with the Cello and Contrabass playing Theme 1 at a Mezzo Forte. 0:04 The Violins I and II come in with a round-like approach and follow the lower instruments melody. 0:16 The violins continue with the melody supported by the bass notes. 0:31 The violas appear, playing along with the Cello and Contrabass in a bridge that lasts a measure and a half. 0:36 The first violins come in with the melody that decrescendos slowly. 1:08 The bass and cello drop out and the violins continue playing the melody for another two measures. The melody they play is minor with a very disjunctive and atonal center. 1:15 The first violins stop playing the melody as the second violins come in with a tremolo at piano. 1:18 The oboes play theme II at mezzo piano while the violins continue tremolo and the cello and bass pizzicato a counter melody.

1:30 The second violins play theme I at mezzo forte and are joined by the violas, cellos and bass. 1:50 The first violins play a variation of theme II and are supported by the second violins and violas. 2:31 The melody ascends and increases to a forte at it's climax. 2:35 The melody descends and decrescendos 2:37 The melody hits a piano dynamic. 2:48 The first violins play an extremely high note while the second violins play a melody similar to that of the first theme. 2:54 The fist violins resume playing the melody 3:09 The oboe begins the melody by playing an ascending scale while the clarinet supports it with a lower melody played at a piano dynamic.

 3:23 The violins repeat the theme heard at the beginning of the piece with a support of ascending five-note scales in the cellos. 3:38 The brass instruments, specifically the oboes, play the theme II melody while the coronets I and II play an echo of the oboe in chords. 4:01 The first violins and the flutes play a series of high E's while the coronets, trombones, second violins, violas and cellos play essentially the same ascending scale in quarter notes. 4:04 The violins and flutes play an almost fanfare-like melody while the supporting instruments change from a minor key to a major key. 4:14 The key once again changes from major to a very discorded minor characterized by atonal chords and bizarre rhythms. 4:25 The melody once again returns to as it was in the beginning with the cello and bass copying the melody set by the violins and violas. 4:34 The brass section once again comes in with the melody at a piano dynamic. 4:46 The string instruments minus the first violins play a pattern of quarter, eighth, eighth, quarter notes at a piano dynamic.

4:49 The first violins play a melody line similar to that of the second theme. 4:54 The key changes from minor to major as a result of the melody played by the first violins. 5:26 The flute plays the melody of the first violin at a lower pitch and volume. 5:33 The dynamic of the supporting strings increases to a forte. 5:51 The violas take over, playing the melody in a division of high half notes and low eight notes at a piano dynamic. 5:58 The cellos echo the viola melody. 6:23 The melody decrescendos to a pianissimo 6:29 The brass section once again plays a supporting chord of half notes at pianissimo.

6:36 The flute begins a solo at a piano dynamic. 7:05 The violin I begin to play with the flute melody. 7:11 The second violins, cellos and bass tremolo in unison. 7:16 The music increases in dynamic and tempo in preparation for the climax of the phrase. 7:19 The climax is reached by the first violins and flutes. The melody begins to decrescendo. 7:23 The oboe begins a solo

7:43 The cello and contrabass begin a pattern of long-short-short- long notes similar to those played by the lower string instruments at 4:46. 7:46 The violas play the melodic line 8:17 The melody line switches from the violas to the cellos. 8:20 The melody switches from the cellos to the bass and decrescendos. 8:21 The piano is introduced playing an ascending version of the melody that just descended through the lowest string instruments. 8:24 The coronet once again plays a supporting melody derived from theme II while the piano continues the melody. The whole is at a mezzo forte. 8:33 The piano begins to ascend in melody. The coronets stay forte playing half notes and whole notes.

8:45 The trombone plays a descending contour similar to the melody of theme I. The piano is diminished to a piano dynamic, the coronet to a mezzo piano. 9:00 The cello and bass begin to play the same rhythm as the piano at a different pitch in pizzicato. 9:04 The flute, clarinet and oboe play the same ascending melody at a forte as the piano, cello and bass continue the staccato supporting melody. 9:19 The violins and violas play an ascending melody at forte. 9:22 The violins begin to descend and decrescendo in the melodic line.

9:32 The violas begin a supporting melody of eighth notes as the brass section plays the same rhythmic ascending melody. The whole is forte. 9:38 The violins once again take the melody as the dominant instrument in the group playing a really dissonant and disjoint melody. 9:45 The violins switch to a supporting melody of eighth notes and the brass section takes the melody. The whole is forte. 9:54 The brass section begins a trumpet march and the violins play the melody, all at a forte 10:03 The trumpet melody switches to the violins and the brass section begins to play the melody.

► 10:14 The contrapuntal scheme of the piece is really evident as the brass plays a swinging melody, the lower strings play a simple quarter note and eighth note melody and the higher strings play a quick melody similar to that of the swinging brass section. The whole is, once again, loud. 10:26 The climax of the piece is reached as the symbols clash, the swinging melody stops and the dynamic drops to mezzo forte. The trombone play theme I and the snare drum plays a repeating pattern. 10:57 The higher strings play an ascending variation of theme II. 11:01 The cello and bass play quarter notes at a forte while the violins play eighth and sixteenth notes at a mezzo forte. 11:15 The descending melody is played by both the strings and brass section. The dynamic does not change. 11:24 The recapitulation of theme II occurs in the strings and brass at a forte. 12:05 The melody starts to decrescendo.

12:19 The string instruments play the melody in synchronization at a forte. 12:35 The timpani plays an increasing drum roll until the climax of the phrase. 13:13 The brass section plays the melody at a forte. The timpani supports the instrument, also at a forte. 13:20 The whole begins to decrescendo. 13:36 The piece takes on a major tone, the strings play the supporting melody, and the tempo is increased. The dynamic of the whole is mezzo piano. 13:38 The flute begins a solo at mezzo forte. 13:43 The coronet supports the flute solo. 14:07 The key changes from major to atonal minor again.

14:22 The clarinet plays an ascending scale that leads into the next section. 14:24 The clarinet takes over the melody with the flute as a support. The strings continue to play at a piano, and the two instruments with the melody play at a mezzo piano. 14:39 The strings cease to play The oboe and clarinet compliment each other in a solo. 15:32 The violas play the melody with the clarinets. 15:54 The violas play the melody with the cellos and the bass supports with a held whole note. 16:00 The flute once again begins a solo at piano. The melody it plays is an inverted version of theme I. 14:22 The clarinet plays an ascending scale that leads into the next section. 14:24 The clarinet takes over the melody with the flute as a support. The strings continue to play at a piano, and the two instruments with the melody play at a mezzo piano. 14:39 The strings cease to play The oboe and clarinet compliment each other in a solo. 15:32 The violas play the melody with the clarinets. 15:54 The violas play the melody with the cellos and the bass supports with a held whole note. 16:00 The flute once again begins a solo at piano. The melody it plays is an inverted version of theme I.

16:31 The first violin plays an almost indistinguishable ascending scale. The melody in the lower strings grows to a mezzo piano. 16:56 The cello and bass play the melody heard at the beginning at pianissimo. 17:19 The celesta plays the first ascending scale, supported by tied eighth notes in the string section and held whole notes in the brass section. The whole is at a pianissimo. 17:25 The celesta plays the second ascending scale, the music is slowing and growing softer. 17:30 The brass section plays a final two note tribute to theme I, the celesta begins it's final ascending scale. 16:31 The first violin plays an almost indistinguishable ascending scale. The melody in the lower strings grows to a mezzo piano. 16:56 The cello and bass play the melody heard at the beginning at pianissimo. 17:19 The celesta plays the first ascending scale, supported by tied eighth notes in the string section and held whole notes in the brass section. The whole is at a pianissimo. 17:25 The celesta plays the second ascending scale, the music is slowing and growing softer. 17:30 The brass section plays a final two note tribute to theme I, the celesta begins it's final ascending scale.

Citations Music Files Ltd, “Dmitri Shostakovich – an overview of the classical composer” Autonomous Nonprofit Organization "Russiapedia: Those Russians" Fay, Laurel E. “Shostakovich: A Life.” New York: Oxford University Press, Simms, Bryan R. Music of The Twentieth Century. New York: Schirmer Books, 1986 Grout, Donald J. A History of Western Music. New York: W. W. Norton & Company, Inc Clavier. “Dmitri Shostakovich” Piano Explorer March 2009 Music Files Ltd, “Dmitri Shostakovich – an overview of the classical composer” Autonomous Nonprofit Organization "Russiapedia: Those Russians" Fay, Laurel E. “Shostakovich: A Life.” New York: Oxford University Press, Simms, Bryan R. Music of The Twentieth Century. New York: Schirmer Books, 1986 Grout, Donald J. A History of Western Music. New York: W. W. Norton & Company, Inc Clavier. “Dmitri Shostakovich” Piano Explorer March 2009 Shostakovich(?) and Volkov, Testimony: The Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov, translated from the Russian by Antonina W. Bouis Harper & Row Publishers, New York, 1979 Kuenning, Geoff “Shostakovich: Symphony No. 5 in D Minor” Geoff Kuenning Brown, Royal. “Dmitri Shostakovich, Symphony No. 5 op. 47” Shostakovich Symphony No. 5 Leonard Bernstein, New York Philharmonic Shostakovich(?) and Volkov, Testimony: The Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov, translated from the Russian by Antonina W. Bouis Harper & Row Publishers, New York, 1979 Kuenning, Geoff “Shostakovich: Symphony No. 5 in D Minor” Geoff Kuenning Brown, Royal. “Dmitri Shostakovich, Symphony No. 5 op. 47” Shostakovich Symphony No. 5 Leonard Bernstein, New York Philharmonic Amazon. "Amazon.com: Shostakovich: Symphony No. 5 in D Minor, Op.47 / Ballet Suite No. 5 from "The Bolt" Op. 27A - Neeme Järvi /…." Amazon.com: Online Shopping for Electronics, Apparel, Computers, Books, DVDs & More. Web. 17 July Amazon. "Amazon.com: Shostakovich: Symphony No. 5 in D Minor, Op.47 / Ballet Suite No. 5 from "The Bolt" Op. 27A - Neeme Järvi /…." Amazon.com: Online Shopping for Electronics, Apparel, Computers, Books, DVDs & More. Web. 17 July Clipart taken from the following websites: Clipart taken from the following websites: