Dmitri Shostakovich: Encyclopedia II - Dmitri Shostakovich - Orthodoxy and revisionism

Dmitri Shostakovich - Orthodoxy and revisionism

Shostakovich's response to official criticism is disputed. It is clear that outwardly he conformed with the state, reading speeches and putting his name to articles expressing the government line. It is also generally agreed that he disliked the regime, a view confirmed by his family, his letters to Isaak Glikman, and the satirical cantata "Rayok", which ridiculed the "anti-formalist" campaign and was kept hidden until after his death.

What is uncertain is the extent to which Shostakovich expressed his opposition to the state in his other music. The revisionist view was put forth by Solomon Volkov in the 1979 book Testimony, which was claimed to be Shostakovich's memoirs dictated to Volkov. The book claimed that many of the composer's works contained coded anti-government messages. It is known that he incorporated many quotations and motifs in his work, most notably his signature DSCH theme. His longtime collaborator Yevgeny Mravinsky said that "Shostakovich very often explained his intentions with very specific images and connotations".^[33] The revisionist perspective has subsequently been supported by his children, Maxim and Galina, and many Russian musicians. More recently, Volkov has argued that Shostakovich adopted the role of the yurodivy or holy fool in his relations with the government. His widow Irina supports the general revisionist thesis but denies the authenticity of Testimony. Other prominent revisionists are Ian MacDonald, whose book The New Shostakovich put forward more interpretations of his music, and Elizabeth Wilson, whose Shostakovich: A Life Remembered provides testimony from many of the composer's acquaintances.

Many musicians and scholars (notably Laurel Fay and Richard Taruskin) contest the authenticity (and debate the significance) of Testimony, alleging that Volkov compiled it from a combination of recycled articles, gossip, and possibly some information direct from the composer. More broadly, they argue that the significance of Shostakovich is in his music rather than his life, and that to seek political messages in the music detracts from, rather than enhances, its artistic value.

Adapted from the Wikipedia article "Orthodoxy and revisionism", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki