historic musical bits: Abbado conducts Prokofiev – Symphony No. 1 in D major ‘Classical’, Op. 25

Abbado conducts Prokofiev – Symphony No. 1 in D major ‘Classical’, Op. 25

ClassicalRecords

Uploaded on Nov 24, 2010

Sergei Prokofiev (1891-1953)

Symphony No. 1 ‘Classical’, Op. 25
I. Allegro 0:02
II. Larghetto 3:50
III. Gavotte: Non troppo allegro 8:09
IV. Finale: Molto vivace 9:40

Written in 1917.

Claudio Abbado, conductor
London Symphony Orchestra

Released in 1971.

ClassicalRecords is a Youtube channel where I upload some excellent performances from the LPs in my collection. I’m uploading these LPs because they are either not available on CD, out of print on CD, or just difficult to find.

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD ( 3rd mov. ‘un sospiro’), great compositions/performances

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD

hellsan631

Published on Sep 11, 2012

Includes all 3 movements. Taken from “Liszt: The Piano Concertos; 3 Etudes de Concert (1976)”

1. Il lamento
0:00 to 10:40

2. La leggierezza
10:50 to 16:16

3. Un sospiro
16:24 to 22:28

Quality – AAC, audio bitrate: 320kbps*
Video MP4 – 348kbps

English: chilean pianist Claudio Arrau. Español: Pianista chileno Claudio Arrau. (Photo credit: Wikipedia)

Perhaps the most Beautiful piece of music is the 3rd movement. There is another version of it on YouTube, but it is in extremely low audio quality. With this recording, you can sometimes hear the performer’s clothes move, or his breathing, only slightly.

If I enjoy the rest of the CD enough, I will upload the other 2 piano concertos.

Credits:
Franz Liszt
Claudio Arrau (Piano)
Recorded in London England, November of 1976
Philips Classics

*Change to 720p Video to get the a 192 kbps Audio Stream (the highest you can get on YouTube)

Liszt: The Piano Concertos; 3 Etudes de Concert
Études de concert (3), for piano, S. 144 (LW A118)

MQ0001081958
MC0002358753
F 2049358
C 11442

 

Maurice Ravel – Introduction & Allegro for Harp, Flute, Clarinet & String Quartet(1905) : Great compositions/performances|Art by Jean-Léon Gérôme

Maurice Ravel – Introduction & Allegro for Harp, Flute, Clarinet & String Quartet(1905)

    pelodelperro
******Stuttgart Chamber Music Ensemble******The Introduction and Allegro (1905) is one of the few pieces by Ravel that has remained more or less in the shadows — save in the minds of harpists — throughout the last century. While it is certainly not among the composer’s most striking works, it is nevertheless a pleasant enough showpiece that looks forward to the raw sensuality of Daphnis et Chloé while hearkening back with great affection to the music of Chabrier and, especially, Franck. The full title of the work is Introduction and Allegro for Harp, Accompanied by a Quartet of Strings, Flute, and Clarinet. Although it is often conveniently designated a septet, it is really a kind of miniature (10-minute) harp concerto, complete with virtuoso writing and an extended central cadenza for the instrument. Chamber performances of the work, in fact, are few and far between; it is far more frequently heard in the orchestra hall with a full complement of strings. The general simplicity of form and harmony have led some to conclude that the Introduction and Allegro might have originally been composed as a test piece for the Paris Conservatoire; certainly it did not stand out sufficiently in Ravel’s own memory for him to include it in his list of works.

The brief  Très lent introduction presents two themes, the first for the woodwinds in leaping parallel thirds, the second an inverted-arch-shaped gesture sung by the strings in octaves. Presently a shimmering texture of arpeggios and woodwind double-tonguing takes over, inviting the cello to explore another melody before the harp rejoins the lush musical fabric.

Twenty-six bars into the piece the Allegro commences. Now, as the harp makes an extended solo exploration of the melody presented earlier by the strings, a sonata form begins to take shape. A second, hemiola-ridden theme arrives in the woodwinds, accompanied pizzicato by the strings. The development of this material takes place in the usual fragmentary manner, building to an excited fff climax that breaks away abruptly as the harp assumes center stage with a cadenza. The recapitulation is quite straightforward, and the work ends without extensive fireworks or bombast of any kind. The Introduction and Allegro was first performed in late February 1907. [allmusic.com]

******Art by Jean-Léon Gérôme*****

Google Art Project works by Jean-Léon Gérôme

Google Art Project works by Jean-Léon Gérôme Google Art Project works by Jean-Léon Gérôme From Wikimedia Commons, the free media repository (click to access and view the Art collection, or take a virtual museums tour! All available here at euzicasa!)

From Wikimedia Commons, the free media repository

Media in category “Google Art Project works by Jean-Léon Gérôme”

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Carl Maria von Weber, Konzertstück f-moll für Klavier und Orchester, Op.79. Alfred Brendel & LSO

  Czarmuzyki Ewa Chamiec

Carl Maria von Weber Konzertstück f-moll für Klavier und Orchester, Op. 79 – Alfred Brendel, London Symphony Orchestra, Claudio Abbado — https://www.youtube.com/playlist?list…

Ravel – Daphnis et Chloé, Suite n°2 (Seiji Ozawa),: GREAT COMPOSITIONS/PERFORMANCES

Ravel – Daphnis et Chloé, Suite n°2 (Seiji Ozawa)

Wyndorel

***************************************************************

From Wikipedia, the free encyclopedia

 

This article is about the Fokine ballet to Ravel’s music. For the original story, see Daphnis and Chloe. For the operetta by Jacques Offenbach, see Daphnis et Chloé (Offenbach).

Set design by Léon Bakst for the world premiere of the ballet Daphnis et Chloé (music by Maurice Ravel), Paris 1912.

Daphnis et Chloé is a ballet with music by Maurice Ravel. Ravel described it as a “symphonie choréographique” (choreographic symphony). The scenario was adapted by Michel Fokine from an eponymous romance by the Greek writer Longus thought to date from around the 2nd century AD. Scott Goddard published a contemporary commentary that discussed the changes to the story that Fokine made to prepare a workable ballet scenario.^[1] The story concerns the love between the goatherd Daphnis and the shepherdess Chloé. The ballet is in one act and three scenes.

Ravel began work on the score in 1909 after a commission from Sergei Diaghilev. It was premiered at the Théâtre du Châtelet in Paris by his Ballets Russes on June 8, 1912. The orchestra was conducted by Pierre Monteux, the choreography was by Michel Fokine, and Vaslav Nijinsky and Tamara Karsavina danced the parts of Daphnis and Chloe. Léon Bakst designed the original sets.

At almost an hour long, Daphnis et Chloé is Ravel’s longest work. In spite of the ballet’s duration, four discernable leitmotifs give musical unity to the score.^[1][2] The music, some of the composer’s most passionate, is widely regarded as some of Ravel’s best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer’s lifetime, contemporary commentators described this ballet as his masterpiece for orchestra.^[3] Ravel extracted music from the ballet to make two orchestral suites, which can be performed with or without the chorus. The second of the suites, which includes much of the last part of the ballet and concludes with the “Danse générale”, is particularly popular. When the complete work is itself performed live, it is more often in concerts than in staged productions.

Structure

Part I

• Introduction et Danse religieuse
• Danse générale
• Danse grotesque de Dorcon
• Danse légère et gracieuse de Daphnis
• Danse de Lycéion
• Danse lente et mystérieuse des Nymphes

Part II

• Introduction
• Danse guerrière
• Danse suppliante de Chloé

Part III

• Lever du jour
• Pantomime (Les amours de Pan et Syrinx)
• Danse générale (Bacchanale)

In popular culture

Music

Trumpeter Harry James, in his 1942 arrangement of Eric Coates‘s By the Sleepy Lagoon, made use of the “Lever du jour” from Daphnis et Chloé for its opening theme.^[4]

The title song (“You can see forever”) from the musical On a clear day is based on the “Dawn” passage in the second Suite from Daphnis et Chloé.^{[citation needed]}

Sports

In 2002 American figure skater Sarah Hughes won an Olympic gold medal skating to selections from Daphnis et Chloé at the XIX Olympic Winter Games in Salt Lake City.

Prokofiev “War” Sonata #7 Valentina Lisitsa 1st mov. Allegro Inquieto: Great compositions/performaces

Prokofiev “War” Sonata #7 Valentina Lisitsa 1st mov. Allegro Inquieto

ValentinaLisitsa

From Valentina: Sonata #7, one of so called “war” sonatas, written mostly in 1942 , premiered in January 1943 by Richter.

A long bit of pre-history to how this sonata came along:
Prokofiev-the-human was not exactly a kind of person you would dream of to be your best friend  As a kid studying in conservatory he was both nerdy and arrogant — he never missed an opportunity flaunt his formidable talents in front of his older classmates ( he was by far the youngest in his class), yet he was so jealous of his fellow composers that he couldn’t even hide his bile, not even when he wrote and re-wrote and re-edited (FOR POSTERITY! In his own admission ) his school-days diary to make himself look really good and smart….In fact , he was always smart and thought himself even smarter. How many underage musical school students do you, dear reader, know — who trade their own stocks and bonds in a spare time from studying Beethoven Sonatas? Yes, me neither…
Anyway, he thought he will always outsmart everybody and for a while he was lucky. He escaped newly-hatched Soviet Russia just before the iron curtain closed, enjoying admiration of the West as a young brilliant composer from red Russia, hailed by critics as “an apostle of Bolshevism” . He commuted between trendy circles of Paris and US with ease while his compatriots were being enslaved and starved . He got himself a gorgeous trophy foreign wife, drove fast cars ,gambled a lot , made visits to Russia where he was feted as a celebrity ,incurred a lot of debts…. When time came to pay those debts he though he can once again outsmart everybody, by pulling a magic trick out of his fashionable hat — by denouncing capitalist West and moving back to Mother Russia, safely out of reach of creditors. He did move — and heard a clicking noise of mousetrap closing upon him. For the first time in his life he lost, he got caught – with no escape in sight. From a visiting globe-trotting celebrity he was turned overnight into a humble public servant, required to compose what and when the Communist party would order him. No more Romeos and Juliettes , now the music had to be about workers of factories and collective farms, or — like he was made to write just before this Sonata — a panegyric oratorio wishing happy birthday to Stalin…. Prokofiev was not interested in history or politics and his music never before reflected on sufferings of millions or entire nations ( like Shostakovich or Mussorgsky did ), he was always writing about himself and HIS feelings. We can’t blame him for this, ok? It is enough to say that this music reflects mortal anxiety and fear that he and countless others felt in those years. The music of Allegro Inquieto is about this anxiety verging on hysterics, when you feel that something should be done, something MUST be done but you are powerless to do anything. Like a trapped animal that can’t comprehend what awaits it, keeps hitting the walls or running around in its cage, aimlessly. And then , in the second — contrasting – theme, stupor and reverie of most pitiful kind, passivity and pacifism of dying. One, only ONE thing , short 4 notes motive — that stands apart through this entire movement . Tah-tah-tah-Daah. A triplet of 8th notes and a quarter, repeated over and over , low and high, loud and quiet. This is the SAME motive that traces its genealogy from this sonata back to Beethoven Appasionata and from there to Fifth Symphony famous theme, This rhythm stands in Morse code for a letter V , V is for VICTORY, the “secret” code known for what it meant even during radio broadcasts during the war. This V and 100s times it repeats is he only ray of hope in the vast abyss this movement is.

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  JLWFan1

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  pianushko

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  Angelina Gotcheva

Live recording from concert at the National Academy of Music “prof. Pancho Vladigerov“, Sofia;
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Prokofiev – Piano Concerto No. 1, Op. 10

   Pratik Gandhi

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Rachmaninov – Suite for two pianos n°1 – Rudenko / Lugansky: make music part of your life series

From:

    incontrario motu

Rachmaninov – Suite for two pianos n°1 – Rudenko / Lugansky

Sergei Rachmaninov:  Suite for two pianos n°1 op.5:

I. Allegretto. Barcarolle 0:00
II. Adagio sostenuto. La nuit… L’amour 7:35
III. Largo di molto. Les larmes 13:53
IV. Allegro maestoso. Pâques 19:24

Vadim Rudenko
Nikolai Luganski
Live recording, Moscow

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Prokofiev: Piano Concerto n. 2 – Yefim Bronfman: make music part of your life series

From:

  orso1149

Prokofiev: Piano Concerto n. 2 – Yefim Bronfman

Yefim Bronfman plays the Prokofiev’s Piano Concerto n. 2 in G minor op. 16
Andantino – Allegretto, Scherzo, Intermezzo, Allegro tempestoso
Vassily Sinaisky conducts the Rai National Symphony Orchestra (Orchestra Sinfonica Nazionale della Rai)
Giampaolo Pretto, flute
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Sergei Prokofiev – Troika/Romance (from Lieutenant Kije Suite, Op. 60) : great compositions/performances

 FROM:

    100yearoldWhiskey

Sergei Prokofiev – Troika/Romance (from Lieutenant Kije Suite, Op. 60)

Title of Composition: Lieutenant Kije Suite, Op. 60
Composer: Sergei Prokofiev
Created in: 1933
Orchestra: Los Angeles Philharmonic
Conductor: Andre Previn
Recorded in: 1986

The CD is available for purchase at either Arkivmusic:
http://www.arkivmusic.com/classical/a…

Or at Amazon (MP3 is also available):
http://www.amazon.com/Prokofiev-Alexa…

The CD also includes Alexander Nevsky, Op. 78, a cantata that’s also composed by Prokofiev.

The images in the video are not my own.
The first image can be found here: http://www.publicdomainpictures.net/v…
The second image can be found here: http://www.publicdomainpictures.net/v…
This recording of Lieutenant Kije Suite is owned by Telarc.
–––––––––––––––––––––––––––––––––––––––––

From Wikipedia, the free encyclopedia

Lieutenant Kijé^[1] (Russian: Поручик Киже, Poruchik Kizhe) is the score composed by Sergei Prokofiev for the 1934 Soviet film Lieutenant Kijé directed by Aleksandr Faintsimmer based on the novel of the same title by Yury Tynyanov.

Movements

The suite, in five movements broadly follows the plot of the movie:^[2]

1. Kijé’s Birth. A clerk, while writing out the morning orders for his Imperial majesty Tsar Paul, miscopies two words, creating a Lieutenant “Kijé”. The Tsar learns of his “existence”, and issues numerous orders concerning him. The palace administrators have no choice but to carry them out.
2. Romance. The fictional lieutenant falls in love.
3. Kijé’s Wedding. Since the Tsar prefers his heroic soldiers to be married, the administrators concoct a fake wedding.
4. Troika.
5. Kijé’s Burial. The administrators finally rid themselves of the non-existent lieutenant by saying he has died.

Première

1937, Paris

Instrumentation

Baritone voice (sometimes performed as tenor saxophone).

2 flutes, piccolo, 2 oboes, 2 clarinets, tenor saxophone (sometimes performed on bassoon), 2 bassoons, 4 horns, 2 trumpets, cornet, 3 trombones, tuba, 3 percussionists (cymbals, sleigh bells, triangle, bass drum, snare drum, tambourine), harp, piano or/and celeste, and strings.

 

 

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Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a: great compositions/performances

Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a

FROM:

Maxime Brisole

From Wikipedia

Johannes Brahms

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »¹. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »¹. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

 

Prokofiev – Piano sonata n°6 – Richter Locarno 1966 (great compositions/performances)

[youtube.com/watch?v=HPaAXDhbhNY]

Prokofiev – Piano sonata n°6 – Richter Locarno 1966

Sergei Prokofiev:
Piano sonata n°6 op.82

I. Allegro moderato 0:00
II. Allegretto 8:55
III. Tempo di valzer lentissimo 12:45
IV. Vivace 19:07

Sviatoslav Richter
Live recording, Locarno, 18.IX.1966

Prokofiev – Romeo & Juliet – Leningrad / Mravinsky

[youtube.com/watch?v=DXyv4SZmKyY]

Prokofiev – Romeo and Juliet

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make music part of your life series: Prokofiev – Dance of the Knights

[youtube.com/watch?v=DUmq1cpcglQ[/embed]

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[youtube.com/watch?v=9ITSmOC2dS8]

Prokofiev – Romeo And Juliet – Juliet As A Young Girl

• Buy “Romeo and Juliet, Suite No. 2: Juliet as a Young Girl” on
  
  

  Google Play iTunes eMusic AmazonMP3

• Artist
  Sergei Prokofiev

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Make Music Part of Your Life Series: Saint-Saëns – Concerto no 1 pour piano et orchestre – Jeanne-Marie Darré

[youtube.com/watch?v=XBvJqdRLgaE]
Camille Saint-Saëns

Concerto pour piano et orchestre no 1
en ré majeur – opus 17

Jeanne-Marie Darré 

Orchestre National de la Radiodiffusion Française
Louis Fourestier 

Enregistré en 1956

I- Andante – Allegro assai 00:00

II- Andante sostenuto quasi adagio 10:19

III- Allegro con fuoco 17:52

Make Music Part of Your Life Series: Prokofiev in a Club! Sonata #7 Yellow Lounge Amsterdam Lisitsa

One day in a future the ‘traditional” concert halls will go the way of ‘traditional” movie theaters = disappear from use. I told you before – the BEST place to listen to the piano is directly under it. But try that in Concergebouw or Carnegie Hall _ they will call police on you 😉 Not so in a club . Yellow Lounge Amsterdam March 19th 2014 – http://www.trouwamsterdam.nl An ultimate experience listening to Prokofiev . Never mind the tinny captured recording – it was Imperial after all and it RRRRrrrocked – just ask the willing “victims” 🙂

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Make Music Part of Your Life Series: Sergei Prokofiev – Cinderella – Duet of the Prince and Cinderella

Sergei Prokofiev – Cinderella – Duet of the Prince and Cinderella Op. 87 

Direction: Vladimir Ashkenazy
The Cleveland Orchestra

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Great Compositions/Performances: Prokofiev – ‘The Love for Three Oranges Suite’, Op 33bis – BBC Symphony Orchestra, Rudolf Kempe conducting

Sergei Prokofiev
The Love for Three Oranges Suite, Op 33bis

00:00 I. The Clowns
03:04 II. The Magician and the Witch Play Cards
06:19 III. March
07:44 IV. Scherzo
09:15 V. The Prince and Princess
13:01 VI. The Flight

BBC Symphony Orchestra
Rudolf Kempe, conductor

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FABULOUS COMPOSERS/COMPOSITIONS: Prokofiev: Symphony No. 7 / Gergiev · London Symphony Orchestra

Gran presentación del maestro ruso Valery Gergiev conduciendo a la Orquesta Sinfónica de Londres, interpretando el último y melancólico trabajo de Sergei Prokofiev, su Sinfonía No. 7 en el festival de los Proms de la BBC de Londres el 28 de Agosto del 2007.

Great perfomance of the russian maestro Valery Gergiev conducting the London Symphony Orchestra, playing the last and most-melancholic work of Sergei Prokofiev, his Symphony No. 7 at BBC Proms, August 2007.

http://www.bbc.co.uk/proms/archive/se…

(C) BBC and ALL their respective owners.

Sergei Prokofiev – Symphony No. 1 in D major “Classical”, Op. 25

Sergei Prokofiev began work on his Symphony No. 1 in D major (Op. 25) in 1916, but wrote most of it in 1917, finishing work on September 10. It is written in loose imitation of the style of Haydn (and to a lesser extent, Mozart), and is widely known as the Classical Symphony, a name given to it by the composer. It premiered on April 21, 1918 in Petrograd, conducted by Prokofiev himself, and has become one of his most popular and beloved works.

The symphony can be considered to be one of the first neoclassical compositions. However, although it was composed in an attempt to emulate the style of Joseph Haydn, it does not do so strictly, and strongly reflects modern compositional practices and Prokofiev’s own voice. The work was partly inspired by his conducting studies at the Saint Petersburg Conservatory‎, where the instructor, Nikolai Tcherepnin, taught his students about conducting Haydn, among other composers.

The symphony is in four movements:

– Allegro 0:00
– Larghetto 3:50
– Gavotta: Non troppo allegro 7:45
– Finale: Molto vivace 9:22

Conductor: Kurt Masur
Orchestra: Dresdner Philharmonie

 

Prokofiev – Romeo And Juliet – Juliet As A Young Girl (wonderful, expressive composition)

Prokofiev – Romeo And Juliet – Juliet As A Young Girl

 

Mark Farago plays Prokofiev 10 Pieces from Romeo and Juliet Op.75

Mark Farago plays 
Prokofiev: 10 Pieces from Romeo and Juliet, Op.75
1. National Dance
2. Scena
3. Minuet
4. Juliet as a young girl
5. Masks
6. Montagues and Capulets
7. Friar Laurence
8. Mercutio
9. Dance of the girls with the lilies
10. Romeo and Juliet before parting

Mark Farago, piano
Recorded live on 23.03.2003 at the University of Szeged (Hungary)

 

Sergei Prokofiev – Symphony No. 1 ‘Classical’, op.25 (Riccardo Muti, conductor Wiener Philharmoniker 2 April 2000)

 From Wikipedia, the free encyclopedia

 

 Sergei Prokofiev began work on his Symphony No. 1 in D major (Op. 25) in 1916, but wrote most of it in 1917, finishing work on September 10.^[1] It is written in loose imitation of the style of Haydn (and to a lesser extent, Mozart), and is widely known as the Classical Symphony, a name given to it by the composer. It premiered on April 21, 1918 in Petrograd, conducted by Prokofiev himself,^[1] and has become one of his most popular and beloved works.  More…

Dmitri Shostakovich Festive Uverture Op 96

Shostakovich Festive Overture Op 96 Live At The  Nobel Prize Concert 2009:

Composer: Dmitri Shostakovich,
Conductor: Yuri Temirkanov,
Orchestra: Royal Stockholm Philharmonic.

Dmitri Dmitriyevich Shostakovich (September 1906 — 9 August 1975) was a Soviet Russian composer and one of the most celebrated composers of the 20th century.

Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky‘s chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the Stalinist bureaucracy. In 1936, the government, most probably under orders from Stalin, harshly criticized his opera Lady Macbeth of the Mtsensk District, causing him to withdraw the Fourth Symphony during its rehearsal stages. Shostakovich’s music was officially denounced twice, in 1936 and 1948, and was periodically banned. Nevertheless, he also received accolades and state awards and served in the Supreme Soviet of the RSFSR. Despite the official controversy, his works were popular and well received.

After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single work juxtaposed a wide variety of trends, including the neo-classical style (showing the influence of Stravinsky) and post-Romanticism (after Gustav Mahler). Sharp contrasts and elements of the grotesque characterize much of his music.

Shostakovich’s orchestral works include 15 symphonies and six concerti. His symphonic work is typically complex and requires large scale orchestras. Music for chamber ensembles includes 15 string quartets, a piano quintet, two pieces for a string octet, and two piano trios. For the piano he composed two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include two operas, and a substantial quantity of film music. Read more about His life and work at http://en.wikipedia.org/wiki/Dmitri_Shostakovich