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Dmitri Dmítrievich Shostakóvich , conocido como Dmitri Shostakóvich, fue un compositor y pianista soviético, uno de los músicos más importantes del siglo XX.

Shostakóvich se hizo famoso en los años iniciales de la Unión Soviética, con obras como la Sinfonía n.º 1 o la ópera La nariz, que combinaban con gran originalidad la tradición rusa y las corrientes modernistas procedentes de occidente. Posteriormente, su música fue unas veces denunciada como decadente y reaccionaria y otras, alabada como representativa del nuevo arte socialista por el Partido Comunista de la Unión Soviética . En público, siempre se mostró leal con el sistema soviético, ocupó responsabilidades importantes en las instituciones artísticas, aceptó pertenecer al PCUS en 1960 y llegó a ser miembro del Soviet Supremo de la URSS. Su actitud frente al gobierno y el Estado soviético ha sido objeto de agrias polémicas y se ha discutido enconadamente si fue o no un disidente clandestino frente a la URSS.

Tras un período inicial en el que parecen primar las influencias de Serguéi Prokófiev, Ígor Stravinski y Paul Hindemith, Shostakóvich desarrolló un estilo híbrido del que es representativa su ópera Lady Macbeth de Mtsensk . Posteriormente derivó hacia un estilo posromántico, donde destaca la Sinfonía No. 5 , y en el que la influencia de Gustav Mahler se combina con la tradición musical rusa, con Modest Músorgski y Stravinsky como referentes importantes. Shostakóvich integró todas esas influencias creando un estilo muy personal. La música de Shostakóvich suele incluir contrastes agudos y elementos grotescos,[1]​ con un componente rítmico muy destacado. En su obra orquestal destacan quince sinfonías y seis conciertos; en su música de cámara cabe mencionar especialmente sus quince cuartetos para cuerdas; también compuso varias óperas, así como música de cine y ballet.



Wikipedia  

✵ 12. septiembre 1906 – 9. agosto 1975   •   Otros nombres Дмитрий Шостакович, Шостакович Дмитрий Дмитриевич
Dmitri Shostakóvich Foto
Dmitri Shostakóvich: 34   frases 4   Me gusta

Dmitri Shostakóvich Frases y Citas

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“Por alguna razón, la gente piensa que la música debe contarnos solo sobre los pináculos del espíritu humano, o al menos sobre villanos altamente románticos. La mayoría de las personas son promedio, ni negras ni blancas. Son grises. Un sucio tono gris. Y es en ese vago término medio gris donde tienen lugar los conflictos fundamentales de nuestra época.”

Dmitri Shostakóvich
De gente , De música

Dmitri Shostakóvich: Frases en inglés

“What can be considered human emotions? Surely not only lyricism, sadness, tragedy? Doesn't laughter also have a claim to that lofty title? I want to fight for the legitimate right of laughter in "serious" music.”

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Dmitri Shostakovich

From an article in Sovetskoye Iskusstvo, November 5, 1934; translation from Laurel Fay Shostakovich: A Life (2000) p. 77.

“For some reason, people think that music must tell us only about the pinnacles of the human spirit, or at least about highly romantic villains. Most people are average, neither black nor white. They're gray. A dirty shade of gray. And it's in that vague gray middle ground that the fundamental conflicts of our age take place.”

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Dmitri Shostakovich libro Testimony

Page 94
Testimony (1979)

“What you have in your head, put down on paper. The head is a fragile vessel.”

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Dmitri Shostakovich libro Testimony

Page 229
Testimony (1979)

“Art destroys silence.”

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Dmitri Shostakovich libro Testimony

Testimony: The Memoirs

“I write music, it's performed. It can be heard, and whoever wants to hear it will. After all, my music says it all. It doesn't need historical and hysterical commentaries. In the long run, any words about music are less important than the music.”

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Dmitri Shostakovich libro Testimony

Page 196
Testimony (1979)

“I feel eternal pain for those who were killed by Hitler, but I feel no less pain for those killed on Stalin's orders. I suffer for everyone who was tortured, shot, or starved to death.”

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Dmitri Shostakovich libro Testimony

Page 155
Testimony (1979)

“If they cut off both hands, I will compose music anyway holding the pen in my teeth.”

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Dmitri Shostakovich

Said to Isaac Glikman, 1936; cited from Laurel Fay Shostakovich: A Life (2000) p. 92.

“The real geniuses know where their writing has to be good and where they can get away with some mediocrity.”

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Dmitri Shostakovich

In conversation with Isaac Glikman, July 4, 1966; Josiah Fisk & Jeff Nichols (eds.) Composers on Music (1997) p. 355.

“The withering away of illusions is a long and dreary process, like a toothache. But you can pull out a tooth. Illusions, dead, continue to rot within us. And stink. And you can't escape them. I carry all of mine around with me.”

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Dmitri Shostakovich libro Testimony

Page 85
Testimony (1979)

“A great piece of music is beautiful regardless of how it is performed. Any prelude or fugue of Bach can be played at any tempo, with or without rhythmic nuances, and it will still be great music. That's how music should be written, so that no-one, no matter how philistine, can ruin it.”

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Dmitri Shostakovich

Letter to Isaac Glikman, August 28, 1955; Josiah Fisk & Jeff Nichols (eds.) Composers on Music (1997) p. 364.

“A creative artist works on his next composition because he is not satisfied with his previous one. When he loses a critical attitude toward his own work, he ceases to be an artist.”

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Dmitri Shostakovich

New York Times, October 25, 1959.

“I always try to make myself as widely understood as possible, and if I don't succeed I consider it's my own fault.”

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Dmitri Shostakovich

New York Times, February 9, 1942.

“I don't think that either self-deprecation or self-aggrandizement is among the defining qualities of an artist…Beethoven could have been forgiven if his symphonies had gone to his head. Gretchaninoff could also be forgiven if his Dobrinya Nikititch went to his head. But neither one could be forgiven for writing a piece that was amoral, servile, the work of a flunky.”

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Dmitri Shostakovich

Letter to Isaac Glikman, February 26, 1960; Josiah Fisk & Jeff Nichols (eds.) Composers on Music (1997) p. 354.

“Music is a means capable of expressing dark dramatism and pure rapture, suffering and ecstasy, fiery and cold fury, melancholy and wild merriment – and the subtlest nuances and interplay of these feelings which words are powerless to express and which are unattainable in painting and sculpture.”

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Dmitri Shostakovich

"The Power of Music" (1964), translated in Music Journal, September 1965, p. 37.

“When a man is in despair, it means that he still believes in something.”

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Dmitri Shostakovich libro Testimony

Page 175
Testimony (1979)

“I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov. It's as if someone were beating you with a stick and saying, "Your business is rejoicing, your business is rejoicing," and you rise, shaky, and go marching off, muttering, "Our business is rejoicing, our business is rejoicing."”

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Dmitri Shostakovich libro Testimony

Page 183.
Testimony (1979)

“You ask if I would have been different without "Party guidance"? Yes, almost certainly. No doubt the line I was pursuing when I wrote the Fourth Symphony would have been stronger and sharper in my work. I would have displayed more brilliance, used more sarcasm, I could have revealed my ideas openly instead of having to resort to camouflage.”

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Dmitri Shostakovich

In conversation with Flora Litvinova, 1970; cited from Elizabeth Wilson Shostakovich: A Life Remembered (1994) pp. 425-6.

“I live in the USSR, work actively and count naturally on the worker and peasant spectator. If I am not comprehensible to them I should be deported.”

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Dmitri Shostakovich

In discussion with an opera audience, January 14, 1930; cited from Laurel Fay Shostakovich: A Life (2000) p. 55.

“It's about the people, who have stopped believing because the cup of evil has run over.”

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Dmitri Shostakovich libro Testimony

Page 8
Of his Eleventh Symphony.
Testimony (1979)

“Real music is always revolutionary, for it cements the ranks of the people; it arouses them and leads them onward.”

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Dmitri Shostakovich

"The Power of Music" (1964), translated in Music Journal, September 1965, p. 37.

“What do you think of Puccini?
[ Britten: "I think his operas are dreadful." ]
No, Ben, you are wrong. He wrote marvellous operas, but dreadful music.”

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Dmitri Shostakovich

Quoted in Lord Harewood The Tongs and the Bones (1981) p. 133.

“The most uninteresting part of the biography of a composer is his childhood. All those preludes are the same and the reader hurries on to the fugue.”

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Dmitri Shostakovich libro Testimony

Page 6
Testimony (1979)

“The Allies enjoyed my music, as though trying to say: Look how we like Shostakovich's symphonies, and you still want something more from us, a second front or something.”

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Dmitri Shostakovich libro Testimony

Page 137
Testimony (1979)

“There can be no music without ideology. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters.”

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Dmitri Shostakovich

New York Times, December 20, 1931.

“People knew about Babi Yar before Yevtushenko's poem, but they were silent. And when they read the poem, the silence was broken. Art destroys silence.”

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Dmitri Shostakovich libro Testimony

Page 159
Testimony (1979)

“Jewish folk music has made a most powerful impression on me. I never tire of delighting in it, it's multifaceted, it can appear to be happy while it is tragic. It's almost always laughter through tears. This quality of Jewish folk music is close to my ideas of what music should be. There should always be two layers in music. Jews were tormented for so long that they learned to hide their despair. They express despair in dance music.”

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Dmitri Shostakovich libro Testimony

Page 156
Testimony (1979)

“He is thinner, taller, younger – more boyish-looking – than expected, but he is also the shyest and most nervous human being I have ever seen. He chews not merely his nails but his fingers, twitches his pouty mouth and chin, chain-smokes, wiggles his nose in constant adjustment of his spectacles, looks querulous one moment and ready to cry the next. His hands tremble, he stutters, his whole frame wobbles when he shakes hands…There is no betrayal of the thoughts behind those frightened, very intelligent eyes.”

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Dmitri Shostakovich

Robert Craft, journal entry for October 1, 1962; published in Igor Stravinsky and Robert Craft Dialogues and Diary (1968) pp. 291-2.

“Many consider that Shostakovich is the greatest 20th-century composer. In his 15 symphonies, 15 quartets, and in other works he demonstrated mastery of the largest and most challenging forms with music of great emotional power and technical invention…All his works are marked by emotional extremes – tragic intensity, grotesque and bizarre wit, humour, parody, and savage sarcasm.”

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Dmitri Shostakovich

Michael Kennedy The Concise Oxford Dictionary of Music (1980) p. 593.

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