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Topic: Rayok (Shostakovich)

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	Shostakovich Encyclopedia Article @ Testified.org (Site not responding. Last check: 2007-10-08)
		Shostakovich died of DSCH on List of compositions by Dmitri Shostakovich, First Symphony and after a civic funeral was interred in the, child prodigy.
		Shostakovich's music shows the influence of many of the composers he most admired: 1930 in his edit and edit; ^ in the late 1937; ^ in the symphonies and Testimony (book) in his use of musical codes and quotations.
		It is certainly true that Shostakovich borrows extensively from the material and styles both of earlier composers and of 2005; the vulgarity of "low" music is a notable influence on this "greatest of eclectics".
	www.testified.org /encyclopedia/Shostakovich (4214 words)

	Shostakovich Encyclopedia Article @ Testifying.org (Site not responding. Last check: 2007-10-08)
		Shostakovich died of Bach on Belarusian Russians, Lady Macbeth and after a civic funeral was interred in the Babi Yar, Soviet.
		Shostakovich's musical influence on later composers outside the former Soviet Union has been relatively slight, although card games has taken up his eclecticism, and his contrasts between the dynamic and the static, and some of Rodchenko's music shows clear links to Shostakovich's style of orchestration.
		Shostakovich's music shows the influence of many of the composers he most admired: Luebke, Jon in his 1937 and Hindemith; in the late [12]; D.
	www.testifying.org /encyclopedia/Shostakovich (4269 words)

	9 August 2000 - 25th Anniversary of Shostakovich's Death
		Shostakovich frequently used the medium of the string quartet to express his personal moods, as it were to musically reflect his life situation as it then stood.
		Shostakovich apparently discovered these songs in a 1947 volume of poetry edited by J. Dobrushyn and A. Yunitsky in a bookshop and was deeply moved by their poetry on the spot, according to the official Soviet version.
		Shostakovich composed this overture in honour of the one hundredth anniversary of the voluntary union of the Kirghiz with Russia.
	www.geocities.com /kuala_bear/articles/sikorski.html (13977 words)

	MusicalSelections.com > Composers > Dmitri Shostakovich > Biography (Site not responding. Last check: 2007-10-08)
		Shostakovich died of lung cancer on August 9, 1975 and was interred in the Novodevichy Cemetery, Moscow, Russia.
		Shostakovich's music shows the influence of many of the composers he most admired: Bach in his fugues and passacaglias; Beethoven in the late quartets; Mahler in the symphonies and Berg in his use of musical codes and quotations.
		Shostakovich was in many ways an obsessive man: according to his daughter he was "obsessed with cleanliness"; he synchronised the clocks in his apartment; he regularly sent cards to himself to test how well the postal service was working.
	www.musicalselections.com /composers/47/biography (3211 words)

	Shostakovich Encyclopedia Article @ Asserted.net (Site not responding. Last check: 2007-10-08)
		Russia, Shostakovich was the second of three children born to Dmitri Boleslavovich Shostakovich and Sofiya Vasilievna Shostakovich.
		avant-garde artistic circles of the early Soviet period among which Shostakovich moved early in his career, and argues that these borrowings were a deliberate technique to allow him to create, "patterns of contrast, repetition, exaggeration" which gave his music the large-scale structure it required.
		Rayok", which ridiculed the "anti-formalist" campaign and was kept hidden until after his death.
	www.asserted.net /encyclopedia/Shostakovich (3706 words)

	Music under Soviet rule: Yakubov summary
		Shostakovich was acutely sensitive, in a way that no one else was, to the ambiguity of all that went on around him, to those glimmering, elusive double-meanings that everything possessed, but which we ourselves have only recently begun to acknowledge as an agonising aspect of our former physical, social, and psychological lives [in the USSR].
		Shostakovich's music continues to hold its appeal precisely because it is inspired with the spirit of free thought and free creativity, an inspiration derived despite, or perhaps because of, being created under hopelessly oppressive conditions.
		Shostakovich's words at the rehearsal caused such a tremendous shock among the party functionaries present in the hall that during the performance of the symphony that followed, Apostolov, an executive of the Soviet Communist Party's Central Committee and a former persecutor of Shostakovich, collapsed and died from a heart attack.
	www.siue.edu /~aho/musov/yak/yak.html (2659 words)

	Russian Literary Avant-Garde and Revolution
		Shostakovich, Antiformalist Rayok (1948-1968; lyrics here [PDF]) - 7.83 MB The musical selection for "Jester Day" (Kharms/Zoshchenko), Shostakovich's cantata is a biting satire of the "musical activism" of the Central Committee of the Communist Party of the Soviet Union (CPSU).
		Shostakovich was dismissed from the faculty of the Conservatory of Leningrad "as personnel reduction"; the Soviet Union's largest orchestras and performers ceased to play his music (to be on the safe side).
		Shostakovich offered excuses, extended "thanks for the criticism," promised to reform, and assured that he "will try to compose music that is clear and close to people." He issued an oratorio titled "Song of the Woods," a number of patriotic mass songs, and music to war movies.
	russian.psydeshow.org /music (1568 words)

	Austin Film Society :: Dmitri Shostakovich Centennial Celebration
		Shostakovich was haunted and angered by Stalin’s irrational insistence on joy in the midst of great suffering, his much vaunted but often catastrophic 5-year plans, his hate lists which were typed on endless streams of paper, his public “trials” which were mockeries of justice.
		Shostakovich began as a believer, struggled as an idealist, succeeded as an artist, and then was beaten down by stronger forces of evil.
		Shostakovich’s friends told him to destroy it or “hide it well.” It was performed for only family and friends while Shostakovich was still alive, but its writing proves that he still needed to exorcise his Stalinist demons, even if in private.
	www.austinfilm.org /screenings/shostakovich.php (1785 words)

	Music under Soviet rule: The War Symphonies
		Shostakovich's Fourth Symphony, then, was begun (in late 1935) not only within an ongoing culture of fear and purge, but nearly a year into the Great Terror itself.
		Shostakovich could only have "withdrawn" the Symphony because Stalin's apparat gave him to understand that such was the public form of what was required of him, i.e., it was a ban publicly presented as a voluntary surrender.
		Shostakovich was subordinate to Khrennikov, and Khrennikov was Shostakovich's curator from the Party.
	www.siue.edu /~aho/musov/warsym.html (3991 words)

	The Dimitri Shostakovich Biography Page on Classic Cat
		Shostakovich (left), with the conductor Kiril Kondrashin and poet Yevgeny Yevtushenko at the premiere of the composer's controversial 13th symphony.
		Shostakovich died of lung cancer on August 9, 1975 and after a civic funeral was interred in the Novodevichy Cemetery, Moscow.
		It is certainly true that Shostakovich borrows extensively from the material and styles both of earlier composers and of popular music, with the shrillness of Mahler and the vulgarity of "low" music prominent influences on this "greatest of eclectics".
	www.classiccat.net /shostakovich_d/biography.htm (3939 words)

	paul mitchinson.com » The Shostakovich Variations
		Shostakovich was the “greatest figure in Soviet music over the last two decades,” the Times wrote, who “saw himself equally as a Soviet citizen and a composer.” Perhaps it was inevitable that his music came to be understood as a faithful reflection of pro-Soviet politics.
		After Maxim Shostakovich, the composer’s son and a world-renowned conductor, defected in 1981, he was reluctant to disavow Testimony, because of his hatred for the greater distortions imposed on his father’s memory by official Soviet biographers such as Sophia Khentova.
		Her Shostakovich is a man nearly broken by the political demands imposed on him, but he does not assume the heroic proportions of a Solzhenitsyn.
	www.paulmitchinson.com /articles/the-shostakovich-variations (4861 words)

	The War Symphonies: Shostakovich Against Stalin. A video review for the Journal for MultiMedia History, Volume 2 (1999).
		The central argument of this excellent documentary is that Shostakovich was "the voice of his time." Living under and occasionally cooperating with a dictatorial regime did not prevent him from composing some of this century’s finest music.
		Shostakovich tried to join the Red Army, but his poor eyesight disqualified him; he and his family were ordered to evacuate.
		Over two decades, Shostakovich had lost his exuberance and idealism, gaining in their place a maturity that brought with it as much pain and sadness as it did wisdom.
	www.albany.edu /jmmh/vol2no1/warsymphonies.html (1608 words)

	Amazon.com: Shostakovich Against Against Stalin (Dts): DVD: Valery Gergiev,Netherlands Radio Philharmonic,Flora ... (Site not responding. Last check: 2007-10-08)
		Born in 1906, Shostakovich gained considerable prominence after the unveiling of his first symphony in 1926, by which time Lenin was dead, the USSR had been founded, and Stalin had assumed power as General Secretary of the Communist Party.
		Shostakovich's "Lady Macbeth of Mtsensk" is generally thought to be the turning point, for it was after this opera's debut that a scathing review was printed in Pravda, condemning the piece as "muddle not music".
		Again Shostakovich was used as a mouthpiece (literally; he made some patriotic speeches) to engender hope and pride in a people clinging to the last thread of life.
	www.amazon.com /Shostakovich-Against-Stalin-Dts/dp/B000BLBZM0 (2620 words)

	An interview with Nikolai Kachanov, January 2003
		We meet the exact opposite of this composition in Antiformalist Rayok, a one-act opera which is an extraordinarily daring musical satire on the absurd structures of the Soviet bureaucracy.
		The text of Rayok (which Shostakovich also wrote) is an assemblage of intentionally fatuous platitudes, which these politicians recite in their conference speeches.
		Obviously, during Shostakovich's lifetime it could not be published, and we must marvel at his bravery even in daring to keep a copy for himself.
	www.van.org /articles/NikolaiKachanovinterview20030113.htm (2169 words)

	Shostakovich via Rostropovich (Site not responding. Last check: 2007-10-08)
		I was fortunate enough to attend many of National Symphony concerts with Shostakovich programmed in by Mstislav Rostropovich (aka Slava or Rosty) for the six years I lived in suburban Washington D.C. area (on the Maryland side), including some of my most memorable live performances.
		A truly rare opportunity was the world premier of Shostakovich's Rayok, with Rostropovich at the piano.
		When talking about his surprise memorization/performance of Shostakovich Cello Concerto No.1 to the composer, merely four days after he got the score as a surprise gift (and the secret of "not-asking"), he was as happy as a little child.
	engr.smu.edu /~tian/hobby/rosty.html (572 words)

	classical music - andante - hail to stalin: vladimir ashkenazy brings a festival of soviet propaganda music to new york
		The Shostakovich works on the program include the Festive Overture (1954) and music for the films The Fall of Berlin (1949) and The Unforgettable Year 1919 (1951).
		Calling Dmitri Shostakovich "Soviet Russia's most loyal musical son," Richard Taruskin writes that "it is important to quash the fantasy image of Shostakovich as a dissident...
		And, he added, had these composers not cooperated to some degree with the Soviet regime, their work would have been lost to the world entirely: "Shostakovich is often blamed for his conformism and cowardice.
	www.andante.com /article/article.cfm?id=19996 (675 words)

	Program Notes
		We honor the 100th anniversary of Shostakovich’s birth by performing his “Antiformalist Rayok,” a rare example of political satire in music.
		He created this work as a pointed response to the humiliation he personally suffered from the country’s political and ideological leader: not only one’s well-being, but literally one’s life, was in constant danger for many artists.
		Shostakovich satirizes the government for using all possible means to create a narrow, closed “reality,” where everything—including art—exists to please the tasteless sentimentality of the ruling elite.
	www.rccny.org /notes032006.html (710 words)

	Chamber Music Northwest
		In the summer of 2004, he was featured as the bass soloist in various Shostakovich songs with chorus at the Bard Music Festival where he also sang the part of Yedinitsin in Shostakovich’s Antiformalist Rayok.
		He was then the bass in Shostakovich’s Symphony #14 with the Franciscan Chamber Orchestra at the Troy Music Hall.
		He has appeared with the National Symphony Orchestra, the Pittsburgh Symphony, the Manhattan School of Music Philharmonia, the Hudson Valley Singers, and in December of 2002 he participated in the world premiere of Shchedrin’s The Enchanted Wanderer with the New York Philharmonic.
	www.cmnw.org /artist_2.php?ensemble_ID=96 (514 words)

	OPERA REVIEW: Soap Box Serenade By Jules Langert (Contemporary Opera Marin, January 21, 2003)
		In timely accord with the political activism of the moment, Contemporary Opera Marin is presenting an evening of four brief theater pieces with relevance and attitude, billed as Operas of Social Protest.
		Best of all and funniest of the lot is Shostakovich's Rayok, last on the program, which contains twenty-five minutes of hilarious parody based on a meeting of the USSR Congress of Composers held in 1967, which Shostakovich attended.
		Shostakovich's music is steadfastly rudimentary and tonal, to match the sentiments expressed, but then it goes briefly out of kilter, giving a bizarre twist to everything.
	www.sfcv.org /arts_revs/marincontempop_1_21_03.php (722 words)

	Russian and American Music: Parallels and Crossings
		It is a simple, straight-forward, "pure" tone that is very much a contrast to the rich, vibrato tones of the Russian style we are used to.
		We conclude the concert with Antiformalist Rayok by Shostakovich.
		In this program for example, the singers have to be able to switch their minds from Sarah Dawson's music, and transform themselves into furious followers of the Communist Party to create a satirical image of those monsters when they sing Shostakovich's one-act opera.
	www.van.org /articles/KachanovDawsonInterviews20060312.htm (1788 words)

	pingva's Profile – Users at Last.fm (Site not responding. Last check: 2007-10-08)
		Spivakov/Moscow Virtuosi – Shostakovich - Antiformal Rayok (Satiric Opera) / Rayok
		Spivakov/Moscow Virtuosi – Shostakovich - "From Jewish Folk Poetry" Op 79a / 10 Song of a girl
		Spivakov/Moscow Virtuosi – Shostakovich - "From Jewish Folk Poetry" Op 79a / 2 Solicitous mother and aunt
	www.last.fm /user/pingva (230 words)

	The War Symphonies: Shostakovich Against Stalin (1997) (Site not responding. Last check: 2007-10-08)
		The War Symphonies: Shostakovich Against Stalin is all about one composer's (that would be Shostakovich) fight against a brutal regime (that would be Stalin).
		We've seen a lot of these types of movies before, heck some even current (most of them of course coming from China), but this topic never gets old.
		Discuss this movie with other users on IMDb message board for The War Symphonies: Shostakovich Against Stalin (1997)
	www.imdb.com /title/tt0218711 (322 words)

	Westminster Choir College of Rider University - Julian Rodescu
		The Dresden Ring Cycle, conducted by Semyon Bychkov and directed by Willy Decker, was completed in 2004.
		His debuts in Madrid (in Shostakovich’s Lady Macbeth of Mtensk), Naples, Los Angeles and Tel Aviv brought more praise.
		Rodescu has recorded for EMI, RCA, Erato and Albany Records.
	www.rider.edu /883_5784.htm (465 words)

	:: Studio 52 - CD Info: SHOSTAKOVICH / RAYOK - CHAMBER SYMPHONY OP.110A - PRELUDE & SCHERZO OP.11 / MOSCOW VIRTUOSI - ...
		:: Studio 52 - CD Info: SHOSTAKOVICH / RAYOK - CHAMBER SYMPHONY OP.110A - PRELUDE & SCHERZO OP.11 / MOSCOW VIRTUOSI - SPINAKOV
		SHOSTAKOVICH / RAYOK - CHAMBER SYMPHONY OP.110A - PRELUDE & SCHERZO OP.11 / MOSCOW VIRTUOSI - SPINAKOV
		INCLUDES SCHNITTKE: PRELUDE IN MEMORY OF DIMITRI SHOSTAKOVICH
	www.studio52.gr /info_en.asp?infoID=00000t29 (100 words)

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