Waltz

Pierre-Auguste Renoir, Bal à Bougival, 1883
Genre	Ballroom dance, folk dance
Time signature	3/4
Country	Austria and Southern Germany
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Detail from frontispiece to Thomas Wilson's Correct Method of German and French Waltzing (1816), showing nine positions of the Waltz, clockwise from the left (the musicians are at far left). At that time, the Walz was a relatively new dance in England, and the fact that it was a couples dance (as opposed to the traditional group dances), and that the gentleman actually clasped his arm around the lady's waist, gave it a dubious moral status in the eyes of some.

An early moving picture demonstrates the waltz.

The waltz is a ballroom and folk dance in  triple (help·info) time, performed primarily in closed position.

History[link]

There are several references to a sliding or gliding dance,- a waltz, from the 16th century including the representations of the printer H.S. Beheim. The French philosopher Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so closely that their faces touched. Kunz Haas, of approximately the same period wrote that, "Now they are dancing the godless, Weller or Spinner."^[1] "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, utilizes his surplus energy to press all his strength into the proper beat of the measure, thus intensifying his personal enjoyment in dancing".^[2] The wide, wild steps of the country people became shorter and more elegant when introduced to higher society. Hans Sachs wrote of the dance in his 1568 Eygentliche Beschreibung aller Stände (1568).^[1]

At the Austrian Court in Vienna in the late 17th century (1698) ladies were conducted around the room to the tune of a 2-beat measure, which then became the 3/4 of the Nach Tanz (After Dance), upon which couples got into the position for the Weller and waltzed around the room with gliding steps as in an engraving of the Wirtschaft (Inn Festival) given for Peter the Great.^[3]

The peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a dance for couples, around 1750. The Ländler, also known as the Schleifer, a country dance in 3/4 time, was popular in Bohemia, Austria, and Bavaria, and spread from the countryside to the suburbs of the city. While the eighteenth century upper classes continued to dance the minuet, bored noblemen slipped away to the balls of their servants.^[4]

In the 1771 German novel Geschichte des Fräuleins von Sternheim by Sophie von La Roche, a high-minded character complains about the newly introduced waltz among aristocrats thus: "But when he put his arm around her, pressed her to his breast, cavorted with her in the shameless, indecent whirling-dance of the Germans and engaged in a familiarity that broke all the bounds of good breeding—then my silent misery turned into burning rage."^[5]

Describing life in Vienna (dated at either 1776 or 1786^[6]), Don Curzio wrote, " The people were dancing mad [...] The ladies of Vienna are particularly celebrated for their grace and movements of waltzing of which they never tire." There is a waltz in the second act finale of the opera "Una Cosa Rara" written by Martin y Soler in 1786. Soler's waltz was marked Andante con moto, or "at a walking pace with motion", but the flow of the dance was sped-up in Vienna leading to the Geschwindwalzer, and the Galloppwalzer.^[7][8]

In the transition from country to town, the hopping of the Ländler, a dance known as Langaus, became a sliding step, and gliding rotation replaced stamping rotation.^[9]

In the 19th century the word primarily indicated that the dance was a turning one; one would "waltz" in the polka to indicate rotating rather than going straight forward without turning.

The Viennese custom is to slightly anticipate the second beat, which conveys a faster, lighter rhythm, and also breaks of the phrase. The younger Strauss would sometimes break up the one-two-three of the melody with a one-two pattern in the accompaniment along with other rhythms, maintaining the 3/4 time while causing the dancers to dance a two-step waltz. The metronome speed for a full bar varies between 60 and 70, with the waltzes of the first Strauss often played faster than those of his sons.^[10]

Shocking many when it was first introduced,^[11] the waltz became fashionable in Vienna around the 1780s, spreading to many other countries in the years to follow. It became fashionable in Britain during the Regency period,^[12] though the entry in the Oxford English Dictionary shows that it was considered "riotous and indecent" as late as 1825. The waltz, and especially its closed position, became the example for the creation of many other ballroom dances. Subsequently, new types of waltz have developed, including many folk and several ballroom dances.

Styles[link]

In the 19th and early 20th century, numerous different waltz forms existed, including versions performed in 2/4 or 6/8 (sauteuse), and 5/4 time (5/4 waltz, half and half)

In the 1910s, a form called the "Hesitation Waltz" was introduced by Vernon and Irene Castle.^[14] It incorporated Hesitations and was danced to fast music. A hesitation is basically a halt on the standing foot during the full waltz measure, with the moving foot suspended in the air or slowly dragged. Similar figures (Hesitation Change, Drag Hesitation, and Cross Hesitation) are incorporated in the International Standard Waltz Syllabus.

The Country Western Waltz is mostly progressive, moving counter clock wise around the dance floor. Both the posture and frame are relaxed, with posture bordering on a slouch. The exaggerated hand and arm gestures of some ballroom styles are not part of this style. Couples may frequently dance in the promenade position, depending on local preferences. Within Country Western waltz there are the Spanish Waltz and the more modern (for the late 1930s- early 1950s) Pursuit Waltz. At one time it was considered ill treatment for a man to make the woman walk backwards in some locations.^[15]

In California the waltz was banned by Mission fathers until after 1834 because of the "closed" dance position.^[16] Thereafter a Spanish Waltz was danced. This Spanish Waltz was a combination of dancing around the room in closed position, and a "formation" dance of two couples facing each other and performing a sequence of steps.^[16] "Valse a Trois Temps" was the "earliest" waltz step, and the Rye Waltz was favored as a couple dance.^[17]

• In contemporary ballroom dance, the fast versions of the waltz are called Viennese Waltz.
• International Standard Waltz has only closed figures; that is, the couple never breaks the embrace.
• The American Style Waltz, part of the American Smooth ballroom dance syllabus. In contrast to the International Standard Waltz, it involves breaking contact almost entirely in some figures. For example, the Syncopated Side-by-Side with Spin includes a free spin for both partners. Open rolls are another good example of an open dance figure, in which the follower alternates between the lead's left and right sides, with the lead's left or right arm (alone) providing the lead. Waltzes were the staple of many American musicals and films, including "Waltz in Swing Time" sung by Fred Astaire.
• The Scandinavian Waltz. Performed as a part of Scandinavian folk dance, this can be fast or slow, but the dancers are always rotating.
• The Peruvian Waltz (Called and recognized in Peru as vals criollo).
• The Mexican Waltz (vals mexicano) follows the same basic rhythmic pattern as the standard waltz, but the melodies reflect a strong Spanish influence. Mexico's Juventino Rosas wrote "Sobre las Olas" or "Over the Waves", commonly known in the U.S. as a circus song played during a trapeze show.
• The Cajun Waltz is danced progressively around the floor, and is characterized by the subtle swaying of the hips and step very close to ordinary walking. It is danced entirely in the closed position.
• Tango vals allows the dancers to dance one, two, three, or no steps to any three beats of waltz music, and to vary the number of steps per bar throughout the song.
• The Venezuelan waltz
• The Contra Waltz (Freeform Waltz), included in most contra dance evenings, uses both open and closed positions, and incorporates moves from other dances such as swing, modern jive and salsa. Basically the dancers progress around the dance floor with a waltz step, but with no constraints on what moves they can use.
• The Valse Musette, a form of waltz popular in France starting in the late 19th century

See also[link]

• Austrian folk dancing
• Waltz (music)
• Schuhplattler
• Ländler
• Zwiefacher
• Mazurka
• Polska (dance)
• Fandango
• Sevillanas
• Chamarrita
• Polonaise
• Bourrée
• Redowa
• Usul (music)

References[link]

External links[link]

Wikimedia Commons has media related to: Waltz

• Basic Steps of Waltz Dance
• Waltz video example
• The Waltz Dance Steps & Moves
• Music regarding: Waltz within traditional dances of the County of Nice (France)
• Scroll to "Five Step Waltz" for notes about probable 1847 origin and associated music published the same year.
• Halman, Johannes and Robert Rojer (2008). Jan Gerard Palm Music Scores: Waltzes, Mazurkas, Danzas, Tumbas, Polkas, Marches, Fantasies, Serenades, a Galop and Music Composed for Services in the Synagogue and the Lodge. Amsterdam: Broekmans and Van Poppel. *[1]
• Thomas Wilson's 1816 Waltz Manual

Johann Strauss II

Johann Strauss II (October 25, 1825 – June 3, 1899), also known as Johann Baptist Strauss or Johann Strauss, Jr., the Younger, or the Son (German: Sohn), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely then responsible for the popularity of the waltz in Vienna during the 19th century.

Strauss was born in St. Ulrich (now a part of Neubau), the son of Johann Strauss I, another composer of dance music. His father did not wish him to become a composer, but rather a banker; however, the son defied his father's wishes, and went on to study music with the composer Joseph Drechsler and the violin with Anton Kollmann, the ballet répétiteur of the Vienna Court Opera. Strauss had two younger brothers, Josef and Eduard Strauss, who became composers of light music as well, although they were never as well known as their elder brother.

Some of Johann Strauss's most famous works include The Blue Danube, Kaiser-Walzer, Tales from the Vienna Woods, the Tritsch-Tratsch-Polka, and the Pizzicato Polka. Among his operettas, Die Fledermaus and Der Zigeunerbaron are the most well-known.

Early life[link]

His father, Johann Strauss I, in an etching from 1835

Strauss was born in St. Ulrich near Vienna (now a part of Neubau), Austria, on October 25, 1825, to the famous composer Johann Strauss I. His father did not want him to become a musician but rather a banker.^[1] Nevertheless, Strauss Junior studied the violin secretly as a child with the first violinist of his father's orchestra, Franz Amon.^[1] When his father discovered his son secretly practising on a violin one day, he gave him a severe whipping, saying that he was going to beat the music out of the boy.^[2] It seems that rather than trying to avoid a Strauss rivalry, the elder Strauss only wanted his son to escape the rigours of a musician's life.^[3] It was only when the father abandoned his family for a mistress, Emilie Trampusch, that the son was able to concentrate fully on a career as a composer with the support of his mother.^[4]

Strauss studied counterpoint and harmony with theorist Professor Joachim Hoffmann,^[1] who owned a private music school. His talents were also recognized by composer Joseph Drechsler, who taught him exercises in harmony. His other violin teacher, Anton Kollmann, who was the ballet répétiteur of the Vienna Court Opera, also wrote excellent testimonials for him. Armed with these, he approached the Viennese authorities to apply for a license to perform.^[5] He initially formed his small orchestra where he recruited his members at the Zur Stadt Belgrad tavern, where musicians seeking work could be hired easily.^[6]

Debut as a composer[link]

Johann Strauss in his younger years

Johann Strauss I's influence over the local entertainment establishments meant that many of them were wary of offering the younger Strauss a contract for fear of angering the father.^[4] Strauss Jr. was able to persuade the Dommayer's Casino in Hietzing, a suburb of Vienna, to allow him to perform.^[7] The elder Strauss, in anger at his son's disobedience, and at that of the proprietor, refused to ever play at the Dommayer's Casino again,^[8] which had been the site of many of his earlier triumphs.

Strauss made his debut at Dommayer's in October 1844, where he performed some of his first works, such as the waltzes "Sinngedichte", Op. 1 and "Gunstwerber", Op. 4 and the polka "Herzenslust", Op. 3.^[1] Critics and the press were unanimous in their praise for Strauss's music. A critic for Der Wanderer commented that "Strauss’s name will be worthily continued in his son; children and children’s children can look forward to the future, and three-quarter time will find a strong footing in him."^[1]

Strauss at the beginning of his career.

Despite the initial fanfare, Strauss found his early years as a composer difficult, but he soon won over audiences after accepting commissions to perform away from home. The first major appointment for the young composer was his award of the honorary position of "Kapellmeister of the 2nd Vienna Citizen's Regiment", which had been left vacant following Joseph Lanner's death two years before.^[9]

Vienna was wracked by a bourgeois revolution on February 24, 1848, and the intense rivalry between father and son became much more apparent. Johann Jr. decided to side with the revolutionaries. It was a decision that was professionally disadvantageous, as the Austrian royalty twice denied him the much coveted 'KK Hofballmusikdirektor' position, which was first designated especially for Johann I in recognition of his musical contributions. Further, the younger Strauss was also arrested by the Viennese authorities for publicly playing "La Marseillaise", but was later acquitted.^[10] The elder Strauss remained loyal to the monarchy, and composed his "Radetzky March", Op. 228 (dedicated to the Habsburg field marshal Joseph Radetzky von Radetz), which would become one of his best-known compositions.^[11]

When the elder Strauss died from scarlet fever in Vienna in 1849, the younger Strauss merged both their orchestras and engaged in further tours.^[1] Later, he also composed a number of patriotic marches dedicated to the Habsburg Emperor Franz Josef I, such as the "Kaiser Franz-Josef Marsch" Op. 67 and the "Kaiser Franz Josef Rettungs Jubel-Marsch" Op. 126, probably to ingratiate himself in the eyes of the new monarch, who ascended to the Austrian throne after the 1848 revolution.^[1]

Career advancements[link]

Strauss Jr. eventually surpassed his father's fame, and became one of the most popular waltz composers of the era, extensively touring Austria–Hungary, Poland, and Germany with his orchestra. He applied for the KK Hofballmusikdirektor Music Director of the Royal Court Balls position, which he eventually attained in 1863,^[1] after being denied several times before for his frequent brushes with the local authorities.

In 1853, due to constant mental and physical demands, Strauss suffered a nervous breakdown.^[1] He took a seven-week vacation in the countryside in the summer of that year, on the advice of doctors. Johann's younger brother Josef was persuaded by his family to abandon his career as an engineer and take command of Johann's orchestra in the interim.^[1]

In 1855, Strauss accepted commissions from the management of the Tsarskoye-Selo Railway Company of Saint Petersburg to play in Russia for the Vauxhall Pavilion at Pavlovsk in 1856. He would return to perform in Russia every year until 1865.^[1]

Later, in the 1870s, Strauss and his orchestra toured the United States, where he took part in the Boston Festival at the invitation of bandmaster Patrick Gilmore and was the lead conductor in a 'Monster Concert' of over 1000 performers,^[12] performing his "Blue Danube" waltz, amongst other pieces, to great acclaim.^[12]

Marriages[link]

Strauss married the singer Henrietta Treffz in 1862, and they remained together until her death in 1878.^[1] Six weeks after her death,^[1][13] Strauss married the actress Angelika Dittrich. Dittrich was not a fervent supporter of his music, and their differences in status and opinion, and especially her indiscretion, led him to seek a divorce.^[1]

Strauss was not granted a divorce by the Roman Catholic Church, and therefore changed religion and nationality, and became a citizen of Saxe-Coburg-Gotha in January 1887.^[1] Strauss sought solace in his third wife Adele Deutsch, whom he married in August 1882. She encouraged his creative talent to flow once more in his later years, resulting in many famous compositions, such as the operettas Der Zigeunerbaron and Waldmeister, and the waltzes "Kaiser-Walzer" Op. 437, "Kaiser Jubiläum" Op. 434, and "Klug Gretelein" Op. 462.

Musical rivals and admirers[link]

Johann Strauss and Johannes Brahms photographed in Vienna.

Although Strauss was the most sought-after composer of dance music in the latter half of the 19th century, stiff competition was present in the form of Karl Michael Ziehrer and Émile Waldteufel; the latter held a commanding position in Paris.^[14] Phillip Fahrbach also denied the younger Strauss the commanding position of the KK Hofballmusikdirektor when the latter first applied for the post. The German operetta composer Jacques Offenbach, who made his name in Paris, also posed a challenge to Strauss in the operetta field.^[15]

Strauss was admired by other prominent composers: Richard Wagner once admitted that he liked the waltz "Wein, Weib und Gesang" Op. 333.^[16] Richard Strauss (unrelated to the Strauss family), when writing his Rosenkavalier waltzes, said in reference to Johann Strauss, "How could I forget the laughing genius of Vienna?"^[17]

Johannes Brahms was a personal friend of Strauss; the latter dedicated his waltz "Seid umschlungen, Millionen!" ("Be Embraced, You Millions!"), Op. 443, to him.^[18] A story is told in biographies of both men that Strauss's wife Adele approached Brahms with a customary request that he autograph her fan. It was usual for the composer to inscribe a few measures of his best-known music, and then sign his name. Brahms, however, inscribed a few measures from the "Blue Danube", and then wrote beneath it: "Unfortunately, NOT by Johannes Brahms."^[19]

Stage works[link]

The most famous of Strauss' operettas are Die Fledermaus, Eine Nacht in Venedig, and Der Zigeunerbaron. Notwithstanding their general lack of modern popularity, there are many dance pieces drawn from themes of his operettas, such as "Cagliostro-Walzer" Op. 370 (from Cagliostro in Wien), "O Schöner Mai" Walzer Op. 375 (from Prinz Methusalem), "Rosen aus dem Süden" Walzer Op. 388 (from Das Spitzentuch der Königin), and "Kuss-Walzer" op. 400 (from Der lustige Krieg), that have survived obscurity and become well-known. Strauss also wrote an opera, Ritter Pázmán,^[20] and was in the middle of composing a ballet, Aschenbrödel, when he died in 1899.^[21]

Death and legacy[link]

A statue of the Waltz King in Stadtpark, Vienna

Silhouette by Otto Böhler

Strauss was diagnosed with pleural pneumonia in the spring of 1899,^[21] and died in Vienna, at the age of 73. He was buried in the Zentralfriedhof. At the time of his death, he was still composing his ballet Aschenbrödel.^[21]

Strauss's music is now regularly performed at the annual Neujahrskonzert of the Vienna Philharmonic Orchestra, as a result of the efforts by Clemens Krauss who performed a special all-Strauss programme in 1929 with the Viennese orchestra. Many distinguished Strauss interpreters include Willi Boskovsky,^[22] who carried on the "Vorgeiger" tradition of conducting with violin in hand, as is the Strauss family custom, as well as Herbert von Karajan and the opera conductor Riccardo Muti. In addition, the Wiener Johann Strauss Orchester, which was formed in 1966, pays tribute to the touring orchestras which once made the Strauss family so famous.^[23]

Most of the Strauss works that are performed today may once have existed in a slightly different form, as Eduard Strauss destroyed much of the original Strauss orchestral archives in a furnace factory in Vienna's Mariahilf district in 1907.^[24] Eduard, then the only surviving brother of the three, took this drastic precaution after agreeing to a pact between himself and brother Josef that whoever outlived the other was to destroy their works. The measure was intended to prevent the Strauss family's works from being claimed by another composer. This may also have been fueled by Strauss's rivalry with another of Vienna's popular waltz and march composers, Karl Michael Ziehrer.^[25]

Portrayals in the media[link]

The lives of the Strauss dynasty members and their world-renowned craft of composing Viennese waltzes are also briefly documented in several television adaptations, such as The Strauss Family (1972), The Strauss Dynasty (1991)^[26] and Strauss, the King of 3/4 Time (1995).^[27] Many other films used his works and melodies, and several films have been based upon the life of the musician, the most famous of which is called The Great Waltz (1938).^[28]

Alfred Hitchcock made a low-budget biographical film of Strauss in 1933 called Waltzes from Vienna.^[29] After a trip to Vienna, Walt Disney was inspired to create four feature films. One of those was The Waltz King, a loosely adapted biopic of Johann Strauss, which aired as part of the Wonderful World of Disney in the U.S. in 1963.^[30] In Mikhail Bulgakov's 1940 (published 1967) novel, The Master and Margarita, Johann Strauss conducts the orchestra during Satan's Great Ball at the invitation of Behemoth.

A Corny Concerto (1943), a Warner Bros cartoon, directed by Bob Clampett with animation by Robert McKimson, features music that was composed by Johann Strauss, and is a parody of Walt Disney's 1940 Fantasia. The cartoon is narrated by Elmer Fudd, parodying Deems Taylor's appearance in Fantasia.

The 1953 animated short "Johann Mouse" from the series Tom and Jerry features a mouse mesmerised by the playing of several Strauss waltzes by the cat.

	"The Blue Danube"
Problems listening to this file? See media help.

Works[link]

See List of operettas by Johann Strauss II and List of compositions by Johann Strauss II.

Notes[link]

References[link]

• Gänzl, Kurt. The Encyclopedia of Musical Theatre (3 Volumes). New York: Schirmer Books, 2001.
• Traubner, Richard. Operetta: A Theatrical History. Garden City, NY: Doubleday & Company, 1983.
• Jacob, H. E. Johann Strauss, Father and Son: A Century of Light Music. The Greystone Press, 1940.

External links[link]

Wikimedia Commons has media related to: Johann Strauss II

Ballet portal

• A complete list of Strauss's compositions
• A complete list of compositions by Johann Strauss II compiled by the Johann Strauss Society of New York
• European Archive Copyright free LP recording of several (abridged) works by Johann Strauss II, at the European Archive (for non-American viewers only).
• Johann Strauss Gallery
• List of Strauss's stage works with date, theatre information and links
• Free scores by Johann Strauss II at the International Music Score Library Project
• www.kreusch-sheet-music.net Free Scores by Strauss
• Free scores by Johann Strauss II in the Werner Icking Music Archive (WIMA)

Johann Strauss III (February 16, 1866 â€“ January 9, 1939; German: Johann Strauß III; also known as Johann Eduard Strauss) was an Austrian composer whose father was Eduard Strauss, whose uncles were Johann Strauss II & Josef Strauss, and whose grandfather was Johann Strauss I. He was unofficially entrusted with the task of upholding his family's tradition after the disbandment of the Strauss Orchestra by his father in 1901. His talents were not fully realised during his lifetime as musical tastes had changed in the Silver Age with more popular composers such as Franz Lehár and Oscar Straus dominating the Viennese musical scene with their operettas, although his uncle, Johann Strauss II, supervised his development as a musician, a fact disputed by Eduard Strauss.

Despite his keen interest in composing, he was better remembered as a conductor. His only stage work, the three-act operetta Katze und Maus, composed in 1898, premiered in Vienna on 23 December 1898, at the Theater an der Wien.^[1] Its public reaction bordered on utter dislike, and music critics called for the distraught composer to reassess himself and to appear under a pseudonym, in order not to tarnish the name of his famous relatives. He salvaged the music score and produced independent pieces of which the waltzes Sylvianen Op. 1 and Leonie Op. 2 survived obscurity.

He also conducted from the violin in the style of the Vorgeiger and of his family. In 1903, he elevated the Strauss family to a new age of development when the Deutsche Grammophon AG of Germany recorded his conducting of the Johann Strauss Orchestra on eight single-sided records of works by his family. Principally, he was the first conductor in the Strauss family to actively conduct works to be recorded by prominent recording companies. His later works, such as Dem Muthigen gehört die Welt (The World Belongs to the Brave), Op. 25, and Krönungs-Walzer (Coronation Waltz), Op. 40, (the latter celebrating the coronation of King Edward VII) were also considerably more popular than his earlier efforts.

Johann Strauss III died in Berlin on 9 January 1939,^[1] aged 72.

References[link]

External links[link]

• Johann Strauss III at Allmusic

André Rieu
Rieu in Atlantic City, NJ, in 2007
Background information
Birth name	André Léon Marie Nicolas Rieu
Born	(1949-10-01) 1 October 1949 (age 62)
Origin	Maastricht, Netherlands
Genres	Waltz
Occupations	Conductor, violinist
Instruments	Violin
Years active	1978–present
Labels	Denon Records , Philips
Website	www.andrerieu.com
Notable instruments
Stradivarius violin (1667)[1]

André Léon Marie Nicolas Rieu (born 1 October 1949) is a Dutch violinist, conductor, and composer best known for creating the waltz-playing Johann Strauss Orchestra.

Early life and studies[link]

The name Rieu is of French Huguenot origin.^[1] He began studying violin at the age of five. His father, of the same name, was conductor of the Maastricht Symphony Orchestra. From a very young age he developed a fascination with orchestra. He studied violin at the Conservatoire Royal in Liège and at the Conservatorium Maastricht, (1968–1973). His teachers included Jo Juda and Herman Krebbers. From 1974 to 1977, he attended the Music Academy in Brussels, studying with André Gertler, getting his degree "Premier Prix" from the Brussels Royal Conservatory.^[2]

Career[link]

At University he performed the Gold And Silver Waltz by Franz Lehár. Encouraged by the audience reaction he decided to pursue the waltz form. Rieu formed the Maastricht Salon Orchestra and performed as a violinist with the Limburg Symphony Orchestra. In 1987, he created the Johann Strauss Orchestra and his own production company. Since then, his melodramatic stage performances and rock-star demeanor have for some been associated with a revival of the waltz music category. André Rieu plays a 1667 Stradivarius violin.^[1]

In April 2009 (Dublin)/June 2009 (UK), he made a cameo appearance as himself on "Ramsay Street" in the long-running Australian soap opera Neighbours.^[3]

Johann Strauss Orchestra[link]

The examples and perspective in this article or section might have an extensive bias or disproportional coverage towards one or more specific regions. Please improve this article or discuss the issue on the talk page.

The Orchestra began in 1998 with 21 members but now performs with between 80 and 150 musicians. At the time the Orchestra first toured Europe, there emerged a renewed interest in waltz music. The revival began in the Netherlands and was ignited by their recording of the Second Waltz from Shostakovich's Jazz Suites. As a result, Rieu became known as the waltz King.

Rieu and his orchestra have performed throughout Europe, in North America, and Japan. Winning a number of awards including two World Music Awards, their recordings have gone gold and platinum in many countries, including 8-times Platinum in the Netherlands. In September 2007 Rieu performed in Australia for the first time solo, without his Orchestra at the Eastland shopping centre in the Melbourne suburb of Ringwood playing "My Way" and "Waltzing Matilda"—and the next day appeared at Sydney's Arena Cove, Warringah Mashopping with the same set. Rieu and orchestra returned to Australia in November as part of his world tour. Rieu and his orchestra played 3 concerts at Melbourne's Telstra Dome from 13–15 November and continued their tour throughout Perth, Sydney, Brisbane and Adelaide, through to December 2008. The concert theme is 'A Romantic Vienna Night' and the set comprises a life-size reproduction of the Viennese imperial Schönbrunn Palace, complete with 2 ice-skating rinks, 2 Fountains, and a ballroom dance floor situated above and behind the Orchestra. Rieu's largest concert attendance to date in Australia was 38,000 on Saturday 15 November in Melbourne. The Perth concert did not feature the replica of the Viennese Palace as it was stated in the press because it would not fit into the front doors of Subiaco Oval.

He records both DVD and CD repertoire at his own recording studios in Maastricht in a wide range of classical music as well as popular and folk music plus music from well-known soundtracks and musical theatre. His lively orchestral presentations, in tandem with incessant marketing, have attracted worldwide audiences to this subgenre of classical music.

Some of his orchestra's performances have been broadcast in the United Kingdom and the United States on the PBS television network^[4] such as the 2003 airing of Andre Rieu Live in Dublin, filmed in Dublin, Ireland, and 2005's André Rieu Live in Tuscany filmed in the Piazza Della Repubblica in the village of Cortona in Tuscany.

Reception[link]

Eamon Kelly writing in The Australian newspaper, in an article that discusses the controversy that Rieu engenders, said: "He depicts his critics as members of a stuffy musical elite with narrow aesthetic tastes, yet regularly demeans in interviews music that is not to his taste and classical musicians who choose not to perform in his manner."^[5]

Of Rieu's popularity and the debate in the media over criticism of him, Eamon Kelly says: "It is disappointing to see professional journalists indulging in cheap, inaccurate stereotypes to dismiss criticism of Rieu."^[5] But he goes on to add: "Equally misguided are those who cursorily dismiss Rieu. Rieu's live and recorded performances have brought joy to millions of people. Few in his audiences are regular classical music attendees and it could be seen as promising that, via Rieu, they are listening to standards of the classical canon. The fact that Rieu's focus is on highly accessible, enjoyable repertoire is not an argument against his musical credentials."^[5]

Eamon Kelly further adds, after hearing the orchestra perform, that there is "no cause" for Rieu's boast his orchestra was "superior to the many other orchestras that specialise in ... Viennese and popular classical repertoire." Additionally, he found that in musical terms "the performance did not surpass playing standards in Australia's major symphony orchestras". He did add that the "oboist, Arthur Cordewener, provided the most impressive musical performance with a sublime introduction to an otherwise unremarkable performance of [Ravel's] Boléro."^[5]

David Templeton, writing in the magazine All Things Strings says:

Ironically, it is Rieu’s own success that has earned him a horse-drawn carriage full of criticism, a pot-shot laden backlash aimed chiefly at the calculated emotionalism and theatrical flourishes of his performances, which, according to many, only cheapen the classical-music experience. Classical radio stations avoid his music as they might avoid a leper in the mall, though—let’s just say it plain and clear—Rieu is a superb violinist.^[6]

Chris Boyd, a critic writing for Melbourne's Herald Sun newspaper, finds that he could not give a general criticism of the playing of Rieu, as, except for "a clean and lyrical solo in Waltzing Matilda", his main stage function was apparently "blarney and delegation". However, Boyd also comments that the quality of the artists that Rieu works with is "extraordinary". Boyd assesses the low points of the concert as the "Three Tenors-style" rendition of "Nessun dorma" which he finds was an "abomination", while saying the concert's highlights included "a sugar-shock sweet rendition" of "O mio babbino caro" as well as Strauss's Emperor Waltz and Blue Danube, Clarke's Trumpet Voluntary and the Boléro.^[7]

Personal life[link]

He is married to Marjorie, who works with him full-time as production manager, and has two sons, Marc and Pierre. He speaks (in order of fluency) Dutch, English, German, French, Italian and Spanish.

Honours[link]

• Knight of the Order of the Netherlands Lion (Netherlands, 2002)
• Honorary Medal of the Province of Limburg (Netherlands, 2009)
• Knight of the Ordre des Arts et des Lettres (France, 2009)

Selected discography[link]

References[link]

External links[link]

• André Rieu (official website)
• Official André Rieu Facebook page
• André Rieu on Twitter
• Official André Rieu YouTube Channel
• André Rieu's Official Australian website
• André Rieu (C Music TV Biography)
• André Rieu at Allmusic
• The Magic of Andre Rieu

Dmitri Shostakovich in 1942

Dmitri Dmitriyevich Shostakovich Russian pronunciation: [ˈdmʲitrʲɪj ˈdmʲitrʲɪɪvʲɪtÍ¡É• Ê‚É™stÉ?ˈkovʲɪtÍ¡É•] (Russian: Дмитрий Дмитриевич ШоÑ?такович;^[1] 25 September 1906 – 9 August 1975) was a Soviet Russian composer and pianist and was 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 government. Nevertheless, he received accolades and state awards and served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until death).

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^[2] characterize much of his music.

Shostakovich's orchestral works include 15 symphonies and six concerti. Music for chamber ensembles includes 15 string quartets, a piano quintet, two pieces for a string octet, and two piano trios. His piano works include two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include three operas, and a substantial quantity of film music.

Biography[link]

Early life[link]

Birthplace of Shostakovich (now School no. 267). Commemorative plaque at left

Born at 2 Podolskaya Ulitsa in Saint Petersburg, Russia, Shostakovich was the second of three children born to Dmitri Boleslavovich Shostakovich and Sofiya Vasilievna Kokoulina. Shostakovich's paternal grandfather (originally surnamed Szostakowicz) was of Polish Roman Catholic descent (his family roots trace to the region of the town of Vileyka in Belarus), but his immediate forebears came from Siberia.^[3] His paternal grandfather, a Polish revolutionary in the January Uprising of 1863–4, had been exiled to Narim (near Tomsk) in 1866 in the crackdown that followed Dmitri Karakozov's assassination attempt on Tsar Alexander II.^[4] When his term of exile ended, Boleslaw Szostakowicz decided to remain in Siberia. He eventually became a successful banker in Irkutsk and raised a large family. His son, Dmitriy Boleslavovich Shostakovich, the composer's father, was born in exile in Narim in 1875 and attended Saint Petersburg University, graduating in 1899 from the faculty of physics and mathematics. After graduation, Dmitriy Boleslavovich went to work as an engineer under Dmitriy Mendeleyev at the Bureau of Weights and Measures in Saint Petersburg. In 1903, he married Sofiya Vasilievna Kokoulina, another Siberian transplant to the capital.^[4] Sofiya herself was one of six children born to Vasiliy Yakovlevich Kokoulin, a Russian Siberian native.

Dmitri Dmitriyevich Shostakovich was a child prodigy as a pianist and composer, his talent becoming apparent after he began piano lessons with his mother at the age of nine. (On several occasions, he displayed a remarkable ability to remember what his mother had played at the previous lesson, and would get "caught in the act" of pretending to read, playing the previous lesson's music when different music was placed in front of him.)^[5] In 1918, he wrote a funeral march in memory of two leaders of the Kadet party, murdered by Bolshevik sailors.^[6]

In 1919, at the age of 13, he was allowed to enter the Petrograd Conservatory, then headed by Alexander Glazunov. Glazunov monitored Shostakovich's progress closely and promoted him.^[7] Shostakovich studied piano with Leonid Nikolayev, after a year in the class of Elena Rozanova, composition with Maximilian Steinberg, and counterpoint and fugue with Nikolay Sokolov, with whom he became friends.^[8] Shostakovich also attended Alexander Ossovsky's history of music classes.^[9] However, he suffered for his perceived lack of political zeal, and initially failed his exam in Marxist methodology in 1926. His first major musical achievement was the First Symphony (premiered 1926), written as his graduation piece at the age of nineteen.

Shostakovich in 1925

Early career[link]

After graduation, Shostakovich initially embarked on a dual career as concert pianist and composer, but his dry style of playing (his American biographer, Laurel Fay, comments on his "emotional restraint" and "riveting rhythmic drive") was often unappreciated. He nevertheless won an "honorable mention" at the First International Frederic Chopin Piano Competition in Warsaw in 1927. After the competition Shostakovich met the conductor Bruno Walter, who was so impressed by the composer's First Symphony that he conducted it at its Berlin premiere later that year. Leopold Stokowski was equally impressed and gave the work its U.S. premiere the following year in Philadelphia and also made the work's first recording.

Thereafter, Shostakovich concentrated on composition, and soon limited his performances primarily to those of his own works. In 1927 he wrote his Second Symphony (subtitled To October), a patriotic piece with a great pro-Soviet choral finale. Due to its experimental nature, as with the subsequent Third Symphony, the pieces were not critically acclaimed with the enthusiasm as granted to the First.

1927 also marked the beginning of Shostakovich's relationship with Ivan Sollertinsky, who remained his closest friend until the latter's death in 1944. Sollertinsky introduced the composer to the music of Gustav Mahler, which had a strong influence on his music from the Fourth Symphony onwards.

While writing the Second Symphony, Shostakovich also began work on his satirical opera The Nose, based on the story by Gogol. In June 1929, the opera was given a concert performance, against Shostakovich's own wishes, and was ferociously attacked by the Russian Association of Proletarian Musicians (RAPM).^[10] Its stage premiere on 18 January 1930 opened to generally poor reviews and widespread incomprehension amongst musicians.^[11]

Shostakovich composed his first film score for the 1929 silent movie, The New Babylon, set during the 1871 Paris Commune.

In the late 1920s and early 1930s, Shostakovich worked at TRAM, a proletarian youth theatre. Although he did little work in this post, it shielded him from ideological attack. Much of this period was spent writing his opera, Lady Macbeth of the Mtsensk District, which was first performed in 1934. It was immediately successful, on both popular and official levels. It was described as "the result of the general success of Socialist construction, of the correct policy of the Party", and as an opera that "could have been written only by a Soviet composer brought up in the best tradition of Soviet culture."^[12]

Shostakovich married his first wife, Nina Varzar, in 1932. Initial difficulties led to a divorce in 1935, but the couple soon remarried when Nina became pregnant with their first child.^[13]

First denunciation[link]

In 1936, Shostakovich fell from official favour. The year began with a series of attacks on him in Pravda, in particular an article entitled, "Muddle Instead of Music". Shostakovich was away on a concert tour in Arkhangel’sk when he heard news of the first Pravda article. Two days before the article was published on the evening of 28 January,^[14] a friend had advised Shostakovich to attend the Bolshoi Theatre production of Lady Macbeth. When he arrived, he saw that Stalin and the Politburo were there. In letters written to Ivan Sollertinsky, a close friend and advisor, Shostakovich recounted the horror with which he watched as Stalin shuddered every time the brass and percussion played too loudly. Equally horrifying was the way Stalin and his companions laughed at the love-making scene between Sergei and Katerina. Eyewitness accounts testify that Shostakovich was "white as a sheet" when he went to take his bow after the third act.^[15]

The article, which condemned Lady Macbeth as formalist, "coarse, primitive and vulgar,"^[16] was thought to have been instigated by Stalin. Consequently, commissions began to fall off, and his income fell by about three quarters. Even Soviet music critics who had praised the opera were forced to recant in print, saying they "failed to detect the shortcomings of Lady Macbeth as pointed out by the Pravda".^[17] Shortly after the "Muddle Instead of Music" article, Pravda published another, "Ballet Falsehood," that criticized Shostakovich’s ballet The Limpid Stream. Shostakovich did not expect this second article because the general public and press already accepted this music as "democratic" - that is, tuneful and accessible. However, Pravda criticized The Limpid Stream for incorrectly displaying peasant life on the collective farm.^[18]

More widely, 1936 marked the beginning of the Great Terror, in which many of the composer's friends and relatives were imprisoned or killed: these included his patron Marshal Tukhachevsky (shot months after his arrest); his brother-in-law Vsevolod Frederiks (a distinguished physicist, eventually released but died before he got home); his close friend Nikolai Zhilyayev (a musicologist who had taught Tukhachevsky; shot shortly after his arrest); his mother-in-law, the astronomer Sofiya Mikhailovna Varzar (sent to a camp in Karaganda); his friend, the Marxist writer Galina Serbryakova (20 years in camps); his uncle, Maxim Kostrykin (died); and his colleagues Boris Kornilov and Adrian Piotrovsky (executed).^[19] His only consolation in this period was the birth of his daughter Galina in 1936; his son Maxim was born two years later.

Withdrawal of the Fourth Symphony[link]

The publication of the Pravda editorials coincided with the composition of Shostakovich's Fourth Symphony. The work was a great shift in style for the composer, due to the substantial influence of Gustav Mahler, as well as multiple Western-style elements. The symphony gave Shostakovich compositional trouble, as he attempted to reform his style into a new idiom. The composer was well into the work when the fatal articles appeared. Despite this, Shostakovich continued to compose the symphony and planned a premiere at the end of 1936. Rehearsals began that December, but after a number of rehearsals Shostakovich, for reasons still debated today, decided to withdraw the symphony from the public. A number of his friends and colleagues, such as Isaak Glikman, have suggested that it was in fact an official ban which Shostakovich was persuaded to present as a voluntary withdrawal.^[20] Whatever the case, it seems possible that this action saved the composer's life: during this time Shostakovich feared for himself and his family. Yet Shostakovich did not repudiate the work: it retained its designation as his Fourth Symphony. A piano reduction was published in 1946, and the work was finally premiered in 1961, well after Stalin's death.

During the years of 1936 and 1937, in order to maintain as low a profile as possible between the Fourth and Fifth symphonies, Shostakovich mainly composed film music, a genre favored by Stalin and lacking in dangerous personal expression.^[21]

"An artist's creative response to just criticism"[link]

The composer's response to his denunciation was the Fifth Symphony of 1937, which was musically more conservative than his earlier works. Premiering on 21 November 1937 in Leningrad, it was a phenomenal success: many in the Leningrad audience had lost family or friends to the mass executions. The Fifth drove many to tears and welling emotions. Later Shostakovich wrote in his memoirs: "I'll never believe that a man who understood nothing could feel the Fifth Symphony. Of course they understood, they understood what was happening around them and they understood what the Fifth was about."^[22]

The success put Shostakovich in good standing once again. Music critics and the authorities alike, including those who had earlier accused Shostakovich of formalism, claimed that he had learned from his mistakes and had become a true Soviet artist. The composer Dmitry Kabalevsky, who had been among those who disassociated himself from Shostakovich when the Pravda article was published, praised the Fifth Symphony and congratulated Shostakovich for "not having given into the seductive temptations of his previous ‘erroneous’ ways."^[23]

It was also at this time that Shostakovich composed the first of his string quartets. His chamber works allowed him to experiment and express ideas which would have been unacceptable in his more public symphonic pieces. In September 1937, he began to teach composition at the Leningrad Conservatory, which provided some financial security but interfered with his own creative work.

Second World War[link]

In 1939, before the Soviet forces invaded Finland, the Party Secretary of Leningrad Andrei Zhdanov commissioned a celebratory piece from Shostakovich, entitled Suite on Finnish Themes to be performed as the marching bands of the Red Army would be parading through the Finnish capital Helsinki. The Winter War was a humiliation for the Red Army, and Shostakovich would never lay claim to the authorship of this work.^[24] It was not performed until 2001.^[25]

Lev A. Russov. The Leningrad Symphony. Conducted by Yevgeny Mravinsky. 1980.

After the outbreak of war between the Soviet Union and Germany in 1941, Shostakovich initially remained in Leningrad. He tried to enlist for the military but was turned away because he had bad eyesight. To compensate, Shostakovich became a volunteer for the Leningrad Conservatory’s firefighter brigade and delivered a radio broadcast to the Soviet people  listen (help·info). The photograph for which he posed was published in newspapers throughout the country.^[26]

But his greatest and most famous wartime contribution was the Seventh Symphony. The composer wrote the first three movements in Leningrad and completed the work in Kuibyshev, now a settlement in Volgograd Oblast, where he and his family had been evacuated. Whether or not Shostakovich really conceived the idea of the symphony with the siege of Leningrad in mind, it was officially claimed as a representation of the people of Leningrad’s brave resistance to the German invaders and an authentic piece of patriotic art at a time when morale needed boosting. The symphony was first premiered at the Bolshoi Theatre in Moscow and was soon performed abroad in London and the United States. However, the most compelling performance was by the Radio Orchestra in besieged Leningrad. The orchestra only had fourteen musicians left, so the conductor Karl Eliasberg had to recruit anyone who could play a musical instrument to perform the symphony.^[27]

In spring 1943, the family moved to Moscow. At the time of the Eighth Symphony's premiere, the tide had turned for the Red Army. Therefore the public, and most importantly the authorities, wanted another triumphant piece from the composer. Instead, they got the Eighth Symphony, perhaps the ultimate in sombre and violent expression within Shostakovich's output. In order to preserve the image of Shostakovich (a vital bridge to the people of the Union and to the West), the government assigned the name "Stalingrad" to the symphony, giving it the appearance of a mourning of the dead in the bloody Battle of Stalingrad. However, the symphony did not escape criticism. Shostakovich is reported to have said: "When the Eighth was performed, it was openly declared counter-revolutionary and anti-Soviet. They said, 'Why did Shostakovich write an optimistic symphony at the beginning of the war and a tragic one now? At the beginning we were retreating and now we're attacking, destroying the Fascists. And Shostakovich is acting tragic, that means he's on the side of the fascists.'"^[28] The work was unofficially but effectively banned until 1956.^[29]

The Ninth Symphony (1945), in contrast, is an ironic Haydnesque parody, which intentionally failed to satisfy Stalin's demands for a "hymn of victory". The war was won, and Shostakovich’s "pretty" symphony was interpreted as a mockery of the Soviet Union’s victory rather than a celebratory piece. Shostakovich continued to compose chamber music, notably his Second Piano Trio (Op. 67), dedicated to the memory of Sollertinsky, with a bitter-sweet, Jewish-themed totentanz finale.

Second denunciation[link]

In 1948 Shostakovich, along with many other composers, was again denounced for formalism in the Zhdanov decree. Andrei Zhdanov, Chairman of the RSFSR Supreme Soviet, accused Shostakovich and other composers (such as Sergei Prokofiev and Aram Khachaturian) for writing inappropriate and formalist music. This was part of an ongoing anti-formalism campaign intended to root out all Western compositional influence as well as any perceived "non-Russian" output. The conference resulted in the publication of the Central Committee’s Decree "On V. Muradeli’s opera The Great Friendship," which was targeted towards all Soviet composers and demanded that they only write "proletarian" music, or music for the masses. The accused composers, including Shostakovich, were summoned to make public apologies in front of the committee.^[30][31] Most of Shostakovich's works were banned, and his family had privileges withdrawn. Yuri Lyubimov says that at this time "he waited for his arrest at night out on the landing by the lift, so that at least his family wouldn't be disturbed."^[32]

The consequences of the decree for composers were harsh. Shostakovich was among those who were dismissed from the Conservatoire altogether. For Shostakovich, the loss of money was perhaps the largest blow. Others still in the Conservatory experienced an atmosphere that was thick with suspicion. No one wanted their work to be understood as formalist, so many resorted to accusing their colleagues of writing or performing anti-proletarian music.^[33]

In the next few years he composed three categories of work: film music to pay the rent, official works aimed at securing official rehabilitation, and serious works "for the desk drawer". The latter included the Violin Concerto No. 1 and the song cycle From Jewish Folk Poetry. The cycle was written at a time when the post-war anti-Semitic campaign was already under way, with widespread arrests including of I. Dobrushin and Yiditsky, the compilers of the book from which Shostakovich took his texts.^[34]

The restrictions on Shostakovich's music and living arrangements were eased in 1949, when Stalin decided that the Soviets needed to send artistic representatives to the Cultural and Scientific Congress for World Peace in New York City, and that Shostakovich should be amongst them. For Shostakovich, it was a humiliating experience culminating in a New York press conference where he was expected to read a prepared speech. Nicolas Nabokov, who was present in the audience, witnessed Shostakovich starting to read "in a nervous and shaky voice" before he had to break off "and the speech was continued in English by a suave radio baritone".^[35] Fully aware that Shostakovich was not free to speak his mind, Nabokov publicly asked the composer whether he supported the then recent denunciation of Stravinsky's music in the Soviet Union. Shostakovich, who was a great admirer of Stravinsky and had been influenced by his music, had no alternative but to answer in the affirmative. Nabokov did not hesitate to publish that this demonstrated that Shostakovich was "not a free man, but an obedient tool of his government."^[36] Shostakovich never forgave Nabokov for this public humiliation.^[37] That same year Shostakovich was obliged to compose the cantata Song of the Forests, which praised Stalin as the "great gardener." In 1951 the composer was made a deputy to the Supreme Soviet of RSFSR.

Stalin's death in 1953 was the biggest step towards Shostakovich's rehabilitation as a creative artist, which was marked by his Tenth Symphony. It features a number of musical quotations and codes (notably the DSCH and Elmira motifs, Elmira Nazirova being a pianist and composer who had studied under Shostakovich in the year prior to his dismissal from the Moscow Conservatoire),^[38] the meaning of which is still debated, whilst the savage second movement, according to Testimony, is intended as a musical portrait of Stalin himself. The Symphony ranks alongside the Fifth and Seventh as one of his most popular works. 1953 also saw a stream of premieres of the "desk drawer" works.

During the forties and fifties Shostakovich had close relationships with two of his pupils: Galina Ustvolskaya and Elmira Nazirova. In the background to all this remained Shostakovich's first, open marriage to Nina Varzar until her death in 1954. He taught Ustvolskaya from 1937 to 1947. The nature of their relationship is far from clear: Mstislav Rostropovich described it as "tender". Ustvolskaya rejected a proposal of marriage from him after Nina's death.^[39] Shostakovich's daughter, Galina, recalled her father consulting her and Maxim about the possibility of Ustvolskaya being their stepmother.^[40] Ustvolskaya's friend, Viktor Suslin, said that she had been "deeply disappointed" in Shostakovich by the time of her graduation in 1947. The relationship with Nazirova seems to have been one-sided, expressed largely through his letters to her, and can be dated to around 1953 to 1956. He married his second wife, Komsomol activist Margarita Kainova, in 1956; the couple proved ill-matched, and divorced three years later.

In 1954, Shostakovich wrote the Festive Overture, opus 96, that was used as the theme music for the 1980 Summer Olympics.^[41] In addition his '"Theme from the film Pirogov, Opus 76a: Finale" was played as the cauldron was lit at the 2004 Summer Olympics in Athens, Greece.

In 1959, Shostakovich appeared on stage in Moscow at the end of a concert performance of his Fifth Symphony, congratulating Leonard Bernstein and the New York Philharmonic Orchestra for their performance (part of a concert tour of the Soviet Union). Bernstein recorded the symphony later that year in New York for Columbia Records.

Joining the Party[link]

The year 1960 marked another turning point in Shostakovich's life: his joining of the Communist Party. The government wanted to appoint him General Secretary of the Composer’s Union, but in order to hold that position Shostakovich was required to attain Party membership. It was understood that Nikita Khrushchev, the First Secretary of the Communist Party from 1958 to 1964, was looking for support from the leading ranks of the intelligentsia in an effort to create a better relationship with the Soviet Union’s artists.^[42] This event has been interpreted variously as a show of commitment, a mark of cowardice, the result of political pressure, and as his free decision. On the one hand, the apparat was undoubtedly less repressive than it had been before Stalin's death. On the other, his son recalled that the event reduced Shostakovich to tears,^[43] and he later told his wife Irina that he had been blackmailed.^[44] Lev Lebedinsky has said that the composer was suicidal.^[45] Once he joined the Party, several articles denouncing individualism in music were published in Pravda under his name, though he did not actually write them. In addition, in joining the party, Shostakovich was also committing himself to finally writing the homage to Lenin that he had promised before. His Twelfth Symphony, which portrays the Bolshevik Revolution and was completed in 1961, was dedicated to Vladimir Lenin and called "The Year 1917."^[46] Around this time, his health also began to deteriorate.

Shostakovich's musical response to these personal crises was the Eighth String Quartet, composed in only three days. Shostakovich subtitled the piece, "To the victims of fascism and war",^[47] ostensibly in memory of the Dresden fire bombing that took place in 1945. Yet, like the Tenth Symphony, this quartet incorporates quotations from several of his past works and his musical monogram: Shostakovich confessed to Glikman, "I started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write one myself."^[48] Several of Shostakovich's colleagues, including Natalya Vovsi-Mikhoels^[49] and the cellist Valentin Berlinsky^[50] were also aware of the Eighth Quartet's biographical intent.

In 1962 he married for the third time, to Irina Supinskaya. In a letter to his friend Isaak Glikman, he wrote, "her only defect is that she is 27 years old. In all other respects she is splendid: clever, cheerful, straightforward and very likeable."^[51] According to Galina Vishnevskaya, who knew the Shostakoviches well, this marriage was a very happy one: "It was with her that Dmitri Dmitriyevich finally came to know domestic peace... Surely, she prolonged his life by several years."^[52] In November Shostakovich made his only venture into conducting, conducting a couple of his own works in Gorky:^[53] otherwise he declined to conduct, citing nerves and ill health as his reasons.

That year saw Shostakovich again turn to the subject of anti-Semitism in his Thirteenth Symphony (subtitled Babi Yar). The symphony sets a number of poems by Yevgeny Yevtushenko, the first of which commemorates a massacre of the Jews during the Second World War. Opinions are divided how great a risk this was: the poem had been published in Soviet media, and was not banned, but it remained controversial. After the symphony's premiere, Yevtushenko was forced to add a stanza to his poem which said that Russians and Ukrainians had died alongside the Jews at Babi Yar.

In 1965 Shostakovich raised his voice in defense of poet Joseph Brodsky, who was sentenced to five years of exile and hard labor. Shostakovich co-signed protests together with Yevtushenko and fellow Soviet artists Kornei Chukovsky, Anna Akhmatova, Samuil Marshak, and the French philosopher Jean-Paul Sartre. After the protests the sentence was commuted, and Brodsky returned to Leningrad. Shostakovich joined the group of 25 distinguished intellectuals in signing the letter to Leonid Brezhnev asking not to rehabilitate Stalin.^{[citation needed]}

Later life[link]

Dmitri Shostakovich (center) with his wife Irina and Azerbaijani composer Gara Garayev

In later life, Shostakovich suffered from chronic ill health, but he resisted giving up cigarettes and vodka. Beginning in 1958 he suffered from a debilitating condition that particularly affected his right hand, eventually forcing him to give up piano playing; in 1965 it was diagnosed as polio. He also suffered heart attacks the following year and again in 1971, and several falls in which he broke both his legs; in 1967 he wrote in a letter:

"Target achieved so far: 75% (right leg broken, left leg broken, right hand defective). All I need to do now is wreck the left hand and then 100% of my extremities will be out of order."^[54]

A preoccupation with his own mortality permeates Shostakovich's later works, among them the later quartets and the Fourteenth Symphony of 1969 (a song cycle based on a number of poems on the theme of death). This piece also finds Shostakovich at his most extreme with musical language, with twelve-tone themes and dense polyphony used throughout. Shostakovich dedicated this score to his close friend Benjamin Britten, who conducted its Western premiere at the 1970 Aldeburgh Festival. The Fifteenth Symphony of 1971 is, by contrast, melodic and retrospective in nature, quoting Wagner, Rossini and the composer's own Fourth Symphony.

Shostakovich died of lung cancer on 9 August 1975 and after a civic funeral was interred in the Novodevichy Cemetery, Moscow. Even before his death he had been commemorated with the naming of the Shostakovich Peninsula on Alexander Island, Antarctica.

He was survived by his third wife, Irina; his daughter, Galina; and his son, Maxim, a pianist and conductor who was the dedicatee and first performer of some of his father's works. Shostakovich himself left behind several recordings of his own piano works, while other noted interpreters of his music include his friends Emil Gilels, Mstislav Rostropovich, Tatiana Nikolayeva, Maria Yudina, David Oistrakh, and members of the Beethoven Quartet.

Shostakovich's musical influence on later composers outside the former Soviet Union has been relatively slight, although Alfred Schnittke took up his eclecticism, and his contrasts between the dynamic and the static, and some of André Previn's music shows clear links to Shostakovich's style of orchestration. His influence can also be seen in some Nordic composers, such as Lars-Erik Larsson.^[55] Many of his Russian contemporaries, and his pupils at the Leningrad Conservatory, however, were strongly influenced by his style (including German Okunev, Boris Tishchenko, whose 5th Symphony of 1978 is dedicated to Shostakovich's memory, Sergei Slonimsky, and others). Shostakovich's conservative idiom has nonetheless grown increasingly popular with audiences both within and beyond Russia, as the avant-garde has declined in influence and debate about his political views has developed.

Music[link]

For a complete list, see List of compositions by Dmitri Shostakovich.

See also: Category:Compositions by Dmitri Shostakovich (thematical selection of works by Shostakovich).

Shostakovich's works are broadly tonal and in the Romantic tradition, but with elements of atonality and chromaticism. In some of his later works (e.g., the Twelfth Quartet), he made use of tone rows. His output is dominated by his cycles of symphonies and string quartets, each numbering fifteen. The symphonies are distributed fairly evenly throughout his career, while the quartets are concentrated towards the latter part. Among the most popular are the Fifth and Seventh Symphonies and the Eighth and Fifteenth Quartets. Other works include the operas Lady Macbeth of Mtsensk, The Nose and the unfinished The Gamblers based on the comedy of Nikolai Gogol; six concertos (two each for piano, violin and cello); two piano trios; and a large quantity of film music.

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. Among Russian composers, he particularly admired Modest Mussorgsky, whose operas Boris Godunov and Khovanshchina he re-orchestrated; Mussorgsky's influence is most prominent in the wintry scenes of Lady Macbeth and the Eleventh Symphony, as well as in his satirical works such as "Rayok".^[56] Prokofiev's influence is most apparent in the earlier piano works, such as the first sonata and first concerto.^[57] The influence of Russian church and folk music is very evident in his works for unaccompanied choir of the 1950s.

Shostakovich's relationship with Stravinsky was profoundly ambivalent; as he wrote to Glikman, "Stravinsky the composer I worship. Stravinsky the thinker I despise."^[58] He was particularly enamoured of the Symphony of Psalms, presenting a copy of his own piano version of it to Stravinsky when the latter visited the USSR in 1962. (The meeting of the two composers was not very successful, however; observers commented on Shostakovich's extreme nervousness and Stravinsky's "cruelty" to him.)^[59]

Many commentators have noted the disjunction between the experimental works before the 1936 denunciation and the more conservative ones that followed; the composer told Flora Litvinova, "without 'Party guidance' ... I would have displayed more brilliance, used more sarcasm, I could have revealed my ideas openly instead of having to resort to camouflage."^[60] Articles published by Shostakovich in 1934 and 1935 cited Berg, Schoenberg, Krenek, Hindemith, "and especially Stravinsky" among his influences.^[61] Key works of the earlier period are the First Symphony, which combined the academicism of the conservatory with his progressive inclinations; The Nose ("The most uncompromisingly modernist of all his stage-works"^[62]); Lady Macbeth. which precipitated the denunciation; and the Fourth Symphony, described by Grove as "a colossal synthesis of Shostakovich's musical development to date".^[63] The Fourth Symphony was also the first in which the influence of Mahler came to the fore, prefiguring the route Shostakovich was to take to secure his rehabilitation, while he himself admitted that the preceding two were his least successful.^[64]

In the years after 1936, Shostakovich's symphonic works were outwardly musically conservative, regardless of any subversive political content. During this time he turned increasingly to chamber works, a field that permitted the composer to explore different and often darker ideas without inviting external scrutiny.^[65] While his chamber works were largely tonal, they gave Shostakovich an outlet for sombre reflection not welcomed in his more public works. This is most apparent in the late chamber works, which portray what Groves has described as a "world of purgatorial numbness";^[66] in some of these he included the use of tone rows, although he treated these as melodic themes rather than serially. Vocal works are also a prominent feature of his late output, setting texts often concerned with love, death and art.

Women's Rights[link]

Shostakovich's works have quite a few social justice themes. For example, in Lady Macbeth of the Mtsensk District, the protagonist is doomed by the patriarchal society, and the opera ends with her tragic death. Shostakovich had actually been brought up with feminism; his godmother, Klavdia Lukashevich, was a feminist activist and was also a powerful influence on the young Dmitri Shostakovich.^[67]

Jewish themes[link]

Even before the Stalinist anti-Semitic campaigns in the late 1940s and early 1950s, Shostakovich showed an interest in Jewish themes. He was intrigued by Jewish music’s "ability to build a jolly melody on sad intonations."^[68] Examples of works that included Jewish themes are the Fourth String Quartet (1949), the First Violin Concerto (1948), and the Four Monologues on Pushkin Poems (1952). He was further inspired to write with Jewish themes when he examined Moiser Beregovsky’s thesis on the theme of Jewish folk music in 1946.

In 1948, Shostakovich acquired a book of Jewish folk songs, and from this he composed the song cycle From Jewish Poetry. He initially wrote eight songs that were meant to represent the hardships of being Jewish in the Soviet Union. However in order to disguise this, Shostakovich ended up adding three more songs meant to demonstrate the great life Jews had under the Soviet regime. Despite his efforts to hide the real meaning in the work, the Union of Composers refused to approve his music in 1949 under the pressure of the anti-Semitism that gripped the country. From Jewish Poetry could not be performed until after Stalin’s death in March 1953, along with all the other works that were forbidden.^[69]

Posthumous publications[link]

In 2004, the musicologist Olga Digonskaya discovered a trove of Shostakovich manuscripts at the Glinka State Central Museum of Musical Culture, Moscow. In a cardboard file were some "300 pages of musical sketches, pieces and scores" in the hand of Shostakovich. "A composer friend bribed Shostakovich's housemaid to regularly deliver the contents of Shostakovich's office waste bin to him, instead of taking it to the garbage. Some of those cast-offs eventually found their way into the Glinka. ... The Glinka archive 'contained a huge number of pieces and compositions which were completely unknown or could be traced quite indirectly,' Digonskaya said."^[70]

Among these were Shostakovich's piano and vocal sketches for a prologue to an opera, Orango (1932). They have been orchestrated by the British composer Gerard McBurney and this work was premiered in December 2011 by the Los Angeles Philharmonic.^{[70][71][72][73][74]}

Criticism[link]

According to Shostakovich scholar Gerard McBurney, opinion is divided on whether his music is "of visionary power and originality, as some maintain, or, as others think, derivative, trashy, empty and second-hand."^[75] William Walton, his British contemporary, described him as "The greatest composer of the 20th century."^[76] Musicologist David Fanning concludes in Grove that, "Amid the conflicting pressures of official requirements, the mass suffering of his fellow countrymen, and his personal ideals of humanitarian and public service, he succeeded in forging a musical language of colossal emotional power."^[77]

Some modern composers have been critical. Pierre Boulez dismissed Shostakovich's music as "the second, or even third pressing of Mahler."^[78] The Romanian composer and Webern disciple Philip Gershkovich called Shostakovich "a hack in a trance."^[79] A related complaint is that Shostakovich's style is vulgar and strident: Stravinsky wrote of Lady Macbeth: "brutally hammering ... and monotonous."^[80] English composer and musicologist Robin Holloway described his music as "battleship-grey in melody and harmony, factory-functional in structure; in content all rhetoric and coercion."^[81]

In the 1980s, the Finnish conductor and composer Esa-Pekka Salonen was critical of Shostakovich and refused to conduct his music. For instance, he said in 1987:

Shostakovich is in many ways a polar counter-force for Stravinsky. [...] When I have said that the 7th symphony of Shostakovich is a dull and unpleasant composition, people have responded: "Yes, yes, but think of the background of that symphony." Such an attitude does no good to anyone.^[82]

It is certainly true that Shostakovich borrows extensively from the material and styles both of earlier composers and of popular music; the vulgarity of "low" music is a notable influence on this "greatest of eclectics".^[83] McBurney traces this to the avant-garde artistic circles of the early Soviet period in 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" that gave his music the large-scale structure it required.^[84]

Personality[link]

Shostakovich was in many ways an obsessive man: according to his daughter he was "obsessed with cleanliness";^[85] he synchronised the clocks in his apartment; he regularly sent cards to himself to test how well the postal service was working. Elizabeth Wilson's Shostakovich: A Life Remembered (1994 edition) indexes 26 references to his nervousness. Mikhail Druskin remembers that even as a young man the composer was "fragile and nervously agile".^[86] Yuri Lyubimov comments, "The fact that he was more vulnerable and receptive than other people was no doubt an important feature of his genius".^[87] In later life, Krzysztof Meyer recalled, "his face was a bag of tics and grimaces".^[88]

In his lighter moods, sport was one of his main recreations, although he preferred spectating or umpiring to participating (he was a qualified football referee). His favourite football club was Zenit Leningrad, which he would watch regularly.^[89] He also enjoyed playing card games, particularly patience. He was fond of satirical writers such as Gogol, Chekhov and Mikhail Zoshchenko. The influence of the latter in particular is evident in his letters, which include wry parodies of Soviet officialese. Zoshchenko himself noted the contradictions in the composer's character: "he is ... frail, fragile, withdrawn, an infinitely direct, pure child ... [but he is also] hard, acid, extremely intelligent, strong perhaps, despotic and not altogether good-natured (although cerebrally good-natured)".^[90]

He was diffident by nature: Flora Litvinova has said he was "completely incapable of saying 'No' to anybody."^[91] This meant he was easily persuaded to sign official statements, including a denunciation of Andrei Sakharov in 1973; on the other hand he was willing to try to help constituents in his capacities as chairman of the Composers' Union and Deputy to the Supreme Soviet. Oleg Prokofiev commented that "he tried to help so many people that ... less and less attention was paid to his pleas."^[92] When asked if he believed in God, Shostakovich said "No, and I am very sorry about it."^[93]

Orthodoxy and revisionism[link]

Shostakovich represented himself in some works with the DSCH motif, consisting of D-Eâ™­-C-B.

Shostakovich's response to official criticism and, what is more important, the question of whether he used music as a kind of covert dissidence is a matter of dispute. He outwardly conformed to government policies and positions, reading speeches and putting his name to articles expressing the government line.^[94] But it is evident he disliked many aspects of the regime, as 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.^[95] He was a close friend of Marshal of the Soviet Union Mikhail Tukhachevsky, who was executed in 1937 during the Great Purge.

It is also uncertain to what extent Shostakovich expressed his opposition to the state in his 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 alleged that many of the composer's works contained coded anti-government messages, that would place Shostakovich in a tradition of Russian artists outwitting censorship that goes back at least to the early 19th century poet Pushkin. It is known that he incorporated many quotations and motifs in his work, most notably his signature DSCH theme.^[96] His longtime collaborator Evgeny Mravinsky said that "Shostakovich very often explained his intentions with very specific images and connotations."^[97]

The revisionist perspective has subsequently been supported by his children, Maxim and Galina, and many Russian musicians. Volkov has further argued, both in Testimony and in Shostakovich and Stalin, that Shostakovich adopted the role of the yurodivy or holy fool in his relations with the government. Other prominent revisionists are Ian MacDonald, whose book The New Shostakovich put forward further revisionist interpretations of his music, and Elizabeth Wilson, whose Shostakovich: A Life Remembered provides testimony from many of the composer's acquaintances.

Tombstone of Shostakovich, showing his D-Eâ™­-C-B motif. Novodevichy Cemetery, Moscow.

Musicians and scholars including Laurel Fay^[98] 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. Fay documents these allegations in her 2002 article 'Volkov's Testimony reconsidered',^[99] showing that the only pages of the original Testimony manuscript that Shostakovich had signed and verified are word-for-word reproductions of earlier interviews given by the composer, none of which are controversial. (Against this, it has been pointed out by Allan B. Ho and Dmitry Feofanov that at least two of the signed pages contain controversial material: for instance, "on the first page of chapter 3, where [Shostakovich] notes that the plaque that reads 'In this house lived [Vsevolod] Meyerhold' should also say 'And in this house his wife was brutally murdered'.")^[100] More broadly, Fay and Taruskin argue^{[citation needed]} 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.

Recorded legacy[link]

A Russian stamp in Shostakovich's memory

In May 1958, during a visit to Paris, Shostakovich recorded his two piano concertos with André Cluytens, as well as some short piano works. These were issued by EMI on an LP, reissued by Seraphim Records on LP, and eventually digitally remastered and released on CD. Shostakovich recorded the two concertos in stereo in Moscow for Melodiya. Shostakovich also played the piano solos in recordings of the Cello Sonata, Op. 40 with cellist Daniil Shafran and also with Mstislav Rostropovich; the Violin Sonata, Op. 134, with violinist David Oistrakh; and the Piano Trio, Op. 67 with violinist David Oistrakh and cellist Miloš Sádlo. There is also a short sound film of Shostakovich as soloist in a 1930s concert performance of the closing moments of his first piano concerto. A colour film of Shostakovich supervising one of his operas, from his last year, was also made.^[101]

Awards[link]

Soviet Union

• Hero of Socialist Labor (1966)
• Order of Lenin (1946, 1956, 1966)
• Order of the October Revolution (1971)
• Order of the Red Banner of Labour (1940)
• Order of Friendship of Peoples (1972)
• People's Artist of the USSR (1954)
• People's Artist of the RSFSR (1948)
• International Peace Prize (1954)
• Lenin Prize (1958 - for the 11th symphony "1905")
• State Stalin Prize in arts (1941 - 1st class, for piano quintet; 1942 - 1st class, 7th ("Leningrad") Symphony; 1946 - 2nd class, a trio, 1948, 1949, 1949, 1949, 1950 - 1st class, for the music for the film Meeting on the Elbe, 1952 - 2nd class, 10 poems for chorus)
• USSR State Prize (1968 - for the poem "The Execution of Stepan Razin" for bass, chorus and orchestra)
• Glinka State Prize of the RSFSR (1974 - for the 14th string quartet and choral cycle "Fidelity")
• National Prize of Ukraine Taras Shevchenko (posthumously, 1976 - USSR State Prize named after Taras Shevchenko - for the opera "Katerina Ismailov," staged in KUGATOB Shevchenko)

Finland

• Sibelius Award (1958)

United States

• Oscar nomination for Khovanshchina, Best Score (Musical) in 1961

United Kingdom

• Gold Medal of the Royal Philharmonic Society (1966)

Austria

• Decoration for Services to the Republic of Austria in Silver (1967)

Denmark

• Léonie Sonning Music Prize (1974)

List of compositions[link]

• List of compositions by Dmitri Shostakovich

Notes[link]

References[link]