Birthplace of Shostakovich (now School No. 267). Commemorative plaque at left
Born at Podolskaya street in
Russia, Shostakovich was the second of three children of Dmitri Boleslavovich Shostakovich and Sofiya Vasilievna Kokoulina. Shostakovich's paternal grandfather, originally surnamed Szostakowicz, was of
Roman Catholic descent (his family roots trace to the region of the town of
Vileyka in today's
Belarus), but his immediate forebears came from
Siberia. A Polish revolutionary in the
January Uprising of 1863–4, Bolesław Szostakowicz would be exiled to
Tomsk) in 1866 in the crackdown that followed
Dmitri Karakozov's assassination attempt on
Tsar Alexander II.
 When his term of exile ended, Szostakowicz decided to remain in Siberia. He eventually became a successful banker in
Irkutsk and raised a large family. His son, Dmitri Boleslavovich Shostakovich, the composer's father, was born in exile in Narim in 1875 and studied physics and mathematics in
Saint Petersburg University, graduating in 1899. He then went to work as an engineer under
Dmitri Mendeleev at the Bureau of Weights and Measures in Saint Petersburg. In 1903 he married another Siberian transplant to the capital, Sofiya Vasilievna Kokoulina, one of six children born to a Russian
Their son, Dmitri Dmitriyevich Shostakovich, displayed significant musical talent 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 playing the previous lesson's music while pretending to read different music placed in front of him.
 In 1918 he wrote a funeral march in memory of two leaders of the
Kadet party, murdered by
In 1919, at the age of thirteen, he was allowed to enter the
Petrograd Conservatory, then headed by
Alexander Glazunov, who monitored Shostakovich's progress closely and promoted him.
 Shostakovich studied piano with
Leonid Nikolayev after a year in the class of Elena Rozanova, composition with
Maximilian Steinberg, and
Nikolay Sokolov, with whom he became friends.
 Shostakovich also attended
Alexander Ossovsky's history of music classes.
 Steinberg tried to guide Shostakovich in the path of the great Russian composers, but was disappointed to see him 'wasting' his talent and imitating
Igor Stravinsky and
Sergei Prokofiev. Shostakovich also 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.
After graduation, Shostakovich initially embarked on a dual career as concert pianist and composer, but his dry style of playing was often unappreciated (his American biographer, Laurel Fay, comments on his "emotional restraint" and "riveting rhythmic drive"). He nevertheless won an "honorable mention" at the First
International Chopin Piano Competition in Warsaw in 1927. He attributed the disappointment at the competition to suffering from appendicitis and the jury being all-Polish. He later had his appendix removed in April 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. Owing to its
experimental nature, as with the subsequent
Third Symphony, the pieces were not critically acclaimed with the enthusiasm granted to the First.
The year 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
The Nose, based on the story by
Nikolai Gogol. In June 1929, against the composer's own wishes, the opera was given a concert performance; it was ferociously attacked by the
Russian Association of Proletarian Musicians (RAPM).
 Its stage premiere on 18 January 1930 opened to generally poor reviews and widespread incomprehension amongst musicians.
In the late 1920s and early 1930s, Shostakovich worked at
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".
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.
Shostakovich fell from official favour in 1936. 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
Arkhangelsk when he heard news of the first Pravda article. Two days before the article was published on the evening of 28 January,
 a friend had advised Shostakovich to attend the
Bolshoi Theatre production of Lady Macbeth. When he arrived, he saw that
Joseph Stalin and the
Politburo were there. In letters written to his friend
Ivan Sollertinsky, 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.
The article condemned Lady Macbeth as
formalist, "coarse, primitive and vulgar". 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 Pravda".
 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.
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, who was 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 Mikhaylovna Varzar (sent to a camp in
Karaganda); his friend the Marxist writer Galina Serebryakova (20 years in camps); his uncle Maxim Kostrykin (died); and his colleagues
Boris Kornilov and
Adrian Piotrovsky (executed).
 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
The publication of the Pravda editorials coincided with the composition of Shostakovich's
Fourth Symphony. The work marked a great shift in style for the composer, owing to the substantial influence of Gustav Mahler and a number of 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.
 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 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.
Fifth Symphony and return to favour
The composer's response to his denunciation was the
Fifth Symphony of 1937, which was musically more conservative than his earlier works. Premiered on 21 November 1937 in Leningrad, it was a phenomenal success. The Fifth drove many to tears and welling emotions. Later, Shostakovich's purported memoir,
Testimony, stated: "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."
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. In a newspaper article published under Shostakovich's name, the Fifth Symphony was characterised as "A Soviet artist's creative response to just criticism." The composer
Dmitry Kabalevsky, who had been among those who disassociated themselves from Shostakovich when the Pravda article was published, praised the Fifth Symphony and congratulated Shostakovich for "not having given in to the seductive temptations of his previous 'erroneous' ways."
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
In 1939, before
Soviet forces attempted to invade 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
Winter War was a bitter experience for the Red Army, the parade never happened, and Shostakovich would never lay claim to the authorship of this work. It was not performed until 2001.
 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 of his poor eyesight. To compensate, he became a volunteer for the Leningrad Conservatory’s firefighter brigade and delivered a radio broadcast to the Soviet people
info). The photograph for which he posed was published in newspapers throughout the country.
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
Samara) where he and his family had been evacuated. It remains unclear whether 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 by the Bolshoi Theatre orchestra in Kuibyshev and was soon performed abroad in London and the United States. The most compelling performance was the
Leningrad premiere by the Radio Orchestra in the besieged city. The orchestra had only fourteen musicians left, so the conductor Karl Eliasberg had to recruit anyone who could play a musical instrument to perform the symphony.
The family moved to Moscow in spring 1943. At the time of the
Eighth Symphony's premiere, the tide had turned for the Red Army. As a consequence, 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. Its composer 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.'"
 The work was unofficially but effectively banned until 1956.
Ninth Symphony (1945), in contrast, was much lighter in tone.
Gavriil Popov wrote that it was "splendid in its joie de vivre, gaiety, brilliance, and pungency!!
 By 1946, however, it was the subject of criticism.
Israel Nestyev asked whether it was the right time for "a light and amusing interlude between Shostakovich's significant creations, a temporary rejection of great, serious problems for the sake of playful, filigree-trimmed trifles."
New York World-Telegram of 27 July 1946 was similarly dismissive: "The Russian composer should not have expressed his feelings about the defeat of Nazism in such a childish manner". Shostakovich continued to compose chamber music, notably his
Second Piano Trio (Op. 67), dedicated to the memory of Sollertinsky, with a bittersweet, Jewish-themed
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) of 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 write only "proletarian" music, or music for the masses. The accused composers, including Shostakovich, were summoned to make public apologies in front of the committee.
 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."
The consequences of the decree for composers were harsh. Shostakovich was among those who were dismissed from the Conservatory 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 his work to be understood as formalist, so many resorted to accusing their colleagues of writing or performing anti-proletarian music.
In the next few years, Shostakovich 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 postwar
anti-Semitic campaign was already under way, with widespread arrests, including that of I. Dobrushin and Yiditsky, the compilers of the book from which Shostakovich took his texts.
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 among 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". Fully aware that Shostakovich was not free to speak his mind, Nabokov publicly asked the composer whether he supported the then recent denunciation of Igor 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."
 Shostakovich never forgave Nabokov for this public humiliation.
 That same year Shostakovich was obliged to compose the
Song of the Forests, which praised Stalin as the "great gardener". In 1951 the composer was made a deputy to the
Supreme Soviet of the 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),
 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.
 Shostakovich's daughter, Galina, recalled her father consulting her and Maxim about the possibility of Ustvolskaya becoming their stepmother.
 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.
 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). Later that year, Bernstein and the New York Philharmonic recorded the symphony in Boston for
Joining the Party
The year 1960 marked another turning point in Shostakovich's life: he joined the
Communist Party. The government wanted to appoint him General Secretary of the Composers' Union, but in order to hold that position he 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.
 This event has been interpreted variously as a show of commitment, a mark of cowardice, the result of political pressure, or 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, and he later told his wife Irina that he had been blackmailed.
Lev Lebedinsky has said that the composer was suicidal.
 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." 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. He subtitled the piece, "To the victims of fascism and war",
 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 his friend Isaak 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."
 Several of Shostakovich's colleagues, including Natalya Vovsi-Mikhoels
 and the cellist Valentin Berlinsky,
 were also aware of the Eighth Quartet's biographical intent. Peter J. Rabinowitz has also pointed to covert references to Richard Strauss's
Metamorphosen in the Eighth Quartet.
In 1962 he married for the third time, to Irina Supinskaya. In a letter to 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."
 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." In November he made his only venture into conducting, conducting a couple of his own works in
 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 Ukrainian 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
Samuil Marshak, and the French philosopher
Jean-Paul Sartre. After the protests the sentence was commuted, and Brodsky returned to Leningrad.
In 1964 Shostakovich composed the music for the Russian film
Hamlet, which was favourably reviewed by
The New York Times: "But the lack of this aural stimulation – of Shakespeare's eloquent words – is recompensed in some measure by a splendid and stirring musical score by Dmitri Shostakovich. This has great dignity and depth, and at times an appropriate wildness or becoming levity".
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
poliomyelitis. 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."
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
Rossini and the composer's own Fourth Symphony.
Shostakovich died of
lung cancer on 9 August 1975. A civic funeral was conducted; he was interred in the
Novodevichy Cemetery, Moscow. Even before his death he had been commemorated with the naming of the
Shostakovich Peninsula on
Shostakovich voting in the election of the Council of Administration of Soviet Musicians in Moscow in 1974
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
David Oistrakh, and members of the
His last work was his
Viola Sonata, which was first performed on 28 December 1975, four months after his death.
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
 Many of his Russian contemporaries, and his pupils at the
Leningrad Conservatory were strongly influenced by his style (including
Boris Tishchenko, whose 5th Symphony of 1978 is dedicated to Shostakovich's memory,
Sergei Slonimsky, and others). Shostakovich's conservative idiom has 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.