什么是萧士塔高维奇

Shostakovich, Dmitri (Dmitriyevich)

俄罗斯作曲家。出生於知识分子家庭，并由於青年时代发生的政治骚动，十三岁就进入圣彼得堡音乐学院学习。他所创作的第一交响曲（1925）引起了国际注意。作品显示出其能够充分驾驭大调的能力。能表现多种风格，既有朴实的抒情，又有辛辣的讽刺，还有宏伟的史诗。他以後创作的交响曲以及《鼻子》（1928）、《黄金时代》（1930）和《姆钦斯克的马克白夫人》（1932）等戏剧作品，可能是他最「现代派」的作品。《真理报》对《姆钦斯克的马克白夫人》的批评，很有可能出自史达林，迫使萧士塔高维奇采用了一种完全不同的风格。他於战时创作的《第七交响曲》，被认为是对德军入侵的描绘，成为爱国主义的象徵。在政府公开谴责其音乐後（1948），他再次消沈，并寄个人情绪於室内乐作品中，尤其体现在他的十五首四重奏中。1950年代後期解冻之後，他创作了两部极为个性化的交响曲，包括13号以及《巴比雅》（1962）。他被认为是史特拉汶斯基之後最伟大的俄国作曲家。

1906～1975年

Shostakovich, Dmitri (Dmitriyevich)

Russian composer. Shaped by his intellectual parents and the political turmoil of his youth, he was admitted to the St. Petersburg Conservatory at 13. His Symphony No. 1 (1925) attracted international attention, displaying such distinctive traits as a convincing command of a large scale and an expressive palette ranging from unaffected lyricism to bitter satire to grand heroics. His next symphonies and such theater works as The Nose (1928), The Age of Gold (1930), and Lady Macbeth of Mtsensk (1932) were perhaps his most “modernistic” works. The denunciation of Lady Macbeth in Pravda (1936), perhaps by Joseph Stalin himself, led to his adopting a very different style. His wartime Symphony No. 7, thought to portray the German invasion, became a symbol of patriotism. After his music was denounced by the government in 1948, he was again devastated, and began putting his most personal feelings into chamber works, particularly the remarkable 15 string quartets. With the “thaw” of the late 1950s, he composed two outspokenly personal late symphonies, including no. 13, “Babi Yar” (1962). He is remembered as the greatest Russian composer to follow I. Stravinsky.