Razin is the subject of a symphonic poem by Alexander Glazunov, a cantata by Shostakovich, a novel I Have Come To Give You Freedom (: ru: Я пришёл дать вам волю ) by Vasily Shukshin.

In 1966, Dimitri Shostakovich wrote a new soundtrack for the film, which later appeared as a tone poem ' October ' Op. 131 where Shostakovich's famous ' Partisan ' theme makes an appearance.

Shostakovich had announced once in September 1938 that he was anxious to work on his Sixth Symphony, which would be a monumental composition for soloists, chorus and orchestra employing the poem Vladimir Ilyich Lenin by Vladimir Mayakovsky, but the declamatory nature of the poem made it difficult to set.

The five poems Shostakovich set to music ( one poem per movement ) are earthily vernacular and cover every aspect of Soviet life:

#: Shostakovich quotes his setting of the Robert Burns poem " MacPhersen Before His Execution " to colour Yevtushenko's imagery of the spirit of mockery, endlessly murdered and endlessly resurrected, denouncing the vain attempts of tyrants to shackle wit.

" Shostakovich interpreted it in his own way, giving it a depth and insight that the poem lacked before ....

Yevtushenko added, about the composer's setting of Babi Yar that " if I were to able to write music I would have written it exactly the way Shostakovich did .... His music made the poem greater, more meaningful and powerful.

Volkov said that Shostakovich dictated the material in the book at a series of meetings with him between 1971 and 1974.

Between 1948 and 1952 Shostakovich composed a series of works in which the Jewish idiom played a part.

* 2007 Dmitri Shostakovich TV documentary in the " Geniuses " series.

The order of movements given in the New Collected Works of Dmitri Shostakovich series is as follows:

The final concert was the third of a series entitled “ The Russian Spirit ” with music from Tchaikovsky, Rachmaninoff, Scriabin and Shostakovich.

His music draws inspiration from the work of modern celebrated composers like Dmitri Shostakovich, though he used the Super Mario series as a model of good video game composition.

According to the British composer Gerard McBurney writing for Boosey & Hawkes " The Nose is one of the young Shostakovich ’ s greatest masterpieces, an electrifying tour de force of vocal acrobatics, wild instrumental colours and theatrical absurdity, all shot through with a blistering mixture of laughter and rage ...

The original version had a " happy " ending, but was never publicly mounted, partly due to increased fear and caution in the musical and theatrical community in the aftermath of the two notorious Pravda editorials criticising Shostakovich and other " degenerate modernists " including Piotrovsky.

Some composers, including Dmitri Shostakovich, Sergei Rachmaninoff, and Carl Nielsen, continued to write in the traditional four-movement form, while other composers took different approaches: Jean Sibelius ' Symphony No. 7, his last, is in one movement, whereas Alan Hovhaness's Symphony No. 9, Saint Vartan — originally op.

* 1935 — Moscow première of Dmitri Shostakovich ' opera Lady Macbeth of the Mtsensk District

Musical examples included Arnold Schoenberg's Pierrot Lunaire and Alban Berg's Wozzeck — both works that Shostakovich admired.

Shostakovich fills this movement with beautiful, long melodies — one of them again based on the first theme of the first movement — punctuating them with intermezzi of solo woodwinds.

With the Fifth Symphony, Shostakovich gained an unprecedented triumph, with the music appealing equally — and remarkably — to both the public and official critics, though the overwhelming public response to the work initially aroused suspicions among certain officials.

" Whether Shostakovich or someone more closely connected with the Party actually wrote the article is open to question, but the phrase " justified criticism "— a reference to the denunciation of the composer in 1936 — is especially telling.

The Mussorgsky cycle contains only four songs — too few to do justice to Mussorgsky's concept, Shostakovich felt.

The Scherzo is also notable for an appearance by the DSCH motif — a motif that reoccurs in many of the composer's works representing Shostakovich himself.

Due to this fact, Opus 77 was then allocated to Three Pieces for Orchestra — a work little known outside of Russia and Shostakovich scholars.

While composing this piece, Shostakovich read an article in his daughter's school newspaper about groups of " Pioneers "— the Soviet youth movement — becoming involved in the planting project.

Before the work's premiere, a friend of Shostakovich said to him, " It would be so good if instead of Stalin you had, say, the queen of the Netherlands — she's a big fan of reforestation.

" Fay has alleged that whilst Maxim admits that the general context of the times and what it would have been to live as a composer under Soviet rule are generally correct, that Shostakovich's individual portrait was " grossly miscontrued ", and hence, whilst praising the book for highlighting the potential hardships of living under totalitarianism, nevertheless has repeatedly maintained his claim that " it was a book about my father, not by him " — in short, that in his opinion the book cannot be treated as Shostakovich's memoirs, so much as a book about what Shostakovich may have been like.

Definitely the style of speech is Shostakovich ’ s — not only the choice of words, but also the way they are put together.

His wife ( Lady Macbeth ) has gained fame along the way, lending her Shakespeare-given title to a short story by Nikolai Leskov and the opera by Dmitri Shostakovich titled Lady Macbeth of Mtsensk.

Another story Shostakovich relayed was of an " eternal student " applying to enter the composition department at the Saint Petersburg Conservatory.

Based on The Steadfast Tin Soldier by Hans Christian Andersen, the concerto was written as a gift by Shostakovich to his musically gifted young son, and the percussive rhythms also suit a story about a soldier.

The libretto by Shostakovich, Yevgeny Zamyatin, Georgy Ionin, and Alexander Preis is based on the story The Nose by Nikolai Gogol.

For Shostakovich the story of 1936 was repeated, only this time he was not alone.

Leskov's story inspired an opera of the same name by Dmitri Shostakovich, and the 1962 Polish film by Andrzej Wajda, Sibirska Ledi Magbet ( Siberian Lady Macbeth ).

For example, the galactic development combine CHOAM in the original Dune story becomes NOAMCHOMSKI, an acronym which expands to the name Neutralis Organizational Abba Mercantile Condominium Havatampa Orthonovum Minnehaha Shostakovich Kategorial Imperative – a name whose style mocks that of the equally-impenetrable Combine Honnete Ober Advancer Mercantiles – and is mentioned and expanded on by some characters to the point of compulsion.

The piano concerto form survived through the 20th century into the 21st, with examples being written by Arnold Schoenberg, Béla Bartók, Igor Stravinsky, Sergei Prokofiev, Nikolai Medtner, Alexander Tcherepnin, Maurice Ravel, George Gershwin, Michael Tippett, Charles Wuorinen, York Bowen, Frank Martin, Bohuslav Martinů, Peter Mieg, Heinrich Sutermeister, Dmitri Shostakovich, Samuel Barber, Witold Lutosławski, Gian Francesco Malipiero, Peter Mennin, György Ligeti, Elliott Carter, Selim Palmgren, Leroy Anderson, and others.

At the same time, composers such as Sergei Prokofiev, Benjamin Britten, and Dmitri Shostakovich revived the idea of a sonata form by more complex and extended use of tonality.

Several portions of the overture were used prominently in the films A Clockwork Orange and The Eagle Shooting Heroes ; in addition, Dmitri Shostakovich quotes the main theme of the finale in the first movement of his 15th symphony.

A notable exception is the Russian composer Dmitri Shostakovich, whose symphonies use the theme of angst in post-World War II compositions depicting Russian strife during the war.

The work is filled with quotes of other pieces by Shostakovich: the first movement quotes his Symphony No. 1 and Symphony No. 5 ; the second movement uses a Jewish theme first used by Shostakovich in his Piano Trio No. 2 ; the third movement quotes the Cello Concerto No. 1 ; and the fourth movement quotes the 19th century revolutionary song " Tormented by Grievous Bondage " and the aria " Seryozha, my love " from Shostakovich's opera, Lady Macbeth of the Mtsensk District.

" The secondary theme was rubbish, of course ", Shostakovich said, " but the effect was enormous.

Something else Shostakovich played for his composition students were the 12 variations of what later became known as the " invasion " theme.

For instance, musicologist Ludmila Mikheyeya ( who is also Ivan Sollertinsky's daughter in law ) maintains that Shostakovich played the theme and its variations for his students before the war with Germany began.

While the word " invasion " was used by commentators in numerous articles and reviews, Shostakovich never used it to describe the episode or theme.

In the opening half of the march, Shostakovich inserts a theme from his opera Lady Macbeth of the Mtsensk District, the work for which the composer suffered his first official denunciation in 1936.

Shostakovich saves what some would call his boldest stroke with the " invasion " theme for a point near the episode's climax.

The third movement is a nocturne built around two musical codes: the DSCH theme representing Shostakovich, and the Elmira theme ():

" By the end of May, Shostakovich had found three additional poems by Yevtushenko, which caused him to expand the work into a multi-movement choral symphony by complementing Babi Yar's theme of Jewish suffering with Yevtushenko's verses about other Soviet abuses.

Shostakovich uses this theme in many of his works to represent himself.

Loud and rather ferocious, the theme has something of the qualities of the Mannheim rocket, but its chromaticism suggests the future music of Shostakovich.