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1543055606-641.Pdf • What were Dmitri Shostakovich's views about his homeland? Until 1979 he Soviet Union's official composer was con­ sidered a staunch supporter of Joseph Stalin and his successors. This assu ption was then challenged with the pub1ication of Testimony, ostensibly the composer's memoirs as told to Solomon Volkov, in which Shostakovich emerged as a dissi­ dent. Serious reservations persist to this day about the integrity and validity of Testimony, but Volkov did reveal a "new" Shostakovich. Now, in the first important biographical work on Shostakovich to take Testimony into account, Ian MacDonald dispels some of the mystery surrounding the composer and his music. Declaring that Volkov painted "a realistic picture of Dmitri Shostakovich: it just isn't a genuine one," MacDonald describes the ways in which the Soviet government used Shostakovich and other artists for propaganda purposes and examines the only authentic record of Shostakovich's personal and political beliefs that the composer left behind: his music. MacDonald argues that attempts to grasp the compositions of Shostakovich as pure music are doomed to failure because the composer's art can be understood o ly within the political-cultural framework of his time. Soviet institutions controlled artistic endeavors during Shostakovich's THE NEW SHOSTAKOVICH THE NEW SHOSTAKOVICH Ian MacDonald Northeastern University Press BOSTON Northeastern University Press Copyright© 1990 by Ian MacDonald First published in Great Britain in 1990 by Fourth Estate, Ltd. Published in the United States of America in 1990 by Northeastern University Press. All rights reserved. This book, or parts thereof, may not be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any informationstorage and retrievalsystem now known or to be invented, without written permission of the publisher. ISBN 1-55553-089-3 MANUFACTURED IN GREAT BRITAIN TO MY PARENTS CONTENTS ACKNOWLEDGEMENTS ix PHOTO CREDITS x PRELUDE: Truth 1 1 Innocence 1906-1925 16 2 Experience 1926-1931 32 3 Uncertainty 1932-1934 79 4 Terror 1935-1938 98 5 Togetherness 1938-1946 139 6 Isolation 1946-1953 184 7 Assertion 1953-1975 210 POSTLUDE: Immortality 245 APPENDIX 1: Stalinism and Nineteen Eighty-Four 265 APPENDIX 2: Akhmatova, Shostakovich and the 'Seventh' 271 APPENDIX 3: Chronology 277 SOME RECOMMENDED RECORDINGS 316 SOURCE NOTES 317 SELECT BIBLIOGRAPHY 323 INDEX OF COMPOSITIONS 327 INDEX OF CHARACTERS 331 ACKNOWLEDGEMENTS Thanks are due to the following forpermission to quote from published material in copyright: Century, extract from Leningrad Diary by Vera lnber; Collins Harvill, extracts from Hope Against Hope and Hope Abandoned by Nadezhda Mandelstam; Collins Harvill, extracts from A Captive of Time by Olga Ivinskaya; Andre Deutsch, extracts from To Build a Castle by Vladimir Bukovsky; the estate of the late Sonia Brownell Orwell and Secker & Warburg, extracts from Nineteen Eighty-Four by George Orwell; Robert Hale, extracts from Pages From the Life of Dmitri Shostakuvich by Dmitri and Ludmilla Sollertinsky; Hamish Hamilton, extracts from Tes timony by Solomon Volkov; Lawrence & Wishart, extract from Dmitri Shostakuvich, Composer by David Rabinovich; Macmillan, extract from Let History Judge, by Roy Medvedev; Oxford University Press, extracts fromAnnaAkhmatuva,A Poetic Pilgrimage by Amanda Haight; Peters, Fraser & Dunlop, extract from Th e Russian Mind by Ronald Hingley; Praeger Publishers, extracts fromMusic Under the Suviets by Andrei Olkhovsky; Secker & Warburg, extracts fromPoems byAnnaAk hmatuva (tr. D.M. Thomas) and Th e CaptiveMind by Czesfaw Milosz; Tantivy Press, extract fromTh e Music of DmitriShos takuvich: TheSy mphoniesby Roy Blokker and Robert Dearling. Special thanks are due to Richard McKane, Peter Norman, and Anatoli Naiman fortheir kind assistance with Appendix 2; to David King for drawing my attention to the portrait photography of Moisei Nappelbaum; to Pamela Winterton forher valued advice and encouragement; and to Ewen and Olwen MacCormick for their support, without which this book could not have been written. PHOTO CREDITS Iosif Vissarionovich Stalin (SCR), Shostakovich in his early twenties (SCR), Yevgeny Zamyatin (Ardis), Boris Pilnyak (Ardis), Marina Tsvetayeva (David King Collection), Anna Akhmatova (David King Collection), Osip Mandelstam (SCR), Boris Pasternak (Camera Press), Vladimir Mayakovsky (Nuvosti), Isaac Babel (Nuvosti), Mikhail Bulgakov (Nuvosti), Yuri Olesha (M. Napplebaum, Ardis), Mikhail Zoshchenko (Nuvosti), Shostakovich with his wifeNina and best friend Ivan Sollertinsky (Nuvosti), Mikhail Tukhachevsky (DavidKing Collec­ tion), Sergei Prokofiev (Nuvosti), Aram Khachaturian (SCR), Nikolai Myas­ kovsky (SCR), Maxim Gorky (SCR), Ilya Ehrenburg (SCR), Anatoli Lunacharsky (Nuvosti), Vsevolod Meyerhold (M. Nappelbaum, Ardis), Zinaida Raikh (M. Nappelbaum, Ardis), Stalin's Politburo at the 7th Congress of the Soviets (DavidKing Collection), Sergei Kirov (Nuvosti),Nikolai Bukharin (David King Collection), Nikolai Yezhov (David King Collection), Andrei Zhdanov (Camera Press), Alexander Bezymensky (Camera Press), Alexander Afinogenov (Nuvosti), Shostakovich during the 1948 Composers' Union congress (Nuvosti), Praesidium of the Composer's Union after Zhdanov's purge (SCR), Tikhon Khrennikov (Nuvosti), Dmitri Kabalevsky (M. Nappelbaum, Ardis), Anna Akh­ matova in her sixties (L.Polyzkuva, Camera Press), Nadezhda Mandelstam (G. Pinkhassuv, Magnum), Dmitri Dmitryevich Shostakovich (Nuvosti). I always carry one end of a banner in the processions. I always look cheerful and I never shirk anything. Always yell with the crowd, that's what I say. It's the only way to be safe. GEORGE ORWELL, Nineteen Eighty-Four PRELUDE: Truth Do you not think that history is really a whore? SHOSTAKOVICH (?), Testimony OLLOWING HIS DEATH on 9 August 1975 in a Moscow hospital reserved Fforhigh-ranking apparatchiks,the composer Dmitri Dmitryevich Shostako­ vich was hailed in an official obituary circulated to all Soviet newspapers as 'a faithfulson of the Communist Party' who had devoted his life to 'the ideals of socialist humanism and internationalism'. Five days later, as befits a Union First Secretary and Deputy to the Supreme Soviet, he was given a state funeral in the capital's Novodevichy Cemetery, an event televised in all countries signatory to the Warsaw Pact. East European newscasters recited the dead man's long list of official titles and awards: Honoured Artist of the Russian Soviet Federal Socialist Republic, People's Artist of the USSR, three times recipient of the Order of Lenin, Hero of Socialist Labour ... Coverage in the West followedthe Soviet lead, describing the composer as 'a convinced Marxist-Leninist and lifelong Communist', but including the fact, overlooked in the Soviet bulletins, that he had twice in his life been severely reprimanded by the state fordeviating from the officialli ne. No comment was attached to this anomaly. The ups and downs of life in the Soviet Union are notoriously opaque to outsiders and obituaries hardly the place forspeculation. Western classical stationsplayed Shostakovich's Soviet-approved masterpiece, the FifthSymphony, and commiserated with the Russian people over their loss. Newscasters proceeded to the next report and Shostakovich passed into history. Four years later, Shostakovich - or someone using his name and identity­ stepped back out of history through the pages of Tes timony, claimed by its publishers to be the composer's memoirs as dictated to his amanuensis, Solomon Volkov. Volkov had been a music journalistin the Soviet Union until 1976 when he had travelled to America on an exitvisa and settledin New York. Based on a typescript signed, chapter by chapter, by Shostakovich, Tes timony was his firstwork published in English and an immediate succes de scandale, drawing a picture of the composer shockinglyat variance with the image of him promoted by the USSR. The Shostakovich of Tes timony was a bitter man who denied allegiance to the Communist Party-andrepudiated any assumptionthat he had been in sympathy with the Soviet system: 'I never tried to flatter the authoritieswith my music. AndI never had an "affair" with them. I was never a favourite,though I know I THE NEW SHOSTAKOVICH that some accuse me ofit. They say that I stood too close to power. An optical illusion.' Going on to savage every aspect of his country's life and culture, this 'new' Shostakovich poured particular scorn on the Soviet policy towards the arts, which he claimed was crude, cynical, and antipatheticto any genuine creativity: A man has no significance in a totalitarian state. The only thing that matters is the inexorable movement of the state mechanism. A mecha­ nism needs only cogs. Stalin used to call all of us cogs. One cog does not differ from another, and cogs can easily replace one another. You can pick one out and say, 'From this day you will be a genius cog', and everyone else will consider it a genius. It doesn't matter at all whether it is or not. Anyone can become a genius on the orders of the leader. Castigating Stalin and his successors, the 'new' Shostakovich finally rounded, too, on Lenin, the very father of the Revolution and a figure of God­ like status in Russia: Don't believe humanists, citizens, don't believe prophets, don't believe luminaries - they'll fool you for a penny. Do your own work, don't hurt people, tryto help them. Don't try to save humanityall at once, trysaving one person first. It's a lot harder. To help
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