In the aftermath of World War II, Stalin’s government turned its focus inward on Soviet Russia’s artists in an attempt to purge what they saw as Western influences, and leaving them in perpetual fear of drawing the ire of Stalin himself. As early as 1934, concerts, ballets and plays were subject to government censorship, including a screening at least ten days prior to their premieres. In 1948, a new decree was issued by Andrei Zhdanov, condemning Shostakovich and many other composers of composing inappropriate and formalistic music. For Shostakovich, the decree was nearly a death sentence. He was forced to compose simple, approachable music in order to regain favor with the Soviet regime and was only able to make a living by means of film music. Any works that could be appropriately deemed truly artistic were locked away in his desk drawer.
The Zhdanov decree was issued while Shostakovich was working on his First Violin Concerto, which he had begun in 1947. Virtually suppressed from heeding his own artistic voice, Shostakovich shelved the concerto once it was completed. However, with Stalin’s death, the restrictions on Shostakovich’s music were lessened, and in 1955, he returned to the Violin Concerto. The premiere took place on October 29, 1955 with the renowned violinist David Oistrakh accompanied by the Leningrad Philharmonic. The work was well-received not only in Soviet Russia, but internationally as well.
Shostakovich’s Violin Concerto follows a somewhat unconventional four-movement design. A fantasy-like nocturne opens the concerto, full of the gloom often found in the composer’s mature works. It is followed by a diabolical and virtuosic Scherzo that was described by Oistrakh as “demoniac.” The third movement is a Passacaglia, and is the most famous movement of the concerto. It hearkens back, at least in form, to the fourth movement of the 1943 Eighth Symphony. A lengthy cadenza leads without break into the Burlesque finale, which closes
Classical Music | Violin Music
Dmitry Shostakovich
Violin Concerto No. 1, Op. 99 Play
Recorded on 12/31/1969, uploaded on 02/21/2009
Musician's or Publisher's Notes
In the aftermath of World War II, Stalin’s government turned its focus inward on Soviet Russia’s artists in an attempt to purge what they saw as Western influences, and leaving them in perpetual fear of drawing the ire of Stalin himself. As early as 1934, concerts, ballets and plays were subject to government censorship, including a screening at least ten days prior to their premieres. In 1948, a new decree was issued by Andrei Zhdanov, condemning Shostakovich and many other composers of composing inappropriate and formalistic music. For Shostakovich, the decree was nearly a death sentence. He was forced to compose simple, approachable music in order to regain favor with the Soviet regime and was only able to make a living by means of film music. Any works that could be appropriately deemed truly artistic were locked away in his desk drawer.
The Zhdanov decree was issued while Shostakovich was working on his First Violin Concerto, which he had begun in 1947. Virtually suppressed from heeding his own artistic voice, Shostakovich shelved the concerto once it was completed. However, with Stalin’s death, the restrictions on Shostakovich’s music were lessened, and in 1955, he returned to the Violin Concerto. The premiere took place on October 29, 1955 with the renowned violinist David Oistrakh accompanied by the Leningrad Philharmonic. The work was well-received not only in Soviet Russia, but internationally as well.
Shostakovich’s Violin Concerto follows a somewhat unconventional four-movement design. A fantasy-like nocturne opens the concerto, full of the gloom often found in the composer’s mature works. It is followed by a diabolical and virtuosic Scherzo that was described by Oistrakh as “demoniac.” The third movement is a Passacaglia, and is the most famous movement of the concerto. It hearkens back, at least in form, to the fourth movement of the 1943 Eighth Symphony. A lengthy cadenza leads without break into the Burlesque finale, which closes
More music by Dmitry Shostakovich
Prelude n. 1 (from five preludes without opus number)
Trio No. 1 in c minor, Op. 8
Adagio from The Limpid Stream, Op. 39
Prelude Op.34 no.5
Prelude n. 3 (from five preludes without opus number)
Sonata for Cello and Piano in d minor, Op. 40
Sonata for Cello and Piano in d minor, Op. 40
Piano Quintet in g minor, op. 57
String Quartet no. 1, op. 49
Sonata for Cello and Piano in d minor, Op. 40
Performances by same musician(s)
Navarra
Abandon
Serenade, Op. 3
Lotus Land (after Scott)
Estrellita, from Canciones Mexicanas
Habanera, Op. 21, No. 2, from Three Spanish Dances
Andante
Mazurka
Violin Concerto
Danse Espagnole
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