Includes bibliographical references (pages 316-326) and indexes.

What were Dmitri Shostakovich's views about his homeland? Until 1979 the Soviet Union's official composer was considered a staunch supporter of Joseph Stalin and his successors. This assumption was then challenged with the publication of Testimony, ostensibly the composer's memoirs as told to Solomon Volkov, in which Shostakovich emerged as a dissident. 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 only within the political-cultural framework of his time. Soviet institutions controlled artistic endeavors during Shostakovich's life, and he fought back through his compositions. Examining Shostakovich's music, MacDonald finds a sarcastic subterranean mind adopting ironic strategies designed to evade censorship. By looking anew at the life of Dmitri Shostakovich--and the nature of life in the pre-Gorbachev era--Ian MacDonald provides fresh insights into some of the greatest music of this century [Publisher description].

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