Kvartetnoe Shostakovich's creativity shows one of tops of development of a genre in poslebethovensky the period. The same as in symphonies, the world of high ideas, meditations, philosophical generalisations here reigns. But, unlike symphonies, in quartets there is that intonation doveritelnosti which instantly awakes the emotional response of an audience. This property of quartets of Shostakovich makes related them with Tchaikovsky quartets.
Near to the quartets, by right one of the higher places in a chamber genre occupies the Piano quintet written in 1940, the product combining deep intellektualizm, especially affecting in the Prelude and the Fugue, and the thin emotionality, somewhere forcing to recollect levitanovskie landscapes.
To chamber vocal music the composer addresses even more often in post-war years. There are Six romances on U.Raleja, R.Burns, V.Shakespeare's words; a vocal cycle "Ђч Jewish national яюІчшш"; Two romances on M.Lermontov's verses, Four monologues on A.Pushkin's verses, songs and romances on M.Svetlov, E.Dolmatovskogo's verses, a cycle "Ђёярэёъшх яхёэш" Five satires on Sasha Cherny's words, Five jumoresok on words from magazine "-Ёюъюфшы" the Suite on M.Tsvetaeva's verses.
Such abundance of vocal music on texts of classics of poetry and the Soviet poets testifies to a wide range of literary interests of the composer. In Shostakovich's vocal music amazes not only a subtlety of sensation of style, handwriting of the poet, but also ability to recreate national features of music. It is especially bright in "Ђёярэёъш§ яхёэ §" in a cycle "Ђч Jewish national яюІчшш" in romances on verses of English poets. The traditions of Russian romancing lyrics going from Tchaikovsky, Taneeva, are heard in Five romances, "я =ш фэ §" on E.Dolmatovskogo's verses: "-хэі тё=Ёхёш" "-хэі яЁшчэрэшщ" "-хэі юсшф" "-хэі Ёрфюё=ш" "-хэі тюёяюьшэрэшщ".
The Special place occupy "Рр=шЁ№" on Sasha Cherny's words and "МьюЁхёъш" from "-Ёюъюфшыр". In them Shostakovich's love to Musorgsky is reflected. It has arisen in young years and was showed at first in its cycle "…рёхэ -Ё№ыютр" then - in an opera "-юё" then - in "-р=хЁшэх Ђчьрщыютющ" (especially in IV certificate of an opera). Shostakovich directly to Musorgsky Three times addresses, nanovo orkestruja and editing "…юЁшёр +юфѕэютр" and "+ютрэЁшэѕ" and for the first time orkestruja "¤хёэш and dancings ёьхЁ=ш". And again the worship for Musorgsky affects in a poem for the soloist, chorus and an orchestra - "-рчэі Stepan ррчшэр" on verses of Evg. Evtushenko.
What strong and attachment to Musorgsky if, possessing such bright individuality should be deep, to learn which it is possible unmistakably on two-three phrases, Shostakovich so submissively, with such love - does not imitate, no, and adopts and in own way treats a manner of the letter of the great musician-realist.
Once, admiring Chopin who has just appeared in the European musical sky genius, Robert Schuman wrote: "‡ёыш Mozart would be live, he would write a concert Пюяхэр". Paraphrasing Schuman, it is possible to tell: if there lives Musorgsky, he would write "-рчэі Stepan ррчшэр" Shostakovich. Dmitry Shostakovich - the outstanding master of theatrical music. Different genres are close to it: an opera, ballet, a musical comedy, cabaret shows (Music hall), drama theatre. To them music adjoins films. We name only a few works in these genres from more than thirty films: "Гыр=№х уюЁ№" "-ё=Ёхёэ№щ" "КЁшыюуш about ¦ръёшьх" "¦юыюфр утрЁфш " "-ё=Ёхёр on ¦ыісх" "¤рфхэшх …хЁышэр" "+тюф" "¤ =і days - five эюёхщ" "+рьых=" "-юЁюыі -шЁ". From music to drama performances: "-ыюя" V.Mayakovsky, "-№ё=Ёхы" A.Bezymenskogo, "+рьых=" and "-юЁюыі -шЁ" V.Shakespeare, "Рры¦=, Ђёярэш " A.Afinogenov, "Охыютхёхёър ъюьхфш " O.Balzac.
As are various on genres and scales of work of Shostakovich in cinema and theatre, they are united by one common feature - music creates the, as though "ёшь¶юэшёхёъшщ Ё ф" embodiments of ideas and the characters, influencing film or performance atmosphere.
It is unhappy there was a destiny of ballets. Here the fault entirely falls on defective scenary dramatic art. But the music allocated with bright figurativeness, the humour, excellent sounding in an orchestra, has remained in the form of suites and takes an appreciable place in repertoire of symphony concerts. With the big success on many scenes of the Soviet musical theatres there is a ballet "…рЁ№°э and §ѕышурэ" on D.Shostakovich's music under A.Belinskogo who has taken in a basis the film script of V.Mayakovsky's libretto.
Dmitry Shostakovich has brought the big contribution to a genre of a tool concert. The first writes a piano concert to a minor with a the soloist pipe (1933). The youth, mischief, youthful charming angularity the concert reminds the First symphony. In fourteen years there is deep on thought, magnificent on scope, on masterly shine, a violin concert; behind it, in 1957, the Second piano concert devoted to the son, Maxim, calculated on children's execution. The list of the concert literature which have issued from the pen of Shostakovich, finish violonchelnye concerts (1959, 1967) and the Second violin concert (1967). These concerts - less all are calculated on "ѕяюхэшх technical сыхёъюь". On depth of thought and intense dramatic art they take a place near to symphonies.
The List of the compositions resulted in the given sketch, includes only the most typical products in the basic genres. Outside of the list there were tens names in different sections of creativity.
Its Way to an international recognition, - a way of one of the greatest musicians HH of the century safely establishing new marks of world musical culture. Its way to an international recognition, a way of one of those people for which to live - means to be in a thick of events of everyone for the time, deeply to penetrate into sense of an event, to take of a fair position in disputes, collisions of opinions, in struggle and to respond in every way the huge talent to all that is expressed by one great word - the Life.
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