Dmitri shostakovich - evgeni svetlanov - симфония n7 до мажор соч. 60 "посвящается городу ленинграду"
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The second article entitled 'Socialist Realism and music' defines the aesthetic standards that the Soviet
authorities demanded from their composers. In other words what type of music it required, and what boundaries it placed on artistic expression. It
was under the constraints of 'Socialist Realism' that Shostakovich's first string quartets were composed.
Despite the brooding typical of so much of his music, which might suggest an introverted personality, Shostakovich was noted for his gregariousness. After Prokofiev’s death in 1953, he was the undisputed head of Russian music. Since his own death his music has been the subject of furious contention between those upholding the Soviet view of the composer as a sincere Communist, and those who view him as a closet dissident.
Shostakovich returned to the traditional four-movement form and a normal-sized orchestra. More tellingly, he organized each movement along clear lines, having concluded that a symphony cannot be a viable work without firm architecture. The harmonic idiom in the Fifth is less astringent, more tonal than previously, and the thematic material is more accessible. Nevertheless, every bar bears its composer's personal imprint. It has been said that, in the Fifth Symphony, the best qualities of Shostakovich's music, such as meditation, humor and grandeur, blend in perfect balance and self-fulfillment. 
DSCH Journal , the standard journal of Shostakovich studies, takes its name from the motif. "DSCH" is sometimes used as an abbreviation of Shostakovich's name. DSCH Publishers is a Moscow publishing house that published the 150-volume New Collected Works of Dmitri Shostakovich in 2005, 25% of which contained previously unpublished works.
At first Shostakovich looked set to fight it out. “Sometimes the struggle for a simple language is understood somewhat superficially,” he explained in a newspaper article in April 1935. “But to speak simply doesn’t mean that one should speak as they spoke 50 to 100 years ago. This is a trap that many [Russian] composers fall into.”
The second movement of Symphony No. 5 is drawn from the same goofy, ironic material as his film scores. The movement is a spoof on waltzes. Shostakovich draws a musical picture of a dance floor. There are peasants in their heavy boots, a wise guy on his squeaky clarinet, and a deluxe dance master with his little kit violin.