“I envy him”: Fanning, Weinberg, 60.
“and he told me to tell you . . . anything”: Ibid.
Around the same time as this murder . . . : Morrison, 5–7; Vishnevskaya, 156; cf. Robinson, 474–475.
Shostakovich wrote letters to the authorities . . . : Wilson, 400; Morrison, 250.
“My father is pacing . . . asking questions”: Ardov, 63.
“I do not understand . . . collection of sounds”: Tomoff, 143.
The Shostakoviches pulled Maxim . . . : Ardov, 63; Fay, Life, 162.
“a peculiar writing in code . . . pathological phenomena”: Slonimsky, 693.
Well, I’ll muddle through somehow: Wilson, 294.
“Take this, please . . . read it out”: Ibid.
“And I got up on the tribune . . . a Soviet composer”: Lesser, 86.
“I shall work on the musical . . . collective singing”: Sixsmith.
“I read like . . . on a string”: Wilson, 295.
“What else . . . made me do it”: Sixsmith.
There is still a great deal of bitter argument . . . : Khrennikov is implicitly defended, for example, in Tomoff’s history of the Composers’ Union; indictments appear in Vishnevskaya, passim; Hakobian, 143; Dubinsky, 221; Robinson, xv; Tassie, e.g., 322; etc. The matter of his culpability is still exceedingly unclear, and may well remain so.
“My word was law . . . Commissar”: Sixsmith.
“They say Shostakovich . . . a cheerful man”: Weinstein, 56:50.
In 1948, Shostakovich’s music was banned: Tomoff, 275–277; Fay, Life, 162.
They called him a formalist . . . an American spy: Dubinsky, 114.
Maxim sat up in a tree and defended . . . : Ardov, 68–69.
Shostakovich wrote several works on Jewish themes . . . : Wilson, 229.
He also, in his silent fury, wrote a piece . . . : The title is untranslatable and is often given in the original Russian: Anti-Formalist Rayok. See Manashir Yakubov, “Shostakovich’s Anti-Formalist Rayok: A History of the Work’s Composition and Its Musical and Literary Sources,” in Bartlett (135–158).
(His own doctor was being tortured at the time): Montefiore, 640.
Comrade Stalin never regained . . . : Ibid., 640, 649.
the psychopathic head of Stalin’s secret police . . . : Ibid., 642.
“Now those . . . to the camps”: Grossman, 189.
“Our home was sometimes . . . came back”: MacDonald, 212.
“Bonfires blazed . . . to their heart’s desire”: Vishnevskaya, 188.
“I AM DMITRI SHOSTAKOVICH! I AM DMITRI SHOSTAKOVICH”: For a full technical discussion of this symphony, see Fanning, Breath. It should be noted that Shostakovich’s use of his monogram in the symphony is not straightforward: there are several times, for example, that his motto sounds actively oppressive.
Shortly after, Shostakovich, together with many others, was rehabilitated . . . : Via the decree “On the Correction of Errors in the Evaluation of The Great Friendship, Bogdan Khmelnitsky and From All My Heart” (May 28, 1958) — see Wilson, 292.
“Loyal Stalinist or Scornful Dissident”: The cover of Ian MacDonald’s The New Shostakovich.
He wrote so many letters to the government . . . : Wilson, 401.
He secretly paid for the son of an executed . . . : Ibid., 220.
“I showed lack of courage, was faint-hearted”: Brown, 114.
“I’d sign anything . . . left alone”: Wilson, 183.
“But their efforts . . . ready for signature”: Ibid., 429–430. This is his third wife, Irina. Nina had died of cancer in 1954.
“Just be thankful . . . allowed to breathe”: Vishnevskaya, 398–399.
“the story of his soul”: Lesser, 3.
“Play it . . . sheer boredom”: Wilson, 470.
A piece by Shostakovich was the first . . . : Fay, Life, 180.
“The quartets are messages . . . messages to mankind”: Lesser, 278.
“Shostakovich’s music . . . Russian people”: Vishnevskaya, 460.
“The majority of my symphonies . . . for them”: Volkov, Testimony, 156.
“Looking back . . . I’m grieving all the time”: Ibid., 3, 276.
“His face . . . we call ‘progress’”: Walter Benjamin, “Über den Begriff der Geschichte,” IX. http://www.mxks.de/files/phil/Benjamin.GeschichtsThesen.html. My translation.
“His work . . . his country”: Red Baton.
“What made Shostakovich’s music . . . draw out”: Bartlett, 7.
“I believe that Shostakovich’s music . . . a kind of exaltation”: Wilson, 307.
“It creates miracles . . . into speech”: Akhmatova’s poem “Music” (1958). MacDonald, 271; cf. Akhmatova, 476.
“although in the empty . . . cautious”: Ardov, 37.
AUTHOR’S NOTE
“Testimony may . . . but true”: Quoted in David Fanning, review of Shostakovich Reconsidered, Music & Letters 80, no. 3 (August 1999): 490.
In the light of recent scholarship, Shostakovich’s anti-Stalinism . . . : Hakobian, 57; cf. 60.
“Testimony . . . isn’t a genuine one”: MacDonald, 246. MacDonald later changed his mind and became a champion of Volkov’s book.
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