Dmitri Shostakovich

Identity elements and the theme of evil in the Allegretto of the Seventh Symphony, OP. 60 – Leningrad

Abstract

Dmitri Shostakovich was an important composer of the last century, becoming well known for his iconic works, such as the First Symphony, op. 10, the Fifth and Seventh Symphonies, op. 47 and op. 60, for the concerto for cello and orchestra n. 1, op. 107, among other symphonic and chamber music pieces. He lived in what can certainly be considered one of the most complex times in history, the 20th century. Being from the Soviet Union, he was also the target of repression by Stalin's government. From the life he lived to art, however, he knew how to translate the panorama in which he was inserted in his compositions. This work intends to scrutinize some aspects of Shostakovich’s music that are in line with the delimitation of his personal and musical identity. To this end, he will focus on the analysis of the first movement of the Seventh Symphony, op. 60. This is not, however, a stylistic analysis of the piece, but an attempt to build an anthropological and historiographical reading having as reference the author-work relationship. The identity and cultural contents related to Shostakovich’s experiences that directly or indirectly influenced the composition of the Seventh Symphony, op. 60, will gain emphasis throughout the incursion.