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1964

February 15th - 23rd - Gorky. “Contemporary Music” Festival dedicated to Shostakovich’s work (43 concerts).

November 20th - Premieres of String Quartets Nos. 9 and 10 (op. 117 and op. 118).

December 28th - Premiere of “The Execution of Stepan Razin” (.119).

Productions of “The Nose” (op. 15) in Florence and “Katerina Ismailova” in Yugoslavia, Finland, France and the USA.

Film “Hamlet” (.116).


“Over 10 days many of the works I have written over a period of almost 40 years have been played. My whole creative life was unfolded before me, starting with the First Symphony and up to my latest work...almost 50 compositions were performed here.”
(“Pravda” - February 25, 1964).

Galina Shostakovich, the composer’s daughter:
“He was a deputy and the whole time he used to say: ’People come to me because they have no flat or can’t live on their pension and what can I do about it?  If only they’d give me even as many as 10 flats so that I could select them for those who I thought really needed them. While all I can do is write a letter here, send another to the higher authorities, asking, begging...’ He realized that he was a deputy without power and with no chance of actually doing anything.”
(From an interview given to O. Dvornichenko).
 

“When I learn that a composer has eleven versions of one and the same symphony, then I can’t help thinking: how many other new works he might have been writing during the same period? Of course this happens to me too that I come back to an earlier work. I made large numbers of corrections, for example, in the score of my opera ‘Katerina Ismailova’. After all, nearly thirty years have passed since I first created her.”
(“Pravda” - February 25, 1964).

Moisei Weinberg:
“Shostakovich’s personality is a very enigmatic one. There wasn’t a single person, to whom he would bare his soul, there wasn’t. One of the key features of his character was his reticence. His capacity for understanding reality was incredibly wide and versatile and his artistic integrity was something that could always be relied on one hundred percent. He was always totally honest when composing his music. Regardless of the content, theme or genre.
He went with my wife to the KGB reception office and took a letter there with his signature, in which he vouched for me. Doing that for a prisoner accused of anti-Soviet activity was an incredibly dangerous step.”
(From an interview given to O. Dvornichenko).







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