Dmitri Shostakovich is without a doubt one of the central composers of the 20th century. His symphonies and string quartets are mainstays of the repertoire. But Shostakovich is also a figure whose story raises challenging and exciting issues that go far beyond music: they touch on questions of conscience, the moral role of the artist, the plight of humanity in the face of total war and mass oppression, and the inner life of history's bloodiest century. And though he was not without flaws, he was a faithful witness to the survival of the human spirit under totalitarianism.
And now you can discover the extraordinary life, times, and music of Shostakovich in a probing series of eight lectures from an acclaimed conductor, teacher, and music historian. Drawing on both the flood of declassified documents from the Soviet Union that began in 1991 and Shostakovich's own extraordinarily frank posthumous reminiscences, Professor Greenberg shows how Shostakovich, who, in the words of a friend, "did not want to rot in a prison or a graveyard" was still unwilling to become a docile instrument of the Soviet regime.
You'll learn how what he would not say publicly in words, he instead said through his music - messages from a buried life of his experiences during the terror of Stalin, the Nazi destruction of his country, postwar reconstruction, and the arms race.
In work after work, often composed under crushing difficulty and anxiety, you'll hear how he used a brilliant arsenal of ironic conceits, musical quotes from un-Soviet sources such as American jazz or Jewish klezmer tunes, and other techniques to assert the integrity of his art in the face of totalitarian oppression, and to pay, as he said, "homage to the dead."
Disclaimer: Please note that this recording may include references to supplemental texts or print references that are not essential to the program and not supplied with your purchase.
©2002 The Teaching Company, LLC (P)2002 The Great Courses
Prof Greenberg brings us through the life of this great composer against the backdrop of Stalin's regime during the purges before and after WW2. It is an unforgettable tour de force of music and history that makes you cringe and maybe even cry. Set in context, this body of work is a microcosm of the horror, and yet beautiful too. We stand in awe of what it took to bring art out of this turmoil that was the USSR when just surviving was a risk. Listening to this series is will bring it to life, amazing!
This is my second of the Great Courses and they have both been great. Though I was familiar with USSR history in the 20th century, and with Shostakovich's music, these lectures put it all together for me by showing how the music connected with the horrible history. I quite enjoyed the reader. Some might think him over-dramatic -- and I must say, he reminds me a bit of the guys on "Car Talk" on NPR -- but I enjoyed his enthusiastic take on things, in spite of some ouchy French and German pronunciations. This series is highly recommended and I will listen to it again.
The history that is learned along side of Shostakovich's music.
His survival in the Soviet Union.
This is about the 12th Greenberg lecture I've listened to, and I have enjoyed them all. He is an excellent educator. Starting another today, Bach and the High Baroque.
Business Physicist and Astronomer
I have had a very hit-and-miss experience with Greenberg's courses. His opera appreciation course is excellent. His Wagner course abysmal. This course is very good and packed with exactly what I want from a course like this.
I have listened to and seen live performances of Shostakovich's music but never much cared for his modernist style. His music seemed confused and convoluted to me. Of course, discordance was all the rage after the turn of the century so I have for years just taken Shostakovich as "not for me".
This set of lectures does what great teaching ought to do. It opened my mind to a new experience and instilled an enthusiasm to go deeper. That's what I like about the really great courses. They encourage me to go well beyond what is presented.
Dr. Greenberg perfectly balances biography with explanation of the music through stories and music samples. What opened the door for me was knowing what was happening in the composer's life blended with a taste of the music he wrote during that time and completed with some analysis of the music itself. I could see, for the first time, how wonderful and terrible that discordance was that I previously hated. By terrible, I mean the horror that the "circus" sound was expressing.
I actually raced through this course in a week all the while spending like the proverbial drunken sailor. This is fantastic, I must have the MP3 now! And I'll need a CD version as well. Wow! I must hear the rest of this. I want more of that. I bought DVDs of the operas, MP3s and CDs of the symphonies and the quartets, CDs of the piano pieces and the cello concerto. Amazon is very pleased that I took this course.
The new understanding made the music so enjoyable I just had to have some complete piece IMMEDIATELY. That's good teaching.
I do have some criticism of the course. Before I criticize, I want to say again that I absolutely hated Greenberg's Wagner course. That course is packed with awful puns and bad jokes. It's a slap-schtick production. In this course, the corn is scaled back considerably. Greenberg would do well to eliminate his humor completely but at least in this course his poor puns do not detract too much from the course.
His pace is at times manic. He literally talks like someone coked up. It's beyond enthusiasm; it's just too fast.
The other thing I find grating is the pompous use of the words "please" and "we". "Please! We quote,....." Is Greenberg glad to have us listen or is that a composer in his pocket? We wonder. Amusingly, he starts the entire series with an anecdote about someone complaining about the anti-Stalinist content of one of his lectures. The critic says something about others in the audience having the same reaction. Greenberg goes on to say that he immediately dismisses anyone who makes assertions referring to those "others agree with me too" people.
He might benefit from listening to some of that criticism. The pompous use of "we" is annoying. Preceding points or quotes with "Please!" is an affectation that I accept as just a bit of artistic flamboyance. Interestingly, about half way, Greenberg simply starts quotes with, "I quote" and it comes off better than when he later reverts back to royal "we".
Fewer jokes and a scaling back of the pompous presentation and the course would be perfect. As is, it is still a 5 star, highly recommended course.
After I listenened to the sample and read the reviews I had to buy this course. I am dazzled by the history and the music. I was never a great Shostakovich fan but now I am. Bob Greenberg is a constant source of learning pleasure. I have many of his classes through both Audible and the Teaching Company. This is one of the best. I'm glad Audible is carrying so many courses. I put them on my iPod and listen when I walk.
I have many of Prof Greenberg's courses. They are all wonderful. Shostakovich was a composer I avoided in the past but not now!
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