Since the time of his death, Dmitri Schostakovich's place in the pantheon of 20th century composers has become more commanding and more celebrated, while his musical legacy, with all its wonderfully varied richness, is performed with increasing frequency throughout the world. This seemingly endless surge of interest can be attributed , at least in part, to 'Testimony'. The powerful memoirs the ailing composer dictated to the young Russian musicologist Solomon Volkov.

Dmitri Shostakovich (1906-75) was one of the greatest composers of the 20th century, as well as the first major Soviet composer. In the fourth edition of Dmitri Shostakovich Catalogue: The First Hundred Years and Beyond, Derek C. Hulme names and describes all known musical compositions of the Russian composer. More than 175 major works are annotated and discussed, including such comprehensive details as titles and subtitles, dates of composition, instrumentation, and duration; information on dedications and premieres; arrangements by the composer and others; publication details; notes on bibliographical references and the location of the autograph score; and comprehensive chronological lists of vinyl, compact disc, and visual recordings. The entries are presented chronologically and by opus number, while indexes of names and compositions provide full accessibility. Several appendixes supplement the volume, guiding readers to further information in published sources and providing information on the composer's film, radio, television, and theatre productions; his abandoned projects and obscure works; and his recordings, including box sets and special USSR recordings. An appendix also discusses the monogram DSCH, a musical motif based on his name that permeates his compositions. This new edition also includes a comprehensive chronological chart of Shostakovich's works and historical events and several plates of memorabilia.

Dmitri Shostakovich (1906-75) was one of the greatest composers of the twentieth century, and the first major Soviet composer. He is also a figure of some controversy, following the publication in the West in 1979 of his memoirs Testimony. Derek Hulme's catalogue of the composer's works was first published privately in 1982. This third edition adds greatly to the information contained therein and brings it up to date. For each numbered work and all the known unnumbered compositions, Hulme provides a short description of the piece, and lists date of composition, dedicatee, forces the work employs, location of the autograph score, duration, arrangements of the work, premiere(s), an extensive list of recordings, and reference to bibliography items where the piece is discussed in any detail. The entries are presented in order of opus number, with unnumbered compositions inserted appropriately within this chronological sequence. The catalogue is supplemented by a series of appendices, which includes a chronological chart of the composer's life and work and a discussion of the monogram DSCH, a musical motif based on his name that permeates his compositions.

Le trEs charmant flambeur Tristan Northwood semble avoir tout pour lui dans la vie: un nom de famille ancien, un hEritage noble, une femme merveilleuse et un fils qu'il aime par-dessus tout. Les femmes l'adorent, les hommes l'admirent et il semble que rien ne lui soit impossible, qu'il s'agisse de sEduire une femme mariEe ou de remporter une course d'attelage. La bonne sociEtE est loin de soupConner que son nom ne signifie rien pour lui, que sa fortune est retenue dans les mains toutes puissantes de son pEre et qu'il ne porte aucun intErEt A sa femme si ce n'est une amitiE rEservEe. La SociEtE l'ennuie et il accepte les dEfis les plus fous dans le but de se sentir vivant A la pointe du danger. Jusqu'A ce que le frEre de sa femme rentre de guerre pour s'installer avec eux. Le Major Charles Mountjoy est un hEros de guerre mEdaillE qui vient sortir Tris de sa misEre et insuffler en lui des sentiments passionnEs qu'il n'aurait jamais cru possible d'Eprouver. Et presque aussi terrifiants que les sentiments que Tristan nourrit A l'Egard de son beau-frEre, seront pour lui les signes de l'affection partagEe de Charles - ou mEme pire, que Charles parvienne A lire en lui et ne voit l'homme que Tristan avait si vaillamment essayE de masquer au reste du monde.

After considerable hesitation and soul-searching I have decided to publish the letters Dmitry Dmitriyevich Shostakovich wrote to me. This choice by the composer's close friend Isaak Glikman brought the tormented feelings of the musical genius into public view. Now those feelings resound in the first substantial collection of Shostakovich's letters to appear in English.From the early 1930s until his death in 1975 Shostakovich wrote regularly to Glikman, a Leningrad theater critic and historian. The 288 letters included in this volume began in 1941, at the time of Operation Barbarossa and the composition of the controversial (Leningrad) Symphony no. 7, and continue until 1974, by which time Shostakovich was too frail to write. Glikman's extensive introduction explains that the earlier letters were lost presumably left behind when both men were evacuated from besieged Leningrad. In his account of those years, Glikman relates personal details of the composer's life during the height of the Stalinist Terror, including Shostakovich's response to the public humiliation inflicted by the regime after the premiere of his opera Lady Macbeth of Mtsensk.Taken together, the letters and Glikman's fascinating commentary form a portrait of a complex and acutely sensitive personality endowed with enormous moral integrity, humanity, compassion, and a sharp, often self-deprecating, sense of humor. The book recounts some of the most pivotal episodes of Shostakovich's life, including the long withdrawal of the Symphony no. 4, the regime's 1948 attacks on the composer, his subsequent trips to the United States and other Western countries, his frame of mind upon joining the Communist party in 1960, his reactions to the music of his contemporaries, and his composition of the devastating late symphonies and final string quartets.The battles over the politics of Dmitry Shostakovich and his music continue with undiminished vehemence, and Story of a Friendship is sure to occasion still more argument. At the same time, the book provides a unique opportunity better to understand the man and his music, on the one hand, and the regime that alternately hailed and reviled him, on the other."