OCTOBER 20, FRIDAY
7 p. m.
OFFICIAL OPENING CEREMONY OF THE FESTIVAL
DEVOTED TO THE CENTENNIAL
OF DMITRY SCHOSTAKOVICHĺS BIRS
ĎOfficial Ceremony of Presentation
to Maestro Saulius SONDECKIS
of Honorary Doctoral Diploma from St. Petersburg Conservatoire
PETER TCHAIKOVSKY (1840ľ1893)
Sergei DOGADIN, violin.
for violin and orchestra, Op. 34 (1877)
SERGEI PROKOFIEV (1891ľ1953)
SYMPHONY NO. 1,
ĹClassicalĺ in D, Op. 25 (1916ľ17)
DMITRY SCHOSTAKOVICH (1906ľ1975)
on Japanese Poems, Op. 21 (1928ľ32)
CONCERTO FOR PIANO, TRUMPET AND STRINGS,
Op. 35 (1933)
Sergei NIKOULSHIN, tenor.
Igor URIASH, piano.
The Orchestra of the State Hermitage.
The Artistic Director and conductor Ś
ůLooking back at those years when I
studied with Shostakovich I frequently
come to the thought, that they were the best of all
possible groundings Ś in the widest sense of that
word. Shostakovich was a veritable open repository
of the traditions of Russian musical education,
traditions left by the Rimsky-Korsakov School.
He had never recognized the division of music
into ôlowerö of ôhigherö forms. He demanded we
test ourselves in every genre. ôA composer must
He could be very different: sometimes he was
very reserved but at other times he was just the
opposite and was very open. He either remained
silent, or discussed every important topical thing
animatedly, and whatĺs more, for a long time He
used to be obviously ironic or touching when he
took off his spectacles. We saw him suffering (of
idle talk, adulation, hypocrisy, or vulgarity) as well
as laughing with joy like children do.
His figure always radiated strength and not
only just because of his inner strength (in his
presence we literally felt the radiation of his will through some mighty
energy field), but also because of his enormous courage, which had
helped him to survive the illnesses he suffered from. It was hard for
him to be conscious of the fact that his life was coming to its end Ś
but there were no outward complaints or lamentations from his side.
We only can find some reflections of this bitterness in his last works.
It seems naive Ś the attempts to explain his work in one way or
another, to look for some kind of concealed meaning, contrary to his
own explanations. If you want to understand what sort of a person he
was, the best way is to listen more and more attentively to his music: to
listen without prejudice or bias. Then you will see him as he was: a man
with a great soul, of tremendous sincerity, a man of great intellect and
frank heart, an intransigent fighter against violence, and an impassionate
defender of people and of humanity.ö
Honoured Artist of USSR,
N. A. Martynov
After an articleöLessons of Shostakovichö
prepared for the international symposium
in honour of Dmitri Shostakovich held in Cologne in 1985.