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By Allan B. Ho, Dmitry Feofanov

Dmitry Shostakovich's memoirs, Testimony, `related to and edited by means of Solomon Volkov', were the topic of fierce debate in view that their booklet in 1979. used to be Testimony a forgery, made up via an impudent impostor, or was once it the deathbed confession of a tendency, yet unbroken, guy? Even now, years after the autumn of the communist regime, a coterie of well-placed Western musicologists have on a regular basis raised objections to Testimony, hoping with each one assault to undermine the image of Shostakovich provided in his memoirs that of a guy of large ethical stature, bitterly disappointed with the Soviet method. the following, Allan Ho and Dmitry Feofanov systematically deal with the entire accusations levelled at Testimony and Solomon Volkov, Shostakovich's amanuensis, accumulating an immense quantity of fabric approximately Shostakovich and his place in Soviet society and burying eternally the image of Shostakovich as a keen player within the communist charade. ALLAN B. HO is a musicologist, DMITRY FEOFANOV a attorney and pianist.

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Shostakovich Reconsidered

Dmitry Shostakovich's memoirs, Testimony, `related to and edited by means of Solomon Volkov', were the topic of fierce debate considering that their booklet in 1979. was once Testimony a forgery, made up by way of an impudent impostor, or used to be it the deathbed confession of an inclination, yet unbroken, guy? Even now, years after the autumn of the communist regime, a coterie of well-placed Western musicologists have usually raised objections to Testimony, hoping with every one assault to undermine the image of Shostakovich provided in his memoirs that of a guy of large ethical stature, bitterly dissatisfied with the Soviet approach.

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Cross-Examination 53 concocted by one of the renegades who left our country. To rebuff these propaganda intrigues is the duty of everyone who values the achievements and fate of Soviet art, its progressive ideals. 22 That this attack had been coordinated with Soviet 'higher­ ups' is evident from the speech of the Deputy Minister of Culture, Vasily Kukharsky, who, at the same Congress , also declared Testimony a product of the malicious schemes of Western 'organs' (the Soviet euphemism for the C IA) : The ideological struggle of the two worlds became more fierce.

4 (hereafter 'Muzyka prinadlezhit narodu' ) . 1 5 Reported i n Daniil Zhitomirsky, ' Shostakovich Ofitsial' ny i Podlinny' ( ' Shostakovich : The Public and the Private ' ) , Daugava, 1990, No. 3 , transl. Tatj ana M . Marovic (Norbury) , Katia Vinogradova and Ian MacDonald (hereafter Zhitomirsky, 'Public and Private ' ) . 1 6 Malcolm H . Brown , ' Communications ' , Notes, 50/ 3 , March 1994, p . 1210 (hereafter Brown , ' Communications' ) . Cf. p . 243 . 1 7 Shostakovich : The Man and His Music, ed.

D. Shostakovich' , 14 December 1 97 8 ) , which reveals the coordinated, careful orchestration of the attacks on Testi­ mony : ' I t is suggested that the M inistry of Culture of the U S S R and the Union of Composers of the U S S R , together with other organisations, take measures to expose the provocation of the American publishing house Harper and Row. [ . ] If the American publisher refuses to discuss this question with V AAP, and publishes the ' memoirs' distorting the civic and artistic nature of D.

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