language than some composers were currently using. In Moscow in 1948, at a now notorious conference presided over by Andrey Zhdanov, a prominent Soviet theoretician, the leading figures of Soviet music, including Shostakovich, were attacked and disgraced. Consequently, the quality of Soviet composition slumped in the next few years. Shotsokovich’s personal influence was reduced by the termination of his teaching activities at both the Moscow and Leningrad conservatories. Yet he was not completely intimidated, and in his String Quartet No. 4 (1949), and especially in his Quartet No. 5 (1951), he offered a splendid rejoinder to those who would have had him renounce completely his style and musical integrity. His 10th Symphony, composed in 1953, the year of Stalin's death, flew in the face of Zhdanovism, yet, like his Fifth Symphony of 16 years earlier, compelled acceptance by sheer quality and directness. From that time on, Shostakovich's biography is essentially a catalog of his works. He was left to pursue his creative career largely unhampered by official interference. He did, however, experience some difficulty over the texts (Baby Yar) by the poet Yevgeny Yevtushenko on which he based his 13th Symphony (1962), and the work was suppressed after its first performance. Yet he was undeterred by this, and his deeply impressive 14th Symphony (1969), cast as a cycle of 11 songs on the subject of death, was not the sort of work to appeal to official circles. The composer had visited the United States in 1949, and in 1958 he made an extended tour of western Europe, including Italy (where he had already been elected an honorary member of the Accademia Nazionale di Santa Cecilia, Rome) and Great Britain, where he received an honorary doctorate of music at the University of Oxford. In 1966, he was awarded the Royal Philharmonic Society's Gold Medal. Despite the brooding typical of so much of his music, which might suggest an introv...
