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** Symphony No. 9 in E♭ major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying rather hopelessly with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used to hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.

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** Symphony No. 9 in E♭ major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying rather hopelessly with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used to hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent arn't so different from each other.


* TakeThat: After Pravda denounced ''Lady Macbeth of the Mtsensk District'', forcing him to adhere more closely to Soviet-approved forms of music or face dire consequences, his work became littered with these. One good example is his ''Festive Overture'', written very shortly after UsefulNotes/JosephStalin's [[AndThereWasMuchRejoicing death]].

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* TakeThat: TakeThat:
**
After Pravda denounced ''Lady Macbeth of the Mtsensk District'', forcing him to adhere more closely to Soviet-approved forms of music or face dire consequences, his work became littered with these. One good example is his ''Festive Overture'', written very shortly after UsefulNotes/JosephStalin's [[AndThereWasMuchRejoicing death]].


* GettingCrapPastTheRadar: Plenty of examples, though they're more subversive politically than sexually. For instance, it probably wasn't a coincidence that his String Quartet No. 8 in C minor, written after being coerced into joining the Communist Party in 1960 and 'dedicated to the victims of fascism and war', was littered with his four-note musical signature, incorporated the tune of an old Russian prison song, and featured short, sharp bursts of PsychoStrings that strongly resembled the infamous early-morning knock on the door by the NKVD.

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%% * GettingCrapPastTheRadar: Plenty of examples, though they're more subversive politically than sexually. For instance, it probably wasn't a coincidence that his String Quartet No. 8 GettingCrapPastThe Radar: Due to overwhelming and persistent misuse, GCPTR is on-page examples only until 01 June 2021. If you are reading this in C minor, written after being coerced into joining the Communist Party in 1960 and 'dedicated to future, please check the victims of fascism and war', was littered with his four-note musical signature, incorporated trope page to make sure your example fits the tune of an old Russian prison song, and featured short, sharp bursts of PsychoStrings that strongly resembled the infamous early-morning knock on the door by the NKVD.current definition.


** Symphony No. 9 in E♭ major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying rather hopelessly with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.

to:

** Symphony No. 9 in E♭ major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying rather hopelessly with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used to hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.


** Symphony No. 9 in E♭ major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying (hopelessly) with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.

to:

** Symphony No. 9 in E♭ major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying (hopelessly) rather hopelessly with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.


** Symphony No. 9 in E-Flat Major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying (hopelessly) with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.

to:

** Symphony No. 9 in E-Flat Major E♭ major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying (hopelessly) with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.


* GettingCrapPastTheRadar: Plenty of examples, though they're more subversive politically than sexually. For instance, it probably wasn't a coincidence that his String Quartet No. 8, written after being coerced into joining the Communist Party in 1960 and 'dedicated to the victims of fascism and war', was littered with his four-note musical signature, incorporated the tune of an old Russian prison song, and featured short, sharp bursts of PsychoStrings that strongly resembled the infamous early-morning knock on the door by the NKVD.

to:

* GettingCrapPastTheRadar: Plenty of examples, though they're more subversive politically than sexually. For instance, it probably wasn't a coincidence that his String Quartet No. 8, 8 in C minor, written after being coerced into joining the Communist Party in 1960 and 'dedicated to the victims of fascism and war', was littered with his four-note musical signature, incorporated the tune of an old Russian prison song, and featured short, sharp bursts of PsychoStrings that strongly resembled the infamous early-morning knock on the door by the NKVD.


** Symphony No. 11 in G minor ("The Year 1905"), composed in 1957.
** Symphony No. 12 in D minor ("The Year 1917"), composed in 1961.

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** Symphony No. 11 in G minor ("The (''The Year 1905"), 1905''), composed in 1957.
** Symphony No. 12 in D minor ("The (''The Year 1917"), 1917''), composed in 1961.





* Main/{{Theremin}}: Shostakovich pioneered the use of the Russian-invented electronic instrument in a film score as early as 1931.

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* Main/{{Theremin}}: {{Theremin}}: Shostakovich pioneered the use of the Russian-invented electronic instrument in a film score as early as 1931.1931.
* TitleByYear: Two symphonies:
** Symphony No. 11 in G minor ("The Year 1905"), composed in 1957.
** Symphony No. 12 in D minor ("The Year 1917"), composed in 1961.

Added DiffLines:

** Symphony No. 9 in E-Flat Major shows him in full-on DeadpanSnarker mode, with victory celebration music (this was just after UsefulNotes/WorldWarII ended) vying (hopelessly) with a CircusOfFear theme representing the Soviet leadership. Also, Wagnerian motifs are used hint at the fact that UtopiaJustifiesTheMeans regimes are NotSoDifferent from each other.


* TakeThat: After Pravda denounced ''Lady Macbeth of the Mtsensk District'', forcing him to adhere more closely to Soviet-approved forms of music or face dire consequences, his work became littered with these. One good example is his ''Festive Overture'', written very shortly after UsefulNotes/JosephStalin's death.

to:

* TakeThat: After Pravda denounced ''Lady Macbeth of the Mtsensk District'', forcing him to adhere more closely to Soviet-approved forms of music or face dire consequences, his work became littered with these. One good example is his ''Festive Overture'', written very shortly after UsefulNotes/JosephStalin's death.[[AndThereWasMuchRejoicing death]].

Added DiffLines:

* AllIssuesArePoliticalIssues: In common with the Soviet Union's politicization of art, Shostakovich had to tread very carefully, even with fully-instrumental works, lest he do something to offend the CulturePolice.

Added DiffLines:

* Main/{{Theremin}}: Shostakovich pioneered the use of the Russian-invented electronic instrument in a film score as early as 1931.

Added DiffLines:

* SellOut: Many of his western contemporaries considered him to be this, as he lived as good a life an artist could in the Soviet Union, writing what are effectively Soviet and Stalinist propaganda pieces. It didn't help that [[IChooseToStay he refused to leave the Soviet Union despite being given the opportunity to]].

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