The Suite for Jazz Orchestra No. 1 (commonly known as Jazz Suite No. 1) by Dmitri Shostakovich was composed in 1934.

The Suite for Variety Orchestra No. 1 (Russian: Сюита для эстрадного оркестра № 1, romanized: Syuita dlya estradnogo orkestra nomer 1) is a suite in eight movements arranged by Levon Atovmyan after 1956, based on music by Dmitri Shostakovich. An editorial error in the tenth volume of the Shostakovich collected works edition published by Muzyka in 1984 resulted in the Suite for Variety Orchestra No. 1 being misidentified as the "Suite for Jazz Orchestra No. 2" or "Jazz Suite No. 2". The score was first published with the correct name in 2001. Atovmyan, who arranged and assembled the suite, was a close friend of Shostakovich, and was regularly tasked with arranging concert suites of his film music. He also made numerous other transcriptions and arrangements, often without the composer's involvement and only his tacit approval. The Suite for Variety Orchestra No. 1 includes arrangements of excerpts from Shostakovich's ballet, theatre, and film music. It has not been precisely dated, but is believed to have been composed after 1956. The first documented performance took place on December 1, 1988, at the Barbican Hall, played by the London Symphony Orchestra conducted by Mstislav Rostropovich. The Royal Concertgebouw Orchestra conducted by Riccardo Chailly made a successful recording of the suite in 1991. In 1994, André Rieu released a recording of the suite's "Waltz II" that broke into the top 5 of the Dutch Mega Top 50 and sold over 50,000 copies. Chailly's version of "Waltz II" was later included in the soundtrack to Stanley Kubrick's Eyes Wide Shut.

The Suite for Variety Orchestra No. 1 (Russian: Сюита для эстрадного оркестра № 1, romanized: Syuita dlya estradnogo orkestra nomer 1) is a suite in eight movements arranged by Levon Atovmyan after 1956, based on music by Dmitri Shostakovich. An editorial error in the tenth volume of the Shostakovich collected works edition published by Muzyka in 1984 resulted in the Suite for Variety Orchestra No. 1 being misidentified as the "Suite for Jazz Orchestra No. 2" or "Jazz Suite No. 2". The score was first published with the correct name in 2001. Atovmyan, who arranged and assembled the suite, was a close friend of Shostakovich, and was regularly tasked with arranging concert suites of his film music. He also made numerous other transcriptions and arrangements, often without the composer's involvement and only his tacit approval. The Suite for Variety Orchestra No. 1 includes arrangements of excerpts from Shostakovich's ballet, theatre, and film music. It has not been precisely dated, but is believed to have been composed after 1956. The first documented performance took place on December 1, 1988, at the Barbican Hall, played by the London Symphony Orchestra conducted by Mstislav Rostropovich. The Royal Concertgebouw Orchestra conducted by Riccardo Chailly made a successful recording of the suite in 1991. In 1994, André Rieu released a recording of the suite's "Waltz II" that broke into the top 5 of the Dutch Mega Top 50 and sold over 50,000 copies. Chailly's version of "Waltz II" was later included in the soundtrack to Stanley Kubrick's Eyes Wide Shut.

The Suite for Variety Orchestra No. 1 (Russian: Сюита для эстрадного оркестра № 1, romanized: Syuita dlya estradnogo orkestra nomer 1) is a suite in eight movements arranged by Levon Atovmyan after 1956, based on music by Dmitri Shostakovich. An editorial error in the tenth volume of the Shostakovich collected works edition published by Muzyka in 1984 resulted in the Suite for Variety Orchestra No. 1 being misidentified as the "Suite for Jazz Orchestra No. 2" or "Jazz Suite No. 2". The score was first published with the correct name in 2001. Atovmyan, who arranged and assembled the suite, was a close friend of Shostakovich, and was regularly tasked with arranging concert suites of his film music. He also made numerous other transcriptions and arrangements, often without the composer's involvement and only his tacit approval. The Suite for Variety Orchestra No. 1 includes arrangements of excerpts from Shostakovich's ballet, theatre, and film music. It has not been precisely dated, but is believed to have been composed after 1956. The first documented performance took place on December 1, 1988, at the Barbican Hall, played by the London Symphony Orchestra conducted by Mstislav Rostropovich. The Royal Concertgebouw Orchestra conducted by Riccardo Chailly made a successful recording of the suite in 1991. In 1994, André Rieu released a recording of the suite's "Waltz II" that broke into the top 5 of the Dutch Mega Top 50 and sold over 50,000 copies. Chailly's version of "Waltz II" was later included in the soundtrack to Stanley Kubrick's Eyes Wide Shut.

The Cello Concerto No. 1 in E♭ major, Op. 107, was composed in 1959 by Dmitri Shostakovich. Shostakovich wrote the work for his friend Mstislav Rostropovich, who committed it to memory in four days. He premiered it on October 4, 1959, at the Large Hall of the Leningrad Conservatory with the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky. The first recording was made in two days following the premiere by Rostropovich and the Moscow Philharmonic Orchestra conducted by Aleksandr Gauk.

Dmitri Shostakovich wrote his Cello Concerto No. 2, Op. 126, in 1966 in the Crimea. Like the first concerto, it was written for Mstislav Rostropovich, who gave the premiere in Moscow under Yevgeny Svetlanov on 25 September 1966 at the composer's 60th birthday concert. The concerto is sometimes listed as in the key of G, but the score gives no such indication. Along with the Eleventh String Quartet, the Preface to the Complete Works, and the Seven Romances on Texts by Alexander Blok, the Second Cello Concerto signals the beginning of Shostakovich's late style.

Moscow, Cheryomushki (Russian: Москва, Черёмушки; Moskva, Cheryómushki) is an operetta in three acts by Dmitri Shostakovich, his Op. 105. It is sometimes referred to as simply Cheryomushki. Cheryomushki is a district in Moscow full of cheap subsidized housing built in 1956, and the word is also commonly used for such housing projects in general. The libretto was written by the experienced team of Vladimir Mass and Mikhail Chervinsky, leading Soviet humorists of the day. The satirical plot dealt with a topical theme geared to one of the most pressing concerns of urban Russians, the chronic housing shortages and the difficulties of securing liveable conditions. 'Cheryomushki' translates to “bird-cherry trees” and the operetta was named after a real housing estate in south-west Moscow. The work was completed in 1958 and was premiered in Moscow on 24 January 1959. The operetta is reminiscent of Shostakovich's popular music of the period, yet at the same time it engages a satirical assessment of the housing redevelopments in Moscow.

The Festive Overture (Russian: Праздничная увертюра, romanized: Prazdnichnaya uvertyura), Op. 96 is an orchestral work composed by Dmitri Shostakovich in 1954. Commissioned for the Bolshoi Theatre's celebration of the 37th anniversary of the October Revolution, the score has since become one of the most enduring of Shostakovich's occasional scores.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

The Suite for Jazz Orchestra No. 1 (commonly known as Jazz Suite No. 1) by Dmitri Shostakovich was composed in 1934.

The Suite for Jazz Orchestra No. 2 (Russian: Сюита для джазового оркестра №2) is a suite by Dmitri Shostakovich. It was written in 1938 for the newly founded State Jazz Orchestra of Victor Knushevitsky, and was premiered on 28 November 1938 in Moscow (Moscow Radio) by the State Jazz Orchestra. The score was used in a Soviet movie in 1950. It was performed in England for the first time in 1984. A piano score of the work was rediscovered in 1999. Three movements of the suite were reconstructed and orchestrated by Gerard McBurney, after which it was performed at a The Proms in London in 2000. The Suite, in its reconstructed form, consists of the following movements: Prior to its rediscovery, another eight-movement suite by Shostakovich had been misidentified and recorded as the second Jazz Suite. That work is now correctly known as the Suite for Variety Orchestra.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Novorossiysk (Russian: Новоросси́йск, IPA: [nəvərɐˈsʲijsk] ; Adyghe: ЦӀэмэз, romanized: C̣ămăz) is a city in Krasnodar Krai, Russia. The port of Novorossiysk is one of the largest ports on the Black Sea. It is one of the cities designated as a Hero City by the Soviet Union. The population is 262,293 (2021 census);

In music, Op. 131 stands for Opus number 131. Compositions that are assigned this number include: Beethoven – String Quartet No. 14 Prokofiev – Symphony No. 7 Schumann – Fantasy in C for violin and orchestra Shostakovich – October (symphonic poem)

Sergei Prokofiev set to work on his Piano Concerto No. 2 in G minor, Op. 16, in 1912 and completed it the next year. However, that version of the concerto is lost; the score was destroyed in a fire following the Russian Revolution. Prokofiev reconstructed the work in 1923, two years after finishing his Piano Concerto No. 3, and declared it to be "so completely rewritten that it might almost be considered [Piano Concerto] No. 4." Indeed, its orchestration has features that clearly postdate the 1921 concerto. Performing as soloist, Prokofiev premiered this "No. 2" in Paris on 8 May 1924 with Serge Koussevitzky conducting. It is dedicated to the memory of Maximilian Schmidthof, a friend of Prokofiev's at the Saint Petersburg Conservatory, who had committed suicide in April 1913 after having written a farewell letter to Prokofiev.

Piano Concerto No. 2 in F major, Op. 102, by Dmitri Shostakovich was composed in 1957 for the 19th birthday of his son Maxim, who premiered the piece on 10 May 1957 during his graduation concert at the Moscow Conservatory. It contains many similar elements to Shostakovich's Concertino for Two Pianos: both works were written to be accessible for developing young pianists. It is an uncharacteristically cheerful piece for Shostakovich.

Dmitri Dmitriyevich Shostakovich (25 September [O.S. 12 September] 1906 – 9 August 1975) was a Soviet composer and pianist who became internationally known after the premiere of his First Symphony in 1926 and thereafter was regarded as a major composer. Shostakovich achieved early fame in the Soviet Union, but had a complex relationship with its government. His 1934 opera Lady Macbeth of Mtsensk was initially a success but later condemned by the Soviet government, putting his career at risk. In 1948, his work was denounced under the Zhdanov Doctrine, with professional consequences lasting several years. Even after his censure was rescinded in 1956, performances of his music were occasionally subject to state interventions, as with his Thirteenth Symphony (1962). Nevertheless, Shostakovich was a member of the Supreme Soviet of the RSFSR (1947) and the Supreme Soviet of the Soviet Union (from 1962 until his death), as well as chairman of the RSFSR Union of Composers (1960–1968). Over the course of his career, he earned several important awards, including the Order of Lenin, from the Soviet government. Shostakovich combined various musical techniques in his works. His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; he was also heavily influenced by neoclassicism and by the music of Gustav Mahler. His orchestral works include 15 symphonies and six concerti (two each for piano, violin, and cello). His chamber works include 15 string quartets, a piano quintet, and two piano trios. His solo piano works include two sonatas, an early set of 24 preludes, and a later set of 24 preludes and fugues. Stage works include three completed operas and three ballets. Shostakovich also wrote several song cycles and a substantial quantity of music for theatre and film. Shostakovich's reputation has continued to grow after his death. Scholarly interest has increased significantly since the late 20th century, including considerable debate about the relationship between his music and his attitudes toward the Soviet government.

E-flat minor is a minor scale based on E♭, consisting of the pitches E♭, F, G♭, A♭, B♭, C♭, and D♭. Its key signature consists of six flats. Its relative key is G-flat major (or enharmonically F-sharp major) and its parallel key is E-flat major. Its enharmonic equivalent, D-sharp minor, contains six sharps. The E-flat natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The E-flat harmonic minor and melodic minor scales are:

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

The Symphony No. 1 in F minor, Op. 10, by Dmitri Shostakovich was written in 1924–1925, and first performed in Leningrad by the Leningrad Philharmonic under Nicolai Malko on 12 May 1926. Shostakovich wrote the work as his graduation piece at the Petrograd Conservatory, completing it at the age of 19.

The Symphony No. 10 in E minor, Op. 93, by Dmitri Shostakovich was premiered by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky on 17 December 1953. It is not clear when it was written. According to the composer, the symphony was composed between July and October 1953, but Tatiana Nikolayeva stated that it was completed in 1951. Sketches for some of the material date from 1946.

The Symphony No. 11 in G minor, Op. 103 (subtitled The Year 1905), by Dmitri Shostakovich was written in 1957 and premiered by the USSR Symphony Orchestra under Natan Rakhlin on 30 October 1957. The symphony's subtitle refers to the events of the Russian Revolution of 1905, which the symphony depicts. The first performance given outside the Soviet Union took place in London's Royal Festival Hall on 22 January 1958, when Malcolm Sargent conducted the BBC Symphony Orchestra. The United States premiere was given by Leopold Stokowski and the Houston Symphony on 7 April 1958. The symphony was conceived as a popular piece and proved an instant success in the Soviet Union, his greatest since the Leningrad Symphony 15 years earlier. It earned him a Lenin Prize in April 1958.

Symphony No. 12 in D minor, Op. 112, titled The Year 1917, was composed by Dmitri Shostakovich in 1961. He dedicated it to the memory of Vladimir Lenin. Although the performance on October 1, 1961, by the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky was billed as the official premiere, the actual first performance took place two hours earlier that same day in Kuybyshev by the Kuybyshev State Philharmonic Orchestra conducted by Abram Stasevich.

The Symphony No. 13 in B♭ minor, Op. 113 for bass soloist, bass chorus, and large orchestra was composed by Dmitri Shostakovich in 1962. It consists of five movements, each a setting of a Yevgeny Yevtushenko poem that describes aspects of Soviet history and life. Although the symphony is commonly referred to by the nickname Babi Yar, no such subtitle is designated in Shostakovich's manuscript score. The symphony was completed on July 20, 1962, and first performed in Moscow on December 18 of that year. Kirill Kondrashin conducted the premiere after Yevgeny Mravinsky declined the assignment. Vitaly Gromadsky sang the solo part alongside the basses of the Republican Russian Chorus and the Moscow Philharmonic.

The Symphony No. 14 in G minor, Op. 135, by Dmitri Shostakovich was completed in the spring of 1969, and was premiered later that year. It is a work for soprano, bass and a small string orchestra with percussion, consisting of eleven linked settings of poems by four authors. Most of the poems deal with the theme of death, particularly that of unjust or early death. They were set in Russian, although two other versions of the work exist with the texts all back-translated from Russian either into their original languages or into German. The symphony is dedicated to Benjamin Britten (who gave the UK premiere the following year at Aldeburgh).

The Symphony No. 15 in A major, Op. 141, composed between late 1970 and July 29, 1971, is the final symphony by Dmitri Shostakovich. He began to plan and sketch the symphony, originally intended as a cheerful commemoration of his 65th birthday, in late 1970. After completing the sketch score in April 1971, he began the orchestration in June, during his medical therapy in Kurgan. The symphony was completed on July 29 at his summer dacha in Repino. This was followed by a prolonged period of creative inactivity that did not end until the composition of the Fourteenth Quartet in 1973. The Fifteenth Symphony was first performed privately in a reduction for two pianos for members of the Union of Soviet Composers and invited guests in August 1971. Its scheduled world premiere in September was postponed after Shostakovich had his second heart attack earlier that month. After a two-month hospitalization, he recovered enough to attend rehearsals in late December 1971 for the rescheduled premiere, which took place in Moscow on January 8, 1972, performed by the All-Union Radio and Television Symphony Orchestra conducted by Maxim Shostakovich. The first performance outside the Soviet Union took place in Philadelphia on September 28, 1972, by the Philadelphia Orchestra conducted by Eugene Ormandy. Immediate critical reaction to the symphony was positive in the Soviet Union, but mixed in the West. Shostakovich's extensive use of musical quotation in the Fifteenth has attracted speculation. He initially likened the first movement to a toyshop, but later cautioned listeners against taking his description too precisely. A quotation from Gioacchino Rossini's William Tell Overture recurs throughout the first movement, while the last movement quotes a song by Mikhail Glinka and Richard Wagner's Götterdämmerung and Tristan und Isolde. Critics have also detected more quotations and allusions, from other composers as well as Shostakovich's own music.

This list of symphonies by key is a list of symphonies sorted by key. For the least often used keys in orchestral music, the symphony listed might be famous only for being in that key.

The Symphony No. 3 in E♭ major (subtitled First of May), Op. 20 by Dmitri Shostakovich was first performed by the Leningrad Philharmonic Orchestra and Academy Capella Choir under Aleksandr Gauk on 21 January 1930 (the anniversary of Lenin's death).

The Symphony No. 4 in C minor, Op. 43, was composed by Dmitri Shostakovich between September 1935 and May 1936. He had made an earlier, unrelated draft in 1934, but eventually abandoned it. In January 1936, halfway through this period, Pravda—under direct orders from Joseph Stalin—published an editorial "Muddle Instead of Music" that denounced the composer and targeted his opera Lady Macbeth of Mtsensk. Despite this attack and the political climate of the time, Shostakovich completed the symphony and planned its premiere for December 1936 in Leningrad. After rehearsals began, the orchestra's management cancelled the performance, offering a statement that Shostakovich had withdrawn the work. He may have agreed to withdraw it to relieve orchestra officials of responsibility. The symphony was premiered on 30 December 1961 by the Moscow Philharmonic Orchestra led by Kirill Kondrashin.

The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a "triumphal success" that appealed to both the public and official critics, receiving an ovation that lasted well over half an hour.

The Symphony No. 6 in B minor, Op. 54 by Dmitri Shostakovich was written in 1939, and first performed in Leningrad on November 5, 1939, by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky.

Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60, nicknamed the Leningrad Symphony, was begun in Leningrad, completed in the city of Samara (then known as Kuybyshev) in December 1941, and premiered in that city on March 5, 1942. At first dedicated to Lenin, it was eventually submitted in honor of the besieged city of Leningrad, where it was first played under dire circumstances on August 9, 1942, nearly a year into the siege by German forces. The performance was broadcast by loudspeaker throughout the city and to the German forces in a show of resilience and defiance. The Leningrad soon became popular in both the Soviet Union and the West as a symbol of resistance to fascism and totalitarianism, thanks in part to the composer's microfilming of the score in Samara and its clandestine delivery, via Tehran and Cairo, to New York, where Arturo Toscanini conducted the NBC Symphony Orchestra in a broadcast performance on July 19, 1942, and Time magazine placed Shostakovich on its cover. That popularity faded somewhat after 1945, but the work is still regarded as a major musical testament to the 27 million Soviet people who lost their lives in World War II, and it is often played at Leningrad Cemetery, where half a million victims of the 900-day Siege of Leningrad are buried.

The Symphony No. 8 in C minor, Op. 65, by Dmitri Shostakovich was written in the summer of 1943, and first performed on 4 November of that year by the USSR Symphony Orchestra under Yevgeny Mravinsky, to whom the work is dedicated. It was briefly nicknamed the "Stalingrad Symphony" following the American premiere in 1944. Music critics have ranked it among the composer's finest scores. David Haas has argued that the work falls within the tradition of other C minor "tragedy to triumph" symphonies, such as Beethoven's Fifth, Brahms' First, Bruckner's Eighth, and Mahler's Second, although there is considerable disagreement over the level of optimism present in the final pages. Shostakovich's friend Isaac Glikman called this symphony "his most tragic work". The work, like many of his symphonies, breaks some of the standard conventions of symphonic form and structure. Shostakovich clearly references themes, rhythms and harmonies from his previous symphonies, most notably Symphony No. 5 and Symphony No. 7.

The Symphony No. 9 in E♭ major, Op. 70, was composed by Dmitri Shostakovich in 1945. It was premiered on 3 November 1945 in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky.

The Golden Age or The Age of Gold (Russian: Золотой век, Zolotoi vek), Op. 22, is a ballet in three acts and six scenes by Dmitri Shostakovich to a libretto by Alexander Ivanovsky. Choreographed by Vasili Vainonen (first act), Leonid Jacobson (second act), and V. Chesnakov (third act), it premiered on 26 October 1930 at the Kirov Theatre. The work was performed eighteen times and was initially censored due to its inclusion of modern European dance styles.

The Bolt (Russian: Болт), Op. 27, is a ballet music score written by Dmitri Shostakovich between 1930 and 1931 to a libretto by Victor Smirnov. The humorous and satirical full-length ballet in three acts and seven scenes was choreographed by Fyodor Lopukhov and premiered on 8 April 1931 at the State Academic Theatre of Opera and Ballet in Leningrad. It was not performed again until 2005, when a two-act choreography by Alexei Ratmansky was performed at the Bolshoi Theatre in Moscow.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

The Gadfly Suite, Op. 97a, is a suite for orchestra arranged by Levon Atovmyan from Dmitri Shostakovich's score for the 1955 Soviet film The Gadfly, based on the novel of the same name by Ethel Lilian Voynich. Atovmyan's suite differs markedly from the original: the orchestration is more colorful and economic, certain sections have been transposed harmonically, and he inserted newly composed connecting passages.

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

The Suite for Variety Orchestra No. 1 (Russian: Сюита для эстрадного оркестра № 1, romanized: Syuita dlya estradnogo orkestra nomer 1) is a suite in eight movements arranged by Levon Atovmyan after 1956, based on music by Dmitri Shostakovich. An editorial error in the tenth volume of the Shostakovich collected works edition published by Muzyka in 1984 resulted in the Suite for Variety Orchestra No. 1 being misidentified as the "Suite for Jazz Orchestra No. 2" or "Jazz Suite No. 2". The score was first published with the correct name in 2001. Atovmyan, who arranged and assembled the suite, was a close friend of Shostakovich, and was regularly tasked with arranging concert suites of his film music. He also made numerous other transcriptions and arrangements, often without the composer's involvement and only his tacit approval. The Suite for Variety Orchestra No. 1 includes arrangements of excerpts from Shostakovich's ballet, theatre, and film music. It has not been precisely dated, but is believed to have been composed after 1956. The first documented performance took place on December 1, 1988, at the Barbican Hall, played by the London Symphony Orchestra conducted by Mstislav Rostropovich. The Royal Concertgebouw Orchestra conducted by Riccardo Chailly made a successful recording of the suite in 1991. In 1994, André Rieu released a recording of the suite's "Waltz II" that broke into the top 5 of the Dutch Mega Top 50 and sold over 50,000 copies. Chailly's version of "Waltz II" was later included in the soundtrack to Stanley Kubrick's Eyes Wide Shut.

Dmitri Shostakovich typically catalogued his compositions and occasionally his arrangements of other composers' music with opus numbers. He began this practice with the early Scherzo in F-sharp minor and continued until the end of his life. Nevertheless, most of his juvenilia, unfinished works from his artistic maturity (such as the operas Orango and The Gamblers), and numerous completed works were left unnumbered. There were also instances when Shostakovich took an opus number assigned to one work, then gave it to another, or was undecided about the numbering of a finished composition. Further complicating the matter was an error he committed in compiling his own music in the 1930s. This led to his soundtracks for The Youth of Maxim and Girl Friends sharing the same opus number.

The Unforgettable Year 1919 (Russian: Незабываемый 1919 год, romanized: Nezabyvaemyy 1919 god) is a 1951 Soviet historical drama film directed by Mikheil Chiaureli.

The Violin Concerto No. 1 in A minor, Op. 77 (99), was originally composed by Dmitri Shostakovich in 1947–48. He was still working on the piece at the time of the Zhdanov Doctrine, and it could not be performed in the period following the composer's denunciation. In the time between the work's initial completion and the first performance, the composer, sometimes with the collaboration of its dedicatee, David Oistrakh, worked on several revisions. The concerto was finally premiered by the Leningrad Philharmonic under Yevgeny Mravinsky on 29 October 1955. It was well-received, Oistrakh remarking on the "depth of its artistic content" and describing the violin part as a "pithy 'Shakespearian' role". The concerto is sometimes denoted with the Opus number 99 as it was written in 1947–48 but without a premiere at the time because of the use of Jewish themes and Shostakovich's troubles with the government at the time. The concerto had its premiere seven years later, in which time Shostakovich had written other pieces, hence the difference. In addition to the political circumstances surrounding its delay, some musicologists have argued that the intervening years allowed Shostakovich to refine the concerto’s structure and emotional range. Laurel E. Fay observes that the composer used this period to heighten the contrast between the work’s “private introspection” and “sardonic brilliance”, a duality that reflected both his personal struggles and the cultural climate of the late 1940s and early 1950s. Oistrakh characterized the first movement Nocturne as "a suppression of feelings", and the second movement Scherzo as "demonic." The Scherzo is also notable for an appearance of the DSCH motif—a motif representing Shostakovich himself that recurs in many of the composer's works. Boris Schwarz (Music and Musical Life in Soviet Russia, 1972) commented on the Passacaglia's "lapidary grandeur" and the Burlesque's "devil-may-care abandonment".

The Violin Concerto No. 1 in A minor, Op. 77 (99), was originally composed by Dmitri Shostakovich in 1947–48. He was still working on the piece at the time of the Zhdanov Doctrine, and it could not be performed in the period following the composer's denunciation. In the time between the work's initial completion and the first performance, the composer, sometimes with the collaboration of its dedicatee, David Oistrakh, worked on several revisions. The concerto was finally premiered by the Leningrad Philharmonic under Yevgeny Mravinsky on 29 October 1955. It was well-received, Oistrakh remarking on the "depth of its artistic content" and describing the violin part as a "pithy 'Shakespearian' role". The concerto is sometimes denoted with the Opus number 99 as it was written in 1947–48 but without a premiere at the time because of the use of Jewish themes and Shostakovich's troubles with the government at the time. The concerto had its premiere seven years later, in which time Shostakovich had written other pieces, hence the difference. In addition to the political circumstances surrounding its delay, some musicologists have argued that the intervening years allowed Shostakovich to refine the concerto’s structure and emotional range. Laurel E. Fay observes that the composer used this period to heighten the contrast between the work’s “private introspection” and “sardonic brilliance”, a duality that reflected both his personal struggles and the cultural climate of the late 1940s and early 1950s. Oistrakh characterized the first movement Nocturne as "a suppression of feelings", and the second movement Scherzo as "demonic." The Scherzo is also notable for an appearance of the DSCH motif—a motif representing Shostakovich himself that recurs in many of the composer's works. Boris Schwarz (Music and Musical Life in Soviet Russia, 1972) commented on the Passacaglia's "lapidary grandeur" and the Burlesque's "devil-may-care abandonment".

The Violin Concerto No. 2 in C♯ minor, Op. 129, was Dmitri Shostakovich's last concerto. He wrote it in the spring of 1967 and intended it to serve as a 60th birthday present for its dedicatee, David Oistrakh, in September. However, Shostakovich had mistaken Oistrakh's age; he actually turned 59 that year. It was premiered unofficially in Bolshevo, near Moscow, on 13 September 1967, and officially on 26 September by Oistrakh and the Moscow Philharmonic under Kirill Kondrashin in Moscow.