1 Muziek in een totalitaire samenleving: het voorbeeld van Dimitri ...

13 Stephen Kotkin. “The State – Is It Us? Memoirs, Archives, and Kremlinologists.” Russian Review 61, January
2002: 50. Zie ook: Stephen Kotkin. Magnetic Mountain: Stalinism as Civilization. Berkeley: University of
California Press, 1995.
14 Lisa A. Kirschenbaum. The Legacy of the Siege of Leningrad, 1941-1995. Cambridge: Cambridge University
Press, 2006: 11-12.
15 Boris Leonidowitsj Pasternak. Dokter Zjivago. Vertaling van Nico Scheepmaker. Utrecht, Antwerpen: A.W.
Bruna & Zoon, 1958: 549.
16 Enkele voorbeelden: “In his second opera he shows himself authentic genius of the genre, fully able – like
Verdi, like Wagner, like Musorgsky – to create a world in tone that carries complete conviction. And he used his
awesome powers to perpetrate a colossal moral inversion […] In the hands of a genius, Shostakovich’s
accomplishment declares, the art of music is still the potent, dangerous thing about which Plato was the first to
warn, and Tolstoy, perhaps, the most recent […] So ineluctably has the opera come to symbolize pertinacious
resistance to inhumanity that it is virtually impossible now to see it as an embodiment of that very inhumanity…”:
Richard Taruskin. “Shostakovich and the Inhuman.” In: Defining Russia Musically. Historical and
Hermeneutical Essays. Princeton: Princeton University Press, 1997: 498-510.
17 Leonid Maximenkov. Soemboer vmesto muzyki: Stalinskaja kulturnaja revoljoetsia. Moskva: Joeriditsjeskaja
Kniga, 1997.
18 Zie: Marina Frolova-Walker. “Stalin and the Art of Boredom.” Twentieth-Century Music 1, 1. 2004: 101-124.
19 Anna Achmatova. De echte twintigste eeuw. Autobiografisch proza. Vertaling van Alissa Leigh en Silvana
Wedemann. “Privé-domein” 249. Amsterdam: De Arbeiderspers, 2006: 173, 177.
14