Few composers have been subjected to such long-standing distortions regarding their music and political outlook as Shostakovich. Pauline Fairclough acknowledges these minefields, and in this vivid and lucidly expounded study manages to steer a pragmatic course through the many controversial issues that blighted his career. Her fair-minded approach and scrupulous attention to detail, supported by references to newly discovered or previously unpublished archival material, combines cutting edge scholarship with tremendous insight into Shostakovich's complex personality. The picture that emerges is far more rounded and I dare say more human than has been the case with previous biographies of the composer. In this respect, Fairclough is particularly sensitive in dealing with Shostakovich's often problematic relationships with women. There's a real artfulness, too, in the way that she manages to weave Shostakovich's life and works into a gripping entity. In particular, Fairclough makes a convincing case for re-evaluating some of the much criticised music he composed to fulfil political obligations made by the soviet state

Pauline Fairclough provides lucid, no-nonsense commentary. A Bristol-based academic who has published widely on Shostakovich reception history, she pitches her stall on the fact-based, non-conjectural side of the debate without dissing conflicting ideas with the belligerence associated with a scholar such as Richard Taruskin . . . what gives her slim volume its distinctive tone is the way Fairclough searches out biographical and stylistic continuities where others see only disjunctive leaps

This is an excellent, thoroughly researched, brief biography of the famous and still controversial Soviet composer Dmitry Shostakovich. Fairclough has done a fine job of presenting Shostakovich's life and works within their artistic and political contexts. She is fair to the composer and sensitive to the enormous political pressures he suffered, pressures that were literally matters of life and death. Fairclough also provides real intellectual substance, describing musical compositions in an informative manner without resorting to detailed musical analyses. Informed music lovers without a background in music theory and harmony will find much of great interest. Musicians and music historians will also benefit from Fairclough’s specialist insights into biographical details garnered from her work in Russian archives. The book includes many fine photographs, a brief but useful bibliography, and end notes. . . . Highly recommended