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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.[1]
| Op. number | Title | Instrumentation | Year | Notes |
|---|---|---|---|---|
| Five Piano Pieces (The Soldier, Fiery Sonata, The Noise of a Train, The Storm, The Tempest) | Piano | 1914–1915 | Lost. Shostakovich used a theme from this work in "Immortality" from the Suite on Verses of Michelangelo Buonarroti.[3] | |
| Hymn to Freedom | Piano | 1915–1916 | Lost[3] | |
| Taras Bulba (based on the eponymous story by Nikolai Gogol) | Opera (instrumentation unknown) | 1915–1916 | Lost[3] | |
| Revolutionary Symphony | Orchestra | 1917–April 1918 | Partially lost[3] | |
| Funeral March in Memory of the Victims of the Revolution | Piano | January 1918 | Originally assigned Op. 5 along with Nostalgia. Dedicated to the memories of Kadets Fyodor Kokoshkin and Andrei Shingaryov, who were murdered on January 20, 1918, at the Mariinskaya Hospital.[4] | |
| Nostalgia | Piano | 1918 | Originally assigned Op. 5 along with Funeral March in Memory of the Victims of the Revolution.Alternately known as Melancholia and The Soldier Reminiscing About his Homeland, which is unrelated to "The Soldier" from the Five Piano Pieces.[4] | |
| Piano Pieces from the Exercise Book "1919" (Piece in C major, Prelude-March, In the Forest)[4] | Piano | 1919 | ||
| Variations on Mikhail Glinka's "The Lark" | Piano | 1919 | Unfinished[5] | |
| Bagatelle | Piano | 1919 | Dedicated to Marianna Fyodorovna Gramenitskaya.[5] | |
| Two Preludes | Piano | 1919 | Originally assigned Op. 1. Second piece is a revised version of the Bagatelle; dedicated to Boris Kustodiev.[5] | |
| Exercise Pieces | Piano | 1919–1920 | Consists of six pieces, the fifth of which is based on "In the Forest".[6] | |
| Fantasy | Piano duo | 1919–1920 | Dedicated to Alexander Glazunov.[7] | |
| Exercise Piece | Piano duo | 1919–1920 | Incomplete; theme reused in "The Ass and the Nightingale" from Two Fables of Ivan Krylov.[6] | |
| Three Pieces (Minuet, Prelude, and Intermezzo) | Piano | 1919–1920 (possibly earlier)[6] | Last piece incomplete. Extant manuscript, which was not written in Shostakovich's hand,[6] was preserved by Alexandra Rozanova, who had been his piano teacher 1917–spring 1919.[8] | |
| 1 | Scherzo in F♯ minor | Orchestra | 1919 (or 1920–1921)[9] | Based on a surviving movement from the partially destroyed early Piano Sonata in B minor.[10] |
| Prelude | Cello | 1920–1921 | Incomplete[10] | |
| The Gypsies, (based on the eponymous narrative poem by Alexander Pushkin) | Opera (instrumentation unknown) | 1920–1921 | Incomplete. Only the vocal and piano score is extant.[11] | |
| Piano Sonata in B minor | Piano | 1920–1921 | Incomplete. Third movement orchestrated and assigned Op. 1. Part of the slow movement was orchestrated for an early attempt at a symphony,[11] then later incorporated into the Piano Trio No. 1.[9] | |
| 2 | Eight Preludes | Piano | 1919–1921 | Manuscript was destroyed by Shostakovich, but copies survived.[12] |
| Five Preludes | Piano | 1921 | Selected by Shostakovich from the Eight Preludes as his contribution to an incomplete collaborative cycle of 24 preludes in all keys composed with fellow students Grigori Klements and Pavel Feldt.[12] | |
| Orchestration of the first movement from Ludwig van Beethoven's Piano Sonata No. 32 | Orchestra | 1921–1922 | Partially lost[12] | |
| Orchestration of the second movement from Ludwig van Beethoven's Piano Sonata No. 8 | Orchestra | 1921–1922 | Premiered in Schwerin, Germany, on March 2, 2020.[12] | |
| Orchestration of the Fugue No. 7 in E♭ major from Johann Sebastian Bach's The Well-Tempered Clavier, Book II | Small orchestra | 1921–1922 | ||
| Orchestration of Johannes Brahms' "Rhapsody" from the Klavierstücke, Op. 119 | Orchestra | 1921–1922 | Partially lost[13] | |
| 3 | Theme and Variations in B♭ major | Orchestra | 1921–1922 | Dedicated to Nikolai Alexandrovich Sokolov.[14] |
| Three Pieces (Humoreske, Fugicha, Chromatic Fugue) | Piano | 1921–1922 | Partially lost[15] | |
| In the Beginning Was... | Soprano, contralto, tenor, and bass, or SATB choir | 1921–1922 | Partially lost. Title is likely a reference to the Gospel of John.[15] | |
| Arrangement of Nikolai Rimsky-Korsakov's "I Waited for Thee in a Grotto" | Soprano and orchestra | 1921–1922 | Premiered in Moscow in 1980.[15] | |
| Orchestration of Franz Schubert's Military March No. 1 | Orchestra | 1921–1922 | Partially lost[16] | |
| Orchestration of the fifth movement from Robert Schumann's Bilder aus Osten | Orchestra | 1921–1922 | Partially lost[16] | |
| 5 | Three Fantastic Dances | Piano | 1922 | Originally published as Op. 1.[17] Shostakovich orchestrated the first dance for a class exercise (unpublished).[18] |
| 6 | Suite in F♯ minor | Two pianos | 1922 | Dedicated to the memory of Dmitri Boleslavovich Shostakovich. The composer revised the score according to the instructions of his teacher Maximilian Steinberg, but destroyed this version after one performance.[19] |
| Seven Fugues | Piano | 1922–1923 | The fifth fugue quotes the second Kyrie eleison from Bach's Mass in B minor.[19] | |
| Rusalochka (based on The Little Mermaid by Hans Christian Andersen) | Ballet (instrumentation unknown) | 1922–1923 | Shostakovich projected completing the ballet in summer 1924 in anticipation of its forthcoming scheduled premiere, but stopped work on it in December 1923, then destroyed the score in 1926.[20] | |
| 4 | Two Fables of Ivan Krylov | Mezzo-soprano and piano | 1922 | Arranged and revised for mezzo-soprano (with unison female chorus ad libitum in "The Ass and the Nightingale") and orchestra in 1924.[21] |
| 8 | Piano Trio No. 1 in C minor (alternatively known as Poem)[20] | Piano, violin, and cello | 1923 | The work's last 22 measures, which are missing in the manuscript score, were completed by Boris Tishchenko in 1981.[20] |
| Dance | Piano | November 30, 1923 | Dedicated to Zoya Shostakovich; work later reused in the score to Alone.[22] | |
| Piano Quintet | Two violins, viola, cello, and piano | 1923 | Originally assigned Op. 7. Scherzo was later reused and developed in the Scherzo, Op. 7.[22] | |
| Piano Piece[21] | Piano | 1922–1924 | ||
| 9 | Three Pieces (Fantasia, Prelude, Scherzo) | Cello and piano | December 30, 1923 – January 10, 1924 | A fourth piece was destroyed immediately upon completion. The entire work is now lost, save for a sketch of the "Fantasia".[23] |
| Scherzo | Orchestra | 1923–1924 | Probably destroyed in 1926.[23] | |
| Suite for Violin and Piano | Violin and piano | 1923–1924 | Lost. Dedicated to Veniamin Iosifovich Sher.[23] | |
| Piano Sonata | Piano | 1923–1924 | Lost. Two letters by Shostakovich and an entry in Steinberg's diary attest to its existence.[24] | |
| 7 | Scherzo in E♭ major | Orchestra | 1923–1924 | Arranged from the scherzo of the incomplete 1923 Piano Quintet.[24] |
| 10 | Symphony No. 1 in F minor | Orchestra | 1924–1925 | Originally assigned Op. 11.[25] |
| 11 | Two Pieces | String octet[2] | 1924–1925 | Originally assigned Op. 10. Drafts survive of a fugue that was planned to be the third piece.[26] |
| 12 | Piano Sonata No. 1 | Piano | 1926 | Originally named October or October Sonata.[26] |
| Piano Concerto | Piano and orchestra | 1926 | Only sketches remain. A solo trumpet part similar to the one later used in Op. 35 may have been planned.[27] | |
| 13 | Aphorisms | Piano | 1927 | Its ten pieces were selected from an original set of twelve.[27] |
| 14 | Symphony No. 2 in B major "To October" | Orchestra and chorus | 1927 | |
| 16 | Tahiti Trot (Arrangement of the song "Tea for Two" by Vincent Youmans) | Orchestra | 1928 | Shostakovich slightly modified the work for use in The Golden Age on the request of Alexander Gauk.[28] |
| Main Street | Orchestra | 1927 | Partial orchestration of a "synesthetic stage composition" by Mikhail Mikhailov, based on a text by Demyan Bedny.[29] | |
| 15 | The Nose (based on Gogol) | Vocal soloists, chorus, and orchestra | 1927–1928 | Suite arranged from the opera assigned Op. 15a.[30] |
| 17 | Two Pieces by Domenico Scarlatti | Wind orchestra | 1928 | Arranged from the versions by Carl Tausig.[31] |
| 18 | Music to the silent film The New Babylon | Small orchestra | 1928–1929 | Originally assigned Op. 17.[32] Suite assigned Op. 18a.[33] |
| 19 | Incidental music to the play The Bedbug by Vladimir Mayakovsky | Orchestra | 1928–1929 | Vsevolod Meyerhold offered Shostakovich to compose the incidental music for Mayakovsky's play after his first choice, Sergei Prokofiev, refused. Suite assigned Op. 19a.[34] Orchestral versions of three numbers possibly lost. These have been reorchestrated from piano scores by Mark Fitz-Gerald.[35] |
| 23 | Two pieces for insertion into Erwin Dressel's opera Armer Columbus | SATB chorus and orchestra | 1929 | |
| 20 | Symphony No. 3 in E♭ major "The First of May" | SATB chorus and orchestra | 1929 | Originally named A May Symphony.[36] |
| 22 | The Golden Age, ballet in three acts | Orchestra | 1929–1930 | Originally named Dynamiada. Performance of the suite, assigned Op. 22a, preceded that of the ballet itself. The suite originally contained seven movements, although the number of movements and dances chosen varied widely in subsequent performances,[37] with one five-movement version including a rearrangement of Tahiti Trot.[38] Its definitive four-movement form was assembled in 1934.[37] |
| 24 | Incidental music to the play The Gunshot by Alexander Bezymensky | Orchestra | 1929 | Originally assigned Op. 22.[39] |
| Arrangement of the "Song of the Volga Boatmen" | Bass and orchestra | 1929 | Premiered on December 25, 1930.[40] | |
| Reduction of the first movement from the Symphony No. 10 by Gustav Mahler | Piano four-hands | late 1920s | Incomplete[40] | |
| 26 | Music to the film Alone | Orchestra | 1930–1931 | In addition to Shostakovich's suite, Op. 26a, Gennady Rozhdestvensky also assembled a three-movement suite.[41] |
| 25 | Incidental music to the play Virgin Soil by Arkadi Gorbenko and Nikolai Lvov | Orchestra | 1930 | Not included in the new collected works edition of Shostakovich's music. Some numbers reused in The Bolt and The Limpid Stream.[42] |
| 27 | The Bolt, ballet in three acts | Orchestra | 1930–1931 | Alexander Gauk arranged a suite from the ballet, Op. 27a, sometimes also titled "Ballet Suite No. 5".[43] Shortly thereafter, Shostakovich compiled his own suite, which dropped two movements, as well as movement titles which referred to the original ballet libretto.[44] |
| 28 | Incidental music to the play Rule, Britannia! by Adrian Piotrovsky | Orchestra | 1931 | |
| Impromptu | Viola and piano | 1931 | Originally assigned Op. 33. Dedicated to Vadim Borisovsky; the manuscript was discovered in his documents stored at the Moscow State Central Archive in 2007. The manuscript is dated May 2, 1931.[45] | |
| 31 | Incidental music to the music-hall show Hypothetically Murdered by Vsevolod Voyevodin and Yevgeny Ryss | Orchestra | 1931 | All but two numbers from the orchestral score are lost. The remainder exists only in piano score, a selection of which were compiled and orchestrated into a suite by Gerard McBurney.[46] |
| 30 | Music to the film Golden Mountains | Orchestra and organ | 1931 | Suite assigned Op. 30a. When the film was re-released in 1936, its epilogue, which included a scene of striking workers accompanied by a fugue for organ and orchestra, was cut. The fugue had been criticized during the campaign against musical formalism for being an unsuitable musical depiction of organized labor.[47] |
| Two Pieces (Elegy and Polka) | Two violins, viola, and cello | 1931 | Originally assigned Op. 36. Dedicated to the Jean-Baptiste Villaume Quartet. The "Elegy" is an arrangement of Katerina's aria from Act I, scene 3 of Lady Macbeth of the Mtsensk District, while the "Polka" is an arrangement of "Once Upon a Time in Geneva" from The Golden Age.[48] | |
| 32 | Incidental music to the play Hamlet by William Shakespeare | Voices and orchestra | 1931–1932 | Suite assigned Op. 32a. Orchestral scores of five numbers are lost and exist only in piano scores. An additional two numbers were composed for a production of Hamlet in 1954.[49] |
| 21 | Six Romances on Texts by Japanese Poets | Tenor and orchestra | 1928–1932 | Dedicated to Nina Vasilyevna Varzar, Shostakovich's first wife. Originally a tripartite work for tenor and piano composed in 1928 and assigned Op. 16. In 1931–1932, Shostakovich added three more songs.[50] |
| From Karl Marx to our Own Days | Solo voices, chorus and orchestra | 1932 | Unfinished and lost. Five movements may have been planned, of which one was possibly completed.[51] | |
| The Big Lightning | Vocal soloists, chorus, and orchestra | 1932 | May originally have been named Powder in the Nail.[52] | |
| Orango (satirical opera in three acts with a prologue based on a libretto by Alexei Tolstoy and Alexander Starchakov) | Vocal soloists, SATB chorus, and orchestra | 1932 | Piano score discovered in 2006 in the archives of the Shostakovich family, which was subsequently orchestrated by Gerard McBurney. Premiered in Los Angeles on December 2, 2011.[53] | |
| Incidental music to the play On Combat Course by Arkadi Gorbenko, Nikolai Lvov, and Mikhail Sokolovsky | Chorus and orchestra | 1932 | Co-composed with Feodosiy Rubtsov. Although posters issued by TRAM credit Shostakovich, his involvement is considered unlikely.[54] | |
| 33 | Music to the film Counterplan | Chorus and orchestra | 1932 | The "Song of the Counterplan", with lyrics by Boris Kornilov, became one of Shostakovich's most famous works and a popular standard of Soviet song. Shostakovich reused it in his score to Michurin and his opera Moscow, Cheryomushki. Jean Renoir used it in his 1936 documentary La vie est à nous and was adapted by Harold Rome during World War II as "The Hymn of the United Nations".[55] |
| 29 | Lady Macbeth of the Mtsensk District, opera in four acts based on the eponymous novella by Nikolai Leskov | Vocal soloists, SATB chorus, brass band, and orchestra | 1930–1932 | Libretto by Alexander Preis. The 1935 edition of the piano score includes over fifty amendments made to his text by Shostakovich, who was profoundly dissatisfied with its use of scatological terminology. Suite assigned Op. 29a. Sources conflict as to the number of movements chosen for the suite by Shostakovich.[56] |
| Passacaglia | Organ | 1932 | Sources conflict as to whether the Passacaglia was conceived as an autonomous piece of music or originally intended for use as an interlude in performances of Lady Macbeth of the Mtsensk District.[57] | |
| Orchestration of the overture to Ivan Dzerzhinsky's operetta The Green Company | Orchestra | 1931 | Lost[58] | |
| Madrigal (Impromptu) | Voice and piano | 1933 | Composed and first performed during a birthday party for Lyubov Berg, secretary of MALEGOT. Title page states: "Words by Mikhail Pravdin, music by Dmitri Shostakovich, idea by Samuil Zinkovsky". First public performance by Larisa Shevchenko accompanied by Sofia Khentova in Kiev in 1983. It was first published in 2015. The original manuscript is lost, but a photocopy is preserved in the Shostakovich Archives in Moscow. | |
| 34 | 24 Preludes | Piano | 1932–1933 | |
| 35 | Piano Concerto No. 1 | Piano, solo trumpet, and strings | 1933 | Originally assigned Op. 34.[59] |
| "I Love..." | Tenor and piano | 1933 | Nearly completed. Text possibly by Shostakovich.[60] | |
| 37 | Incidental music to the play The Human Comedy by Pavel Sukhotin, based on the eponymous cycle of novels by Honoré de Balzac | Small orchestra | 1933–1934 | Shostakovich also orchestrated pieces by Beethoven and Fritz Kreisler for use in his incidental music.[61] |
| Suite for Jazz Orchestra No. 1 | Chamber ensemble | 1934 | Originally assigned Op. 38.[62] | |
| Four Fugues (C major, A minor, G major, E minor) | Piano | 1934 | The second fugue was reused with little alteration in Op. 87.[62] | |
| Moderato | Cello and piano | 1934 | Dating uncertain; possibly a sketch for the Cello Sonata.[63] | |
| 40 | Sonata for Cello and Piano | Cello and piano | 1934 | |
| Narodvolotsy | Opera (instrumentation unknown) | 1934 | Intended to be the second installment of a "Soviet Ring of the Nibelung", following Lady Macbeth of the Mtsensk District. The opera was abandoned after the death of Sergei Kirov. Some of its surviving music is related to the Four Fugues and Fourth Symphony.[64] | |
| 38 | Music to the film Love and Hate | Female chorus and orchestra | 1934 | Original score lost. Only piano sketches for eight cues and a published version of one of the film's songs are extant. Score reconstructed from the original soundtrack by Mark Fitz-Gerald.[65] |
| 36 | Music to the animated film The Tale of the Priest and of his Servant Balda | Narrator, vocal soloists, SATB chorus, and orchestra | 1933–1934 | The film was never completed and what remained was destroyed during the siege of Leningrad in 1941, save for an approximately 200 ft (61 m) strip with the "Bazaar" scene. Original score is partially lost. Suite assigned Op. 36a, although its movements differ from another suite compiled by the composer that was premiered on June 1, 1935, by the Leningrad Philharmonic Orchestra conducted by Alexander Melik-Pashayev. Vadim Bibergan and Sofia Khentova have both produced performable completions.[66] |
| Funeral March on the Death of Sergei Kirov | Unknown | December 1934 | Lost. Existence attested in the meeting records of the Leningrad branch of the Union of Soviet Composers, which reported that Shostakovich responded to Kirov's death with a "small funeral march".[67] | |
| Suite for Bassoon and Piano | Bassoon and piano | 1934 | Only an eight-measure sketch remains.[67] | |
| Unfinished Symphony | Orchestra | 1934–1935 | Incomplete draft of earlier and mostly unrelated version of the Fourth Symphony.[67] | |
| 39 | The Limpid Stream, ballet in three acts | Orchestra | 1934–1935 | Suite assigned Op. 39a. Sources conflict as to the dating and authorship of the suite.[68] |
| 41 | Music to the film The Youth of Maxim | Soprano solo and orchestra | 1934–1935 | Only the film's overture and a number of sketches survive.[69] |
| 41a | Music to the film Girlfriends | Male choir, three female voices, wind band, string quartet, and orchestra | 1934–1935 | Dedicated to Romain Rolland.[70] Partially lost. Score reconstructed from the original soundtrack recording by Mark Fitz-Gerald. Excerpts from Shostakovich's String Quartet No. 1 were added with permission from the composer upon the film's restoration in the 1960s.[71] One of the film's cues is based on music from Vincenzo Bellini's Norma.[70] |
| 42 | Five Fragments | Small orchestra | 1935 | Originally assigned Op. 43.[72] |
| 43 | Symphony No. 4 in C minor | Orchestra | 1935–1936 | Original score lost during the siege of Leningrad. Only transcription for two pianos as Op. 43a and instrumental parts for the cancelled premiere survived. The latter were discovered in 1961, whereupon the score was reconstructed by Boris Shalman, librarian of the Leningrad Philharmonic Orchestra.[73] |
| 44 | Incidental music to the play Salute to Spain! by Alexander Afinogenov | Orchestra and chorus | 1936 | Shostakovich transposed one of the play's numbers, "Song of Rosita", from B minor to F♯ minor and gifted it to his sister Zoya for her birthday on August 24, 1939.[74] |
| "The Devils" | High voice and piano | 1936 | Only sketches extant. Text by Pushkin. Possibly intended for Op. 46.[75] | |
| 45 | Music to the film The Return of Maxim | Solo voice, male choir, and orchestra | 1936–1937 | |
| 46 | Four Romances on Verses by Alexander Pushkin | Bass and piano | 1936–1937 | Originally planned as a twelve-song cycle. Shostakovich's orchestration of the first three songs, which according to Khentova was made in the 1960s, assigned Op. 46a.[76] |
| 48 | Music to the film Volochayev Days | Male choir and orchestra | 1936–1937 | A song from the film, "Where the Waters Ripple", was reused by Shostakovich in his symphonic poem October. He also considered composing an opera based on the film.[77] |
| 47 | Symphony No. 5 in D minor | Orchestra | 1937 | Sources unclear as to whether Shostakovich completed the symphony on July 27, 1937, or in September/October.[78] |
| Orchestration of Pierre De Geyter's "The Internationale" | Brass band and orchestra | 1937 | Premiered in Novosibirsk, Russian SFSR, on October 4, 1941, by the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky.[79] | |
| Transcription of Igor Stravinsky's Symphony of Psalms | Piano duet | 1937 | Shostakovich made the transcription for use in his classes at the Leningrad Conservatory, where he taught composition and orchestration.[79] In 1962, he presented the score to Stravinsky during the latter's trip to the Soviet Union.[80] | |
| 49 | String Quartet No. 1 in C major | Two violins, viola, and cello | 1938 | Some sources append the subtitle Springtime to the quartet. The order of the outer movements was originally planned to be in reverse to their final form. Parts of the second movement were added to the soundtrack of Girlfriends when the film was re-released in the 1960s.[81] |
| 51 | Music to the film Friends | SATB chorus and orchestra | 1938 | A cue for a cappella chorus is published separately as "Vocalise".[82] |
| 53 | Music to the film The Man with the Gun | Brass band and orchestra | 1938 | The original film score is lost.[83] |
| 52 | Music to the film The Great Citizen, Part I | Orchestra | 1938 | |
| 50 | Music to the film The Vyborg Side | Orchestra | 1938 | Manuscript lost.[84] Despite being assigned Op. 50a, Levon Atovmyan's Maxim suite includes no music from The Vyborg Side.[85] |
| Suite for Jazz Orchestra No. 2 | Chamber ensemble | 1938 | Sketches and piano score discovered by Manashir Yakubov in 1999. Originally scored for the same ensemble as the Suite for Jazz Orchestra No. 1, but Shostakovich expanded the instrumentation at the request of Viktor Knushevitzky.[86] Title of this work was incorrectly used to refer to the unrelated Suite for Variety Orchestra.[87] Original manuscript and instrumental parts are lost;[88] Gerard McBurney completed his reconstruction and orchestration of the score in 2000.[86] Shostakovich reused the main theme of the first movement, "Scherzo", in the second movement of his Symphony No. 8.[88] | |
| 55 | Music to the film The Great Citizen, Part II | Orchestra | 1938–1939 | Most of the score is lost.[89] |
| 56 | Music to the animated film The Story of a Silly Baby Mouse | Narrator, vocal soloists, and orchestra | 1939 | Reconstructed by Boris Tiles based on the piano score and instrumental parts. Version with narrator and singers arranged by Andrew Cornall. Lullaby melody reused in finale of Op. 109.[90] |
| 54 | Symphony No. 6 in B minor | Orchestra | 1939 | Originally published as Op. 53. The symphony's form and instrumentation diverged considerably from the descriptions he gave to the press. He had related that it would be a massive symphony for vocal soloists, chorus, and orchestra dedicated to the memory of Vladimir Lenin.[91] |
| Suite on Finnish Themes | Soloists, chorus, chamber orchestra, piano | 1939 | ||
| The Twelve Chairs, operetta based on the eponymous novel by Ilf and Petrov | Unknown | 1939 | Unfinished. Shostakovich may not have developed the music beyond a few sketches.[92] | |
| Arrangement of the Russian folk song "Dubinushka" | Bass and orchestra | Late 1930s | Manuscript discovered posthumously among Shostakovich's papers.[92] | |
| Lenin Symphony | Vocal soloists, SATB chorus, and orchestra | 1938–1940? | Shostakovich told the press that the symphony was inspired by Mayakovsky's poem "Vladimir Ilyich Lenin" and that it would set verses by Suleyman Stalsky and Zhambyl Zhabayuly.[93] Gerard McBurney said that Shostakovich may never have worked on this score, despite his reports to the contrary given across a span of over two years. In December 1940, Shostakovich said he had failed in his pursuit of composing a "Lenin Cantata".[92] | |
| 58a | Incidental music for the play King Lear by Shakespeare | Vocal soloists and orchestra | 1940 | Composed for a 1941 production by Grigori Kozintsev.[94] |
| 58 | Reorchestration of Modest Mussorgsky's opera Boris Godunov | Vocal soloists, SATB chorus, orchestra | 1939?–1940 | Sources conflict as to whether Shostakovich began reorchestrating the opera in December 1939 or January 1940.[95] |
| 57 | Piano Quintet in G minor | Two violins, viola, cello, and piano | 1940 | |
| 59 | Music to the film The Adventures of Korzinkina | SATB chorus, piano duet, and orchestra | 1940 | Precise number and order of cues for the film is unknown, but the manuscripts of at least 10 are held by the Shostakovich family. The score utilized music from Peter Ilyich Tchaikovsky's Swan Lake, Charles Gounod's Faust, and Shostakovich's orchestration of Mussorgsky's "Song of the Flea".[96] |
| Three Pieces (Prelude, Gavotte, Waltz) | Solo violin | 1940 | Originally assigned Op. 59; lost.[96] | |
| Arrangement of Johann Strauss Jr.'s Vergnügungszug (Pleasure Train Polka) | Orchestra | 1940 | Orchestrated for use in a 1941 MALEGOT production of Strauss' Der Zigeunerbaron.[97] | |
| Arrangement of Mussorgsky's "Song of the Flea"[97] | Bass and orchestra | 1940 | ||
| Katyusha Maslova (opera based on Leo Tolstoy's novel Resurrection) | Unknown | 1941 | Commissioned by the Kirov Opera in 1940. Work ceased after Glavrepertkom banned Anatoly Marienhof's libretto in 1941. Only sketches are extant.[97] | |
| Twenty-Seven Songs for the Front (arrangements of songs and arias by Dmitry Pokrass, Daniil Pokrass, Matvey Blanter, David Pritzker, Yuri Milyutin, Isaak Dunayevsky, Jean-Baptiste Weckerlin, Ludwig van Beethoven, Gioacchino Rossini, Georges Bizet, Ruggiero Leoncavallo, Alexey Verstovsky, Alexander Gurilyov, Alexander Dargomyzhsky, Modest Mussorgsky, Nikolai Rimsky-Korsakov, Mikhail Ippolitov-Ivanov, and Semyon Gulak-Artemovsky) | Voices, violin, and cello | 1941 | Prepared for ensembles organized by the Leningrad Conservatory to play music at the frontlines.[98] | |
| "Song of the Regiments of the Guards"[99] | Bass, SATB chorus, and piano | 1941 | ||
| 60 | Symphony No. 7 in C major | Orchestra | 1941 | Dedication in the manuscript reads: "To my native city, Leningrad".[100] March from the first movement reused in the score to the film The Fall of Berlin.[101] |
| "Ceremonial March" in D♭ major | Wind band | 1941 | May have been composed as early as 1939.[102] | |
| Polka in F♯ minor | Harp duet | 1941 | Commissioned by Vera Dulova.[102] | |
| "A Great Day Has Come" | Bass, chorus, and piano | 1941 | Text by Vissarion Sayanov. Composed for the Song and Dance Ensemble of the NKVD.[103] | |
| Reorchestration of Johann Strauss Jr.'s operetta Wiener Blut | Unknown | 1941 | Project was never realized because of the German invasion of the Soviet Union.[103] | |
| "Romance" | Voice and piano | 1941 | Text by Heinrich Heine; lost.[103] | |
| The Gamblers (opera based on the eponymous play by Gogol) | Male voices and orchestra | 1941–1942 | Originally assigned Op. 63. Act I complete in piano score; full score missing last seven measures, which were orchestrated by Rozhdestvensky in 1981. Themes from the opera were reused in 1975 for the second movement of the Viola Sonata.[103] | |
| 63 | Native Leningrad (suite from the NKVD revue Fatherland) | Tenor, bass, SATB chorus, and orchestra | 1942 | Composed as a "tribute to the courage of the citizens of Leningrad". Shostakovich's suite was the first of a five-part collaborative revue produced by the Song and Dance Ensemble of the NKVD. Other composers who contributed music were Alexander Alexandrov, Viktor Bely, Dmitri Kabalevsky, Nikolai Chemberdzhi, and Zinovy Dunayevsky. Lyrics by Sergei Alymov.[104] |
| 62 | Six Romances on Verses by British Poets (texts by Sir Walter Raleigh, Robert Burns, Shakespeare, and anonymous) | Bass and piano | 1942 | Each song is dedicated respectively to Levon Atovmyan, Nina Shostakovich, Isaak Glikman, Georgy Sviridov, Ivan Sollertinsky, and Vissarion Shebalin.[105] The title in the manuscript score and first edition is Six Romances for Bass, while later sources erroneously use Six Romances on Verses by English Poets.[106] In 1943, Shostakovich arranged the suite for large orchestra and bass as Op. 62a, which was never performed during his lifetime. In 1971, he made a further arrangement for chamber orchestra and bass that he assigned Op. 140.[107] |
| 61 | Piano Sonata No. 2 in B minor | Piano | 1943 | |
| Eight British and American Folk Songs (arrangements of the folk songs "The Sailor's Bride", "John Anderson, my jo", "Billy Boy", "Oh, the Oak and the Ash", "King Arthur's Servants", "Comin' Thro' the Rye", "Spring Round Dance", and "When Johnny Comes Marching Home") | Soprano, bass, and orchestra | 1943 | Originally a suite consisting of the first seven songs that was completed in May 1943, with the eighth added in July. The first confirmed performance of the complete cycle occurred on May 26, 1960.[108][107] | |
| 65 | Symphony No. 8 in C minor | Orchestra | 1943 | Dedicated to Yevgeny Mravinsky.[109] Unofficially nicknamed the "Stalingrad Symphony" by the American press after its United States premiere[110][111] An incomplete 125-measure portion of an alternate draft of the second movement, which includes piano, was published in Volume 8 of the DSCH New Collected Works.[109] |
| Anthem of the Soviet Union ("Glory to Our Soviet Fatherland") | SATB chorus and orchestra | 1943 | Text by Yevgeny Dolmatovsky. This was Shostakovich's first entry in the competition to replace De Geyter's "The Internationale" as the new Soviet national anthem, which was organized by Joseph Stalin in 1942–1943. McBurney says that it has not been determined whether this work has ever been performed,[112] but Hulme cites that a performance was broadcast on All-Union Radio in February 1978.[113] | |
| Anthem of the Soviet Union ("Unbreakable Union of Freeborn Republics") | SATB chorus and orchestra | 1943 | Text by Sergey Mikhalkov and El-Registan, which was also set Alexander Alexandrov, whose entry was the eventual winner in the national anthem competition.[114] Shostakovich reused the melody of this setting in Russian River, Victorious Spring, and in Novorossiysk Chimes.[115] | |
| Anthem of the Soviet Union ("Unbreakable Union of Freeborn Republics") (co-composed with Aram Khachaturian) | SATB chorus and orchestra | 1943 | Shostakovich's third entry in the national anthem competition was a collaborative composition with Khachaturian, which placed among the finalists.[114] | |
| "Invincible Red Army" (co-composed with Khachaturian) | SATB chorus and orchestra | 1943? | Text by Mikhail Golodniy. Neither its composition date nor its relevancy to the national anthem competition have been ascertained.[114] | |
| Completion and partial orchestration of the opera Rothschild's Violin by Veniamin Fleishman (based on the eponymous short story by Anton Chekhov) | Voices and orchestra | 1942–1944? | Libretto by Preis. Fleishman started to compose the opera in 1939, but his death during the siege of Leningrad in 1941 prevented him from completing it. Only a central portion of the remaining torso had been orchestrated by him.[116] | |
| 64 | Music to the film Zoya | SATB chorus and orchestra | 1944 | Originally assigned Op. 68. The score utilizes a chorus from Glinka's A Life for the Tsar and De Geyter's "The Internationale". Atovmyan's suite, which includes his orchestration of the Prelude No. 14 from Op. 34, assigned Op. 64a.[117] According to Hulme, nine cues from the original score are missing.[118] |
| 67 | Piano Trio No. 2 in E minor | Violin, cello, and piano | 1944 | Dedicated to the memory Ivan Sollertinsky.[119] |
| 68 | String Quartet No. 2 in A Major | Two violins, viola, and cello | 1944 | Originally published as Op. 69. Dedicated to Shebalin.[120] |
| 66 | Music to the revue Russian River (based on a libretto by Mikhail Volpin, Iosif Dobrovolsky, and Nikolai Erdman) | Soloists, choir, and orchestra | 1944 | Composed for the Song and Dance Ensemble of the NKVD. Partially lost. "The Battle of Stalingrad" number is based on Shostakovich's second entry for the 1943 national anthem contest.[121] |
| "A Toast to Our Motherland" | Tenor, SATB chorus, and piano | 1944 | Text by Iosif Utkin.[121] | |
| "The Black Sea" | Bass, male choir, and piano | 1944 | Text by Alymov and N. Verkhovsky.[121] | |
| Arrangement of the Scottish folk song "Annie Laurie" | Voice and chamber orchestra | 1944 | The instrumentation is nearly indistinguishable from that of the Eight British and American Folk Songs,[122] for which it may have been originally intended.[123] | |
| 69 | Children's Notebook | Piano | 1944–1945 | Composed for Galina Shostakovich. The fanfare that initiates "Birthday" was reused in the Festive Overture, while "Clockwork Doll" reuses a theme from Op. 1.[124] |
| 70 | Symphony No. 9 in E♭ major | Orchestra | 1945 | |
| Murzilka | Piano | 1944–1945 | Probably composed by Shostakovich for his children around the time of the Children's Notebook.[125] | |
| "Our Native Russia Has Gained Strength From Storms" | SATB chorus and orchestra | 1945 | Text by Stepan Shchipachev. Originally composed for use as the National Anthem of the RSFSR.[126] | |
| Symphonic Fragment (first version of Symphony No. 9) | Orchestra | January 1945 | Incomplete[126] | |
| Violin Sonata | Violin and piano | 1945 | Left incomplete after first movement's double exposition. Themes reused in the first movement of the Tenth Symphony.[127] | |
| 72 | Two songs for the revue Victorious Spring (based on a libretto by Volpin, Dobrovolsky, and Erdman, with additional lyrics by Mikhail Svetlov) | Soprano, tenor, female choir, and orchestra | 1945 | Composed for the Song and Dance Ensemble of the NKVD. A third number, "Hymn of the People's Victory", is the same as "Final Song" from Russian River, with refashioned lyrics by Dolmatovsky.[127] |
| 71 | Music to the film Simple People | Orchestra | 1945 | Banned in 1946 and not rescreened until 1956.[128] |
| 73 | String Quartet No. 3 in F major | Two violins, viola, and cello | 1946 | Dedicated to the Beethoven Quartet.[129] |
| 74 | Poem of the Motherland | Mezzo-soprano, tenor, two baritones, bass, SATB chorus, brass band, and orchestra | 1947 | Composed to celebrate the 30th anniversary of the October Revolution, but was never performed at any associated commemorative events. The coda reuses the closing fanfare theme from Op. 20.[130] |
| 76 | Music to the film Pirogov | Brass band and orchestra | 1947 | Suite by Atovmyan assigned Op. 76a.[131] |
| Arrangement of Arthur Honegger's Symphonie Liturgique | Two pianos | 1947 | Shostakovich heard Honegger's symphony at the 1947 Prague Spring Festival. He composed a fair copy of his arrangement in the span of time he had access to the conductor's score between its two performances on May 16 and 17. It was intended for use in Shostakovich's composition classes, but he was fired from the Moscow and Leningrad Conservatories before he could use it. The manuscript was discovered posthumously.[131] | |
| Three Pieces | Orchestra | 1947–1948 | Originally assigned Op. 77. McBurney lists the score as lost, but also confirms Hulme's statement that the manuscript is extant.[132][133] | |
| 77 | Violin Concerto No. 1 in A minor | Violin and orchestra | 1947–1948 | Dedicated to David Oistrakh, who also edited the solo violin part. Originally published as Op. 99. According to correspondence between Shostakovich and Oistrakh in 1952, a private recording of the concerto was to be made in the composer's apartment in an arrangement for violin and two pianos. According to Igor Oistrakh, this recording took place, with Shostakovich and Lev Oborin playing the piano parts, although this is unverified. Neither the tape nor the arrangement of the concerto have been found.[134] |
| 75 | Music to the film The Young Guard | Orchestra | 1947–1948 | Originally assigned Op. 76. Suite by Atovmyan assigned Op. 75a.[135] |
| 79 | From Jewish Folk Poetry | Soprano, contralto, tenor, and piano | 1948 | Despite being assigned Op.79a, the version for voices and orchestra preceded the one with piano accompaniment.[136] |
| 78 | Music to the film Michurin | SATB chorus, brass band, and orchestra | 1948 | Originally developed as a play entitled Life is in Bloom. Suite by Atovmyan assigned Op. 78a.[137] |
| 80 | Music to the film Encounter at the Elbe | Tenor, SATB chorus, and orchestra | 1948 | Four cues are lost.[138] Suite by Shostakovich assigned Op. 80a.[139] |
| Antiformalistic Rayok | Four voices, chorus, and piano | 1948 | Lev Lebedinsky's claim to have significantly contributed to its libretto are dubious.[140] | |
| "Hymn to Moscow" | SATB chorus and piano | 1948 | Text by Ilya Frenkel. Probably related to a composition competition organized in 1948 by Georgy Popov.[141] | |
| "Merry March" | Two pianos | 1949 | Dedicated to Maxim Shostakovich. Originally assigned Op. 81.[141] | |
| 81 | Song of the Forests | Tenor, bass, boys' chorus, SATB chorus, and orchestra | 1949 | Text by Dolmatovsky, who removed all references to Stalin and Stalinism in 1962.[142] |
| 83 | String Quartet No. 4 in D major | String quartet | 1949 | Dedicated to Pyotr Williams.[143] |
| 82 | Music to the film The Fall of Berlin | Orchestra | 1949 | Suite by Atovmyan assigned Op. 82a.[144] |
| 84 | Two Romances on Verses by Mikhail Lermontov | Voice and piano | 1950 | According to Malcolm MacDonald, these songs were intended to be part of a larger song cycle.[145] |
| "Our Song" | Bass, SATB chorus, and piano | 1950 | Text by Konstantin Simonov. Originally intended for chorus and orchestra.[145] | |
| "March of Peace Champions" | Chorus and piano | 1950? | Text by Simonov.[145] | |
| 85 | Music to the film Belinsky | SATB chorus and orchestra | 1950 | Suite by Atovmyan assigned Op. 85a. According to Lev Danilovich, one of Shostakovich's Soviet biographers, the film was never released.[146] |
| "German March" | Woodwinds and percussion | 1950 | Only surviving contribution by Shostakovich for a film by Lev Arnshtam tentatively entitled Warmongers (Russian: Поджигатели войны, romanized: Podzhigateli voyny); a biopic about Georgi Dimitrov and his prosecution for alleged involvement in the Reichstag fire. Ideological bickering interrupted production in 1951. By the time the film was released in 1956, it had been significantly altered, renamed A Lesson in History, and was scored by Kara Karayev.[147] | |
| 87 | Twenty-Four Preludes and Fugues | Piano | 1950–1951 | |
| 86 | Four Songs to Words by Yevgeny Dolmatovsky | Voice and piano | 1950–1951 | The first song, "The Motherland Hears", originally scored for solo voice and a cappella chorus.[148] |
| 88 | Ten Poems on Texts by Revolutionary Poets of the Late 19th and Early 20th Centuries | SATB chorus | 1951 | The sixth song, "The Ninth of January", is quoted in the Symphony No. 11.[149] |
| Ten Russian Folk Song Arrangements | Soloists, mixed chorus and piano | 1951 | Originally assigned Op. 89.[150] | |
| 89 | Music to the film The Unforgettable Year 1919 | Piano, SATB chorus, and orchestra | 1951 | One cue, which in the film depicts the Red Army's assault on Krasnaya Gorka during the Russian Civil War, is occasionally played on its own as a single-movement piano concerto.[151] |
| 90 | The Sun Shines Over Our Motherland | Boys' chorus, SATB Chorus, and orchestra | 1952 | Text by Dolmatovsky. Originally projected to be the first of a three-part work entitled Cantata About the Party. Subsequent movements, "The Standard-bearers of the 20th Century" and "Won in Persistent Struggles", never progressed beyond sketches.[152] |
| 91 | Four Monologues on Verses by Alexander Pushkin | Bass and piano | 1952 | According to McBurney the cycle was never performed while Shostakovich was alive,[153] but Khentova records that Askold Besedin sang it in recital during the 1964 Shostakovich Festival in Gorky.[154] |
| 92 | String Quartet No. 5 in B♭ major | String quartet | 1952 | |
| Music to the film Rimsky-Korsakov | Orchestra | 1952 | Shostakovich had been approached to compose the score after the death of Vladimir Shcherbachov, who had been the first choice. He composed six cues before ceding the job to Georgy Sviridov. Nevertheless, three of six cues that Shostakovich composed were used in the film uncredited.[155] | |
| Russian Folksongs | Flute and piano | 1952? | Collection of nineteen folk song arrangements.[156] | |
| Greek Songs | Voice and piano | 1952–1953 | ||
| Arrangement of Joan Smith's song "Bird of Peace" | Voice and piano | 1953 | The song was awarded second place at a youth festival in Bucharest in 1953.[157] | |
| 93 | Symphony No. 10 in E minor | Orchestra | 1953 | |
| 94 | Concertino in A minor | Two pianos | 1953 | Dedicated to Maxim Shostakovich.[158] |
| 98 | Five Romances on Verses by Yevgeny Dolmatovsky | Bass and piano | 1954 | Originally assigned Op. 95. Alternately known as Songs of Our Days. The cycle was later performed by Boris Gmyrya, who extensively revised the score with Shostakovich's approval.[159] |
| 95 | Music to the film Song of the Great Rivers | SATB chorus and orchestra | 1954 | Alternately known as Unity and Seven Rivers. "Introduction" cue sets a text by Bertolt Brecht. An additional three cues depicting atomic warfare are unpublished. Manuscript score partially lost.[160] |
| 96 | Festive Overture | Orchestra | 1954 | Sources conflict as to whether the work was composed in 1947 or 1954.[161] |
| Tarantella | Two pianos | 1954 | ||
| "There Were Kisses..." | Bass and piano | 1954? | Text by Dolmatovsky. Originally composed for the Op. 89 cycle, but was excluded from it for reasons unknown.[162] | |
| 97 | Music to the film The Gadfly | Organ and orchestra | 1955 | Khachaturian had originally been assigned to score the film, but poor health forced him to discontinue work.[163] Atovmyan's suite, which significantly alters the original music, assigned Op. 97a.[164] |
| 99 | Music to the film The First Echelon | Orchestra | 1955–1956 | Suite by Atovmyan assigned Op. 99a.[165] |
| 100 | Spanish Songs | Mezzo-soprano and piano | 1956 | Arrangements of Spanish folk songs.[166] |
| 101 | String Quartet No. 6 in G major | Two violins, viola, and cello | 1956 | |
| Suite for Variety Orchestra No. 1 | Pops orchestra | after 1956 | Compiled and arranged by Atovmyan. An editorial error in 1984 resulted in the work being often mistaken for the unrelated Suite for Jazz Orchestra No. 2.[167] | |
| 102 | Piano Concerto No. 2 in F major | Piano and orchestra | 1957 | Dedicated to Maxim Shostakovich.[168] |
| 103 | Symphony No. 11 in G minor "The Year 1905" | Orchestra | 1957 | Along with the Russian revolutionary songs utilized in the symphony, Shostakovich also quoted an extract from Sviridov's operetta Sparks.[169] |
| Three Choruses for the Fortieth Anniversary of the October Revolution | SATB chorus and piano | 1957 | Manuscript lost.[170] | |
| Eleven Variations on a Theme by Mikhail Glinka | Piano | 1957 | Based on a theme from A Life for the Tsar. Collaborative project with Eugen Kapp, Vissarion Shebalin, Andrei Eshpai, Rodion Shchedrin, Georgi Sviridov, Yuri Levitin, and Dmitry Kabalevsky to commemorate the centennial of Glinka's death. Shostakovich contributed variations VIII, IX, and XI.[170] | |
| 104 | Two Russian Folk Songs | SATB chorus | 1957 | Alternatively known as Cultivation.[171] |
| 105 | Moscow, Cheryomushki, operetta in three acts based on a libretto by Vladimir Mass and Mikhail Chervinsky | Voices, SATB chorus, and orchestra | 1958 | The film version directed by Herbert Rappaport, which included new numbers by Shostakovich, assigned Op. 105a.[172] |
| 106 | Orchestration and completion of Modest Mussorgsky's opera Khovanshchina | Voices, SATB chorus, and orchestra | 1959 | The end of Act II and the opera's epilogue are composed by Shostakovich. The film version directed by Vera Stroyeva assigned Op. 106a.[173] |
| 107 | Cello Concerto No. 1 in E♭ major | Cello and orchestra | 1959 | Dedicated to Mstislav Rostropovich, who also edited the solo cello part.[174] |
| 108 | String Quartet No. 7 in F♯ minor | Two violins, viola, and cello | 1960 | Dedicated to the memory of Nina Shostakovich.[175] |
| 109 | Satires (Pictures of the Past) | Soprano and piano | 1960 | Texts by Sasha Chorny. Dedicated to Galina Vishnevskaya, who also devised the work's subtitle. Orchestration by Tishchenko published as Op. 109a.[176] |
| 110 | String Quartet No. 8 in C minor | Two violins, viola, and cello | 1960 | Dedicated to "the memory of the victims of fascism and war".[177] |
| 111 | Music to the film Five Days, Five Nights | Organ and orchestra | 1960 | Suite by Atoymyan, assigned Op. 111a, includes a quote from the "Ode to Joy" theme from Beethoven's Ninth Symphony.[178] |
| Novorossiysk Chimes (The Flame of Eternal Glory) | Orchestra | 1960 | Commissioned by the city of Novorossiysk to commemorate the "heroes of the Great Patriotic War". Based on Shostakovich's second entry for the 1943 contest to determine the new national anthem of the Soviet Union.[179] | |
| 112 | Symphony No. 12 in D minor "The Year 1917" | Orchestra | 1961 | |
| Unfinished String Quartet | Two violins, viola, and cello | 1961 | Draft of a first movement for one of Shostakovich's first two unsuccessful attempts to compose a String Quartet No. 9. Complete score possibly destroyed by the composer. Completed by Roman Ledenyov.[180] | |
| 113 | Symphony No. 13 in B♭ minor | Bass, bass chorus, and orchestra | 1962 | |
| Orchestration of Mussorgsky's Songs and Dances of Death | Soprano or bass and orchestra | 1962 | Dedicated to Vishnevskaya. Shostakovich transposed the last song, "The Field Marshal", down to B♭ minor in order to accommodate male singers with low registers.[181] | |
| 114 | Katerina Izamailova, opera in four acts based on the novella Lady Macbeth of the Mtsensk District by Leskov | Voices, SATB chorus, brass band, and orchestra | 1956–1963 | Final version of Op. 32, with a revised libretto by Isaak Glikman. Shostakovich extensively altered the musical material and repeatedly expressed his preference for Op. 114 over Op. 32. His suite of five entr'actes from the opera designated Op. 114a.[182] |
| 125 | Reorchestration of Robert Schumann's Cello Concerto in A minor | Cello and orchestra | 1963 | Dedicated to Rostropovich[183] |
| 124 | Two Choruses, arranged from the oratorio The Road to October by Alexander Davidenko | SATB chorus and orchestra | 1963 | Originally were not assigned an opus number.[183] |
| 115 | Overture on Russian and Kirghiz Folk Themes | Orchestra | 1963 | Although the work utilizes real Kirghiz folk melodies, the "Russian" themes are folk-style melodies by Shostakovich.[184] |
| 116 | Music to the film Hamlet | Orchestra | 1963–1964 | The manuscript score is preserved by the Shostakovich family. Suite by Atovmyan assigned Op. 116a.[185] |
| 117 | String Quartet No. 9 in E♭ major | String quartet | 1964 | Dedicated to Irina Shostakovich, the composer's third wife.[186] |
| 118 | String Quartet No. 10 in A♭ major | String quartet | 1964 | Dedicated to Mieczysław Weinberg[186] |
| 119 | The Execution of Stepan Razin | Bass, SATB chorus, and orchestra | 1964 | Text by Yevtushenko[187] |
| Incidental music to Yevgeny Onegin (play by Nikolay Akimov based on the eponymous verse poem by Pushkin) | Orchestra | 1964 | Premiered January 1965. Orchestral parts and piano score held in the archives of the Mariinsky Theatre.[187] | |
| 120 | Music to the film A Year Is Like a Lifetime | Orchestra | 1965 | Suite by Atovmyan assigned Op. 120a.[188] |
| 121 | Five Romances on Texts from the Magazine Krokodil | Bass and piano | 1965 | Orchestration by Tishchenko assigned Op. 121a.[189] |
| 122 | String Quartet No. 11 in F minor | String quartet | 1966 | Dedicated to Vasily Shirinsky[190] |
| 123 | Preface to the Complete Edition of My Works and a Brief Reflection on this Preface | Bass and piano | 1966 | Orchestration by Leonid Desyatnikov assigned Op. 123a.[191] |
| 126 | Cello Concerto No. 2 in G minor | Cello and orchestra | 1966 | Dedicated to Rostropovich. First and third movements quoted in "To Anna Akhmatova" in Op. 143.[192] |
| Suite for Variety Orchestra No. 2 (Introduction, Waltz, Intermezzo, Finale) | Pops orchestra | before 1967 | As with the Suite for Variety Orchestra No. 1, this was probably compiled and arranged by Atovmyan. Utilizes music from Alone, The Adventures of Korzinkina, Love and Hate, Pirogov, and the partially lost Suite for Jazz Orchestra No. 2; some of the source works had been unused in their original projects. First documented performance by the Chicago Symphony Orchestra conducted by Morton Gould in 1967.[193] | |
| 127 | Seven Songs on Poems by Alexander Blok | Soprano, violin, cello, and piano | 1967 | Dedicated to Vishnevskaya.[194] |
| 129 | Violin Concerto No. 2 in C♯ minor | Violin and orchestra | 1967 | Dedicated to Oistrakh, who also edited the solo violin part. A 138-measure fragment of an earlier version of the first movement in F♯ minor is extant.[195] |
| 131 | October | Orchestra | 1967 | One of its themes is based on the song "Where the Waters Ripple" from Volochayev Days.[196] |
| 132 | Music to the film Sofiya Perovskaya | Female choir, children's choir, brass band, and orchestra | 1967 | |
| 128 | "Spring, Spring" | Bass and piano | 1967 | Text by Pushkin; intended to be the first in a four-part song cycle on his verses. Discovered posthumously. Orchestrated by Rozhdestvensky.[197] |
| 130 | Funeral-Triumphal Prelude | Orchestra | 1967 | Dedicated "in memory of the heroes of the Battle of Stalingrad".[198] Intended for use at Mamayev Kurgan.[199] |
| 133 | String Quartet No. 12 in D♭ major | Two violins, viola, and cello | 1968 | |
| 134 | Sonata for Violin and Piano | Violin and piano | 1968 | Dedicated to Oistrakh and composed for his 60th birthday.[200] |
| 135 | Symphony No. 14 | Soprano, bass, string orchestra, and percussion | 1969 | Shostakovich adapted the vocal line of the tenth movement, "The Poet's Death", to fit Rainer Maria Rilke's original verses for publication in East Germany in 1970. Another version with the texts in their original languages was prepared by Jörg Morgener for Dietrich Fischer-Dieskau in 1971 with the composer's approval.[201] |
| Reorchestration of Boris Tishchenko's Cello Concerto No. 1 | Cello and orchestra | 1969 | Tischchenko's 1963 original was for winds, percussion, and harmonium.[202] Shostakovich presented the score to him as a 30th birthday gift on March 23, 1969.[203] | |
| Quiet Flows the Don, based on the eponymous novel by Mikhail Sholokhov | Unknown | 1965–1970? | Despite reports saying otherwise, it is probable that Shostakovich never worked on this opera.[202] | |
| 136 | Loyalty | Male chorus | 1970 | Texts by Dolmatovsky. Dedicated to Gustav Ernesaks.[204] |
| 137 | Music to the film King Lear | SATB chorus and orchestra | 1970 | Includes reworked material from Op. 58a. A capella "People's Lamentation" also used in the String Quartet No. 13.[205] |
| 138 | String Quartet No. 13 in B♭ minor | String quartet | 1970 | Dedicated to Vadim Borisovsky.[206] |
| 139 | "March of the Soviet Militia" | Military band/Wind orchestra | 1970 | |
| 140 | Six Romances on Verses by British Poets | Bass and chamber orchestra | 1971 | Re-orchestration of Op. 62 premiered by Rudolf Barshai's Moscow Chamber Orchestra.[207] |
| Yelabuga Nail | Voice and piano | 1971 | Unpublished setting of poem by Yevgeny Yevtushenko.[208] | |
| 141 | Symphony No. 15 in A major | Orchestra | 1971 | |
| Intervision | Orchestra | 1971 | Commissioned by the Intervision Network for use in its news broadcasts.[209] | |
| Arrangement of Gaetano Braga's "Serenade" | Soprano, mezzo-soprano, violin, and piano | 1972 | Intended for use in Shostakovich's unrealized opera based on Anton Chekhov's "The Black Monk".[210] | |
| 142 | String Quartet No. 14 in F♯ major | String quartet | 1973 | Dedicated to Sergei Shirinsky.[210] |
| 143 | Six Poems by Marina Tsvetayeva | Contralto and piano | 1973 | Orchestration as Op.143a. |
| Music to the film Gogoliad (based on Gogol) | Orchestra | 1973 | Left incomplete upon director Grigori Kozintsev's death in May 1973.[211] | |
| 144 | String Quartet No. 15 in E♭ minor | String quartet | 1974 | |
| String Quartet No. 16 | String quartet | 1974 | Never completed | |
| 145 | Suite on Verses of Michelangelo Buonarroti | Bass and piano | 1974 | Orchestration assigned Op.145a.[212] |
| 146 | Four Verses of Captain Lebyadkin | Bass and piano | 1974 | Based on texts from the novel Demons by Fyodor Dostoyevsky. Orchestration by Tishchenko assigned Op. 146a.[213] |
| Orchestration of Beethoven's "Es war einmal ein König" ("Mephistopheles' Song of the Flea") | Bass and orchestra | 1975 | Text by Johann Wolfgang von Goethe from Faust.[212] | |
| 147 | Sonata for Viola and Piano | Viola and piano | 1975 | Dedicated to Fyodor Druzhinin.[214] |
| Symphony No. 16 | Orchestra | 1975 | According to news reports in the West, Shostakovich had completed two movements. This was followed by an April 1976 report in Soviet Weekly that said "Shostakovich's last work" had been completed by Andrey Petrov and premiered. Neither Petrov's own catalog of compositions nor Maxim Shostakovich's recollections confirms this. The latter told Yevgeny Nesterenko that his father considered Op. 145a his "Sixteenth Symphony".[214] |
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