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In 1937, Stalin was none too happy with Dmitri Shostakovich. Indeed, Shostakovich's next symphony might be a matter of life and death. We're up to 1937 in our cycle of his symphonies in the context of their times, and this week we'll hear the symphony that may have saved his life.

We have a pair of Sixth Symphonies in store this Sunday, and they couldn't be more different.

This Sunday we continue our progress through the symphonies of Dmitri Shostakovich and look at some music from places we don't generally associate with Western classical music as we sample the works of composers from South America, Africa, Asia, and Australia.

We begin a series this Sunday of the fifteen symphonies of Dmitri Shostakovich in the context of the times in which they were written. Our story begins with the Symphony #1, a student piece from his conservatory days and this week's featured work.

We begin in the French High Baroque this week and then continue our look at the Symphonies of Dmitri Shostakovich.

We come to No.7 in our series of the symphonies of Dmitri Shostakovich, written largely while the city was under siege. Shostakovich had been labeled an "Enemy of the People" not long before; now he was a "Hero of the Soviet Union."

Vladimir Ashkenazy is both soloist and conductor in a performance of Beethoven's Emperor Concerto this Sunday. Then we check in on Dmitri Shostakovich as he continues in his symphonic cavalcade of 20th-century world events.

After decades of working under the Soviet thumb, Dmitri Shostakovich finally vented his own frustration and rage in his 13th Symphony, a musical setting of the already suppressed poetry of Yevgeny Yevtushenko.

As we conclude our series of the 15 Shostakovich symphonies this Sunday, we also look in on four of his contemporaries to see how they dealt with the state of music in the Soviet Union.

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