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Dmitry Shostakovich, like his home country of Russia, was a riddle, wrapped in a mystery, inside an enigma. From the very beginning of his career, he pushed the boundaries, but under Stalin’s stifling regime, experimental artists were enemies of the state, and Shostakovich was at the top of the wanted list. The composer was forced to censor his work and betray his own morals to survive - or was he?

Some say Shostakovich was Stalin’s faithful lackey; others read dissident messages in his music. This week, Donald Macleod traces five turning points in the composer's career, from his explosive debut to his dramatic exile, as he attempts to decode the mystery that surrounds Shostakovich.

In today’s programme, we hear how Stalin offered Shostakovich an opportunity to rescue his reputation… at great personal cost.

Symphony No. 5 in D Minor, Op 47: II. Allegretto
London Symphony Orchestra, conducted by Gianandrea Noseda

Symphony No. 5 in D Minor, Op 47: IV. Allegro non troppo
Russian National Symphony Orchestra, conducted by Mstislav Rostropovich

Violin Concerto No. 1 In A Minor, Op. 99: I. Nocturne. Moderato
Royal Philharmonic Orchestra, conducted by Vladimir Ashkenazy
Boris Belkin, violin

From Jewish Folk Poetry, Op.79: III. Lullaby, IV. Before A Long Separation, V. A Warning, IX. A Good Life
Concertgebouw Orchestra, conducted by Bernard Haitink
Ortrun Wenkel, Contralto
Elisabeth Söderström, Soprano
Ryszard Karczykowski, Tenor

Song of the Forests
Royal Philharmonic Orchestra and Brighton Festival Chorus, Vladimir Ashkenazy

Produced by Alice McKee in Cardiff.