612 Photographs of Dresden in the first years after the bombing—Christian Borchert, zeitreise: Dresden 1954-1995 (Dresden?: Verlag der Kunst, 1996). The window display at “Honetta Damenmoden” was actually photographed in 1956, not 1960, the year of Lina’s visit; it probably looked slightly less sparse by then.
613 Photographs of destroyed Dresden, including corpses—Richard Peter, Dresden: Eine Kamera klagt an (Halle/Saale: Fliegenkopf Verlag, n.d., ca. 2000).
613 Lesbian venues and typologies in Weimar Berlin—Mel Gordon, Voluptuous Panic: The Erotic World of Weimar Berlin (Los Angeles: Feral House, 2000).
616 The Russians “separated themselves; they had their own place”—In the interview cited earlier (for “The Red Guillotine”), Juliane Reitzig said the following about the Soviet troops: “I think people were afraid of the Russian soldiers, but at the same time you had to like them. They separated themselves; they were in this airbase; they had their own place. Rarely saw them on the street; there were guards in the separate areas.”
616 Information on continuing widespread rape of German women by Russian soldiers in Dresden and other parts of East Germany—Fritz Löwenthal, News from Soviet Germany, trans. Edward Fitzgerald (London: Victor Gollancz Ltd., 1950). Bruce (p. 47) tells a nasty story of Red Army men with syphilis who, released from a hospital for a night out, raped East German women in Brandenburg. One reason that so many SED members resisted Russian domination was these rapes. The tale of Vice-Landrat Beda also comes from this source.
620 Epigraph: “Was their ill fate sealed when in they looked.”—Poetic Edda, p. 164 (“Volundarkvitha,” stanza 21).
622 Epigraph on the “‘sweet biscuits’ of culture”—The Soviet Way of Life, p. 409 (ch. 9: “The Society of Great Culture”).
622 Shostakovich’s cornucopia of food—G. Glikman (1945), in Schmalenberg, p. 182 (trans. by WTV).
623 Sovetskaya Musika: “It is impossible to forget that Shostakovich’s work…”—Walter Z. Laquer and Geroge Lichtheim, The Soviet Cultural Scene 1956-1957 (New York: Atlantic Books / Frederick A. Praeger, 1958), pp. 13-14, citing Sovetskaya Musika, 1956, no. 3, p. 9.
624 Akhmatova: “As if every flower burst into words”—Akhmatova (Hemschemeyer), p. 276 (“Music,” Zh. 452), “retranslated” by WTV.
624 V. Berlinsky on Shostakovich: “a lump of nerves”—Wilson, p. 244.
624 Eighth Symphony as “repulsive, ultra-individualist”—MacDonald, p. 191. The denouncer was Viktor Belyi, and the setting was, of course, the infamous Union of Soviet Composers’ congress in January 1948.
625 A nineteeth-century French traveler: “The Russians are not ghosts…”—Dumas, p. 55.
626 Zhdanov: “Leninism proceeds from the fact that our literature cannot be politically indifferent…”—Robert V. Daniels, ed., A Documentary History of Communism in Russia from Lenin to Gorbachev (Hanover, New Hampshire: University Press of New England, University of Vermont, 1993), pp. 236-37 (Report to the Leningrad Branch of the Soviet Union of Writers and the Leningrad City Committee of the Communist Party, 21 August 1946).
627 Mikhail Nikiforovich: “Begging your pardon, my dear Svetlana Alliluyeva”—Biagi, p. 23. (“Begging your pardon, my dear Svetlana Alliluyeva” was my Shostakovian addition.)
628 Comrade Alexandrov’s assessment: “A young, pretty blond woman with gentle brown eyes and a good figure”—Actually, G. Glikman (1945), in Schmalenberg, p. 182 (trans. by WTV). The Shostakoviches had at this time been married for over a decade.
630 Comrade Luria: “As stillborn as a law without the seal of Heaven on it…”—This and other aspects of the Jewish creed based on the texts and commentaries in Jacob Neusner, Introduction to Rabbinic Literature (New York: Doubleday, 1994).
631 Comrade Alexandrov’s note: “Only eight percent of Leningrad’s housing was destroyed” —Figure from Werth, Leningrad, p. 43.
632 Shostakovich to Schwartz: “What I’ve heard is better than anything by Shostakovich!” —Loosely after G. Glikman, in Schmalenberg, p. 199 (trans. by WTV).
634 Description of Shostakovich in 1948—After the illustration in Gojowy, p. 81 (“Im Zebtrum des Kulturkampfes 1948…”).
635 The poster of Shostakovich in the copper helmet; Gavriil’s reaction to it and his sculpture —G. Glikman, Ibid., pp. 179-80.
637 Shostakovich: “Certain negative characteristics in my musical style prevented me from reconstructing myself”—New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Washington, D.C.: Macmillan Publishing Ltd., 1980), vol. 17, p. 265 (entry on Shostakovich, slightly reworded).
637 Description of Galya Shostakovich as a girl—After the illustration in Gojowy, p. 29 (“Dimitri Schostakowitsch mit seiner Tochter Galina”).
638 Akhmatova’s denunciation in Leningradskaya Pravda—Reeder, p. 296.
640 “Comrade Hitler”: “Conscience is a Jewish creation”—The Auschwitz-Birkenau State Museum in Oswiecim, p. 145 (Francizek Piper, “Living Conditions as Methods of Extermination,” quotation from H. Rauschning’s Gespräche mit Hitler).
640 Khrennikov on Shostakovich: “Alien to the Soviet people”—MacDonald, p. 192.
640 Footnote: Great Soviet Encyclopedia remarks on the Allied Control Council—Vol. 13, p. 7, entry for same (slightly modified for context).
641 Shostakovich’s doublespeak to the activists: “I appreciate your valuable critical observations… I’m sure those sanctions will, mmm, to speak, inspire me to… future creative work and provide, er, insights… Rather than take a step backward I shall take a step, so to speak, forward”—Glikman, p. 27 (letter of 8 December 1943, meant sarcastically in original, further Shostakovich-ized by WTV).
645 Shostakovich to Ustvolskaya: “Illusions don’t die all at once—”—Loosely after Shostakovich and Volkov, p. 85.
645 Completion date of Ustvolskaya’s Sonata No. 2—February is my interpolation. I know only that it bears the date 1949.
645 Comrade Stalin: “We’ll take care of that problem, Comrade Shostakovich”—Shostakovich and Volkov, p. 148.
647 Marina Tsevtaeva (“in anger and in love”): “I refuse to be”—Op. cit., p. 122 (from “Poems to Czechoslovakia”).
648 Shostakovich: “I do not like too friendly or too antagonistic relationships between people.”—After Khentova (Mineyev); original p. 152, Mineyev, p. 18.
650 Shostakovich to Glikman: “Everything is so fine, so perfectly excellent, that I can find almost nothing to write about”—Glikman, p. 39 (letter of 2 February 1950; this would actually have been written five months before Shostakovich had gone to East Germany, but it’s a typical Shostakovich-ism. Glikman notes that whenever his friend wrote such things, he generally meant or at least felt the opposite).
651 Devotee of white keys and black keys: “This typical Russian girl, with her two braids…”—Dmitry Paperno, Notes of a Moscow Pianist (Portland, Oregon: Amadeus Press, 1998), p. 199.
654 S. Skrebov: “I absolutely reject such music…”—Wilson, p. 251 (testimony of Lyubov’ Rudneva, slightly altered).