The latest 'flyer' from "The Classical Music Group" arrived today. I note that the Warner Shatakovich/Rostropovich symphonies set is being/has been reissues at a very reasonable priced, (around £24 for the complete symphonies).  The catalogue number is 2564 641772.

IGI, I did not see it and I did not know about the film. Is it DVD? I read Volkov's book about Schostakovich. What else could be said about Schostakovich. I feel they have said everything already about him. Or should I buy it if it is DVD.

Do you mean Testimony or Volkov's book on Shostakovich and Stalin? The authenticity of Testimony has been challenged by several scholars, most prominently Laurel Fay and Richard Taruskin. More can be read at the following:

http://www.siue.edu/~aho/musov/deb/begin.html
http://context.themoscowtimes.com/print.php?aid=135412
http://www.wsws.org/articles/2000/apr2000/shos-a07.shtml

It is fascinating discussion. I was too far from musicology for a long time to know about this debate.
I can say that I was surprised by many things when I read Volkov's book, though many things sound like true. I accepted the book. I think Shostakovich did not authorize it. Perhaps they had many conversations and Volkov new Shostakovich well.
Most inteligenzia in the USSR were not dissidents, but hidden dissidents. During Stalin's time people were afraid. I new Brezhnev time when people were not as afraid and they talked to each other more frankly.
I knew people who went through Stalin's time and they were scared for life and very very afraid.
Music of Schostakovich speak to us because many of us have to compromise in life in order to survive and succeed.
I always thought while in Russia that Schostakovich was officially sanctioned composer.
Bach and Mozart and Beethoven had to compromise. Bach wrote very submissive letters (as was done in his days when writing to high standing noble gentlemen). They all maintained their dignity and sometimes lost patience.
Shostakovich showed Soviet official nose (like clown) behind their backs, everybody did it.
Rostropovich was exception in supporting openly Solzhenizyn, but he took calculated risk, because at that time they did not kill people, but threw them out of the county.
Many people did that at a time (especially if they wanted to leave). Shostakovich did not want to leave. He felt very Russian and Western things were strange to him. I know many old style sovieticus people who could not accept West (compromise, commercialism etc, they only understood black and white, right or wrong and no shades).

Please forgive me for the long message with lots of mistakes in it I am sure. I am beginning to think aloud or reminisce.
tp

Yes, t-p - a very clear and moving post. Thankyou.

/////////////////////<<<<<<<<<<<<Yes - Shos. looks a bit like Harry Potter!

No mention of it in RT for today, Mark, (not that means anything much).

 Apologies to anyone waiting for the notes on 4 iii; it may take a little while yet, particularly as I'm becoming very intererested in a particular motivic shape which opens the abandoned sketch for the symphony, and which, even despite its obvious omission from the finished work in its ur-form, nevertheless appears to be having a major influence on the shape of other motives not only in all three movements of this piece but crucially also its immediate symphonic successor...