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Having analyzed the score of the final allegro of Symphony No. 10 by D. Shostakovich, the author reveals many thematic elements with which the composer worked. Different genre motifs, rhythmic and accompaniment formulas and conventionally iconic figures were used in the Symphony as autonomous units that form various combinations vertically and horizontally. Through the structural, texture, harmonic “deformations”, the composer generated the effect of the musical texture disintegration, the uncoordinated genre and thematic elements, the mechanical performance of the components. Turning to the “exaggerated official” music language, “tired” intonational “cliches”, the composer consciously simulated an illogical process, which was a way of expressing his position.

“The Problem of the Finale” in Symphony No. 10 by D. Shostakovich Through the Prism of Composer’s Work with Genre Material