Shostakovich’s direct quotation from the Odessan street song “Bagels, Buy My Bagels!” (Bubliki, kupite bubliki!) in his Second Cello Concerto Op. 126 (1966) featured an unusual style, even in relation to some of his other compositions referencing popular and Jewish music. The song is widely known as one of the icons of the Odessa underworld. Shostakovich’s use of this melody as one of the main leit-themes of the Concerto can be compared to the use by the non-Jewish Andrei Sinyavsky of the Jewish pseudonym Abram Tertz, a bandit from the Odessa underworld—the only locus of freedom to tell the truth in a totalitarian society. The time of Shostakovich’s address to this song remarkably coincided with the famous Soviet trial of Andrei Sinyavsky and Yuly Daniel in the fall of 1965 and their final sentencing (February 1966) to years in a Gulag camp. The dramaturgy of Shostakovich’s Concerto, written in the same spring of 1966, demonstrates the transformation of the theme of “Bagels” into a tragic image. The totality of circumstantial evidence suggests that this opus could be the composer’s hidden tribute to the feats of Russian heroic writers.

中文翻译：

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肖斯塔科维奇的第二大提琴协奏曲是隐藏的致敬吗？

肖斯塔科维奇直接引用敖德桑街头歌曲“百吉饼，买我的百吉饼！” （Bubliki，kupite bubliki！）在他的第二大提琴协奏曲作品中。 126 (1966) 具有不同寻常的风格，即使与他其他一些参考流行音乐和犹太音乐的作品相比也是如此。这首歌被广泛认为是敖德萨黑社会的标志之一。肖斯塔科维奇将这首旋律用作协奏曲的主要主题之一，可以与非犹太人安德烈·西尼亚夫斯基使用犹太化名艾布拉姆·特尔茨进行比较，后者是来自敖德萨黑社会的强盗——唯一可以讲述的自由之地极权社会的真相。肖斯塔科维奇对这首歌发表讲话的时间与 1965 年秋天对安德烈·西尼亚夫斯基和尤利·丹尼尔的著名苏联审判以及对他们的最终判决（1966 年 2 月）在古拉格集中营的最终判决（1966 年 2 月）重合。肖斯塔科维奇写于1966年春天的协奏曲的戏剧结构展示了“百吉饼”主题向悲剧形象的转变。全部间接证据表明，这部作品可能是作曲家对俄罗斯英雄作家功绩的隐秘致敬。