Even if you don't like the System

'This appointment [at the composers' union, given by Stalin], coinciding with Stalin's campaign against “formalism” and “rootless cosmopolitans” proved as much a curse as a reward. Mr Khrennikov was only 35; his career was young. “I want to write music. What am I to do?” he asked Alexander Fadeev, the head of the writers' union, as both men waited for their special food parcels. "Connive,” replied Fadeev.

Mr Khrennikov did so. ... For all his rhetoric, he attended Prokofiev's funeral in 1953 and helped his first wife when she came out of prison. Though he publicly disliked the avant-garde music of Alfred Schnittke, he was among the first to help Schnittke when he suffered a stroke in 1985. And he was instrumental in inviting Igor Stravinsky to Russia in 1962.

He was part of a ruthless system; but he did not deliver up Jewish composers to Stalin's goons, and did not write negative references when the party demanded them. (Instead, he would say that the composer had been warned of the dangers of modernism, as if the lesson was already safely learned.) None of the composers he had charge of was killed; very few were arrested. Many, however, reported on him—for being influenced by his Jewish wife, Klara Vaks, and for sheltering Jews. But Stalin's approval gave him a certain freedom. Instead of writing hymns to his boss, like many of his peers, he made songs about the soft light in Moscow windows.

Having made himself comfortable within the regime, he extended these comforts to others. The Soviet Union looked after its artists well. Mr Khrennikov had a huge budget which was spent on building special apartments and dacha compounds for composers. The world he created behind the gates of the Ruza compound by the Moscow river, where among small lanes and woods “his” composers could find a strange, beguiling privacy, was much more tolerant than the country. The Western press called him a lackey and dictator when he died, but Russians, who knew him, did not.'

From the obituary of Soviet composer Tikhon Khrennikov in The Economist, August 30, 2007. The full text is available online (not entirely legally) in a forum here.