This essay analyses the Dutch reception of Shostakovich in relation to the international reaction to this composer and his music. It shows that initially Dutch response was overwhelmingly positive, much more than abroad, because Shostakovich was perceived as a composer who successfully steered a middle course between tradition and innovation. After the war, under the influence of a strong ideological stance concerning the desired nature of contemporary music, the composer's reputation took a nosedive, whereas appreciation of his music was on the rise in neighbouring countries. Because of the constant negative reporting about Shostakovich's music, the impact of Testimony in the Netherlands was much more substantial. However, it had little to do with the workings of the Cold War or anti-communism. Instead, Shostakovich was incorporated into a national discourse of anti-authorianism. Simultaneously, Shostakovich was now perceived as quite akin to Mahler, whose reputation in the Netherlands always had been particularly strong.