In 1980, the CIA funded a covert operation to re-appropriate the works of Shostakovich as "anti-Soviet" by fabricating a series of fake memoirs called "Testament." Nicolas Nabokov was a Russian-born composer and writer who developed the music program of the CCF as the Secretary-General. Before gaining this position, he composed several notable musical works, the first of which was the ballet-oratorio Ode, produced by Serge Diaghilev's Ballet Russe de Monte Carlo, in 1928. This composition was shortly followed by Nabokov's "Lyrical Symphony" in 1931. Nabokov moved to the U.S. in 1933 to serve as a lecturer in music for the Barnes Foundation. A year after moving to the U.S. Nabokov composed another ballet, which was entitled "Union Pacific". Nabokov's career then leads him to teach music at Wells College in New York from 1936 to 1941, and later at St. John's College in Maryland. During this time, Nabokov officially became a U.S citizen, in 1939. In 1945, Nabokov moved to Germany to work for the U.S. Strategic Bombing Survey as a civilian cultural adviser. He returned to the U.S. just two years later to teach at the Peabody Conservatory before becoming the Secretary-General of the newly created CCF in 1951. Nabokov remained in this position for over fifteen years, spearheading popular music and cultural festivals during his tenure. During this time he also wrote music for the opera "Rasputin's End" in 1958 and was commissioned by the New York City Ballet to compose music for "Don Quixote" in 1966. When the CCF disbanded in 1967, Nabokov returned to a career in teaching at several universities throughout the U.S., and composed music for the opera "Love's Labour's Lost" in 1973. This 30-day arts festival, held in Paris, was sponsored by the CCF in 1952 in order  to alter the image of the U.S. as having a bleak and empty cultural scene. The CCF under Nabokov believed that American modernist culture could serve as an  ideological resistance to the Soviet Union. As a result, the CCF commissioned nine  different orchestras to perform concertos, operas, and ballets by over 70  composers who had been labeled by communist commissars as “degenerate” and “sterile.”