Prologue
The rise of confrontation and disruption in America's public policy worries many people. Thinking positively, it comes across as a "wake-up call" to the inherent dangers of ignoring the lessons of our shared history.
What message, for instance, does the new "leader of the free world" send in signing hostile orders imposing widespread tariffs which threaten international free trade? And how can that same leader also justify aping Russia's annexation of Ukrainian regions with threats to annex Greenland, Canada - and even Gaza while forcibly expelling its population for the benefit of resort tourism?
It's almost as if the conflicts in eastern Europe and the Middle East weren't challenging and bellicose enough for us all to be getting on with. Have the horrors of twentieth century history been forgotten?
Let's remind ourselves of some of those bad old days when Fascism and Communism tried to suppress and regularly did obliterate daily life. The following example centres of the musical response of a creative Russian genius - who managed to survive all manner of opprobrium and censure from Russian purges, Nazi invaders, and some in the western media.
Career overview
Looking back 100 or so years, for example, Dimitri Shostakovich has been described as one of the era’s great musical composers. Who could argue with that proposition given the quality and quantity of his output, never mind Russia’s political and military context?
As if to emphasise the point, BBC music magazine is fulsome, recently (1) declaring him as “a towering figure in the story of 20th-century classical music”... “one of the most significant Russian composers of the Soviet era.”
Born in St Petersburg in September 1906 and having begun composing music with a scherzo in F minor in 1919, ending with a violin sonata before his passing in August 1975, Shostakovich produced a prolific body of work covering more than half the years of twentieth century. His compositions included 15 symphonies, 15 string quartets, 2 cello concertos, 2 violin concertos, operas, songs and song cycles, as well as scores for 33 films, 14 plays, and 9 operas and ballets (2).
This record of achievement is all the more remarkable, especially considering the censorious (and life-threatening) glare of an authoritarian régime.
Overview of Soviet attitudes to his compositions
After graduating from St Petersburg Conservatory as a pianist and composer, his First Symphony won the teenager immediate favour. His subsequent career, however, varied with the political climate. For example, initial plaudits for his second opera Lady Macbeth of Mtsensk (1932) were followed by outright condemnation from Joseph Stalin, Russia’s ideological leader (as in iron fist and "purges") for 29 years from 1924.
The Fifth Symphony (1937) was Shostakovich’s response, subtitled by him as a ‘Soviet artist’s reply to just criticism,’ and brought partial rehabilitation. In contrast, the Seventh Symphony (Leningrad) performed during World War 2’s German siege of the city offered a propaganda coup to Russia.
His Ninth Symphony (1945), however, was condemned as “wholly frivolous, an underwhelming reaction to Russia’s role in defeating Naziism at the end of the War (3).” Post-war saw Stalinist purges (4) targeted music composers from 1948. Shostakovich is said to have “retreated” to film music and to composing “bottom drawer” (hidden from the Communist authorities) works. Following Stalin’s death in 1953, the 47 year old Shostakovich is said to have enjoyed relative freedom (5). The latter comment, however, ignores his being compelled to join the Communist Party in 1960.
The BBC magazine article summarises his struggles with political oppression as they “made his life story one of the most fascinating and turbulent in the annals of classical music.”
Novelists’ perspectives
Apart from the eloquence of his music, the most realistic re-imagining of the controlling atmosphere within which Shostakovich had to work is expressed by award-winning novelists. One art form, literature, inspired by another, music. There can be no other composer whose factual circumstances have been well researched to create the historic background realistically. Two experienced authors eloquently describe the era's confines, by-the-by providing further evidence of Shostakovich’s 20th century status.
Sarah Quigley’s “The Conductor” focuses on the Nazi siege of Leningrad. The composer’s publicly-lauded opera Lady Macbeth (6) had been condemned in Pravda as “muddle instead of music” and as a “pornographic insult to the Soviet people.” The composer was ominously warned that unless he changed his ways “things could end very badly” for him.
In 1941, Shostakovich began work on his Seventh Symphony. This was just after the start of the Nazi siege of his home city. Using language reminiscent of the Middle East today, Hitler declared that “St Petersburg must be erased from the face of the earth.”
Shostakovich is a central character in Quigley’s novel, remaining in the city to begin the Symphony. He finalised three of its five movements before his evacuation to Moscow. “Too important to the Russians to remain unsilenced and too well-known in the west to be killed.” The author places the reader as an eye witness to the graphically portrayed bleakest of Russian winters, with citizens (including orchestral musicians) facing death from shelling and starvation. The siege lasted 900 days and 1.5 million people died.
What an epochal context for musical composition. On 9 August 1942, “the day after Russia shelled the Germans into silence, the city heard the symphony for the first time – and wept (7),” to quote the novel’s mindful words. Its reviewer succinctly opines that the novel “conveys the extraordinary life-saving properties of music and hope.”
The BBC magazine article reminds us that the composer himself described this work as “a requiem for the city that Stalin destroyed and that Hitler merely finished (8).”
Musically and artistically, the Leningrad Symphony stands proud. Lasting almost 80 minutes it is Shostakovich’s longest. The music’s cadence and power conveys his exasperation at his citizens’ plight. We sense his anguish and pain. The allegretto invasion march (repeated 12 times) controversially references Lehar’s operetta “The Merry Widow” which, we learned in class, was a favourite piece of Hitler. And the composer underscored its proud standing by asking for an orchestra of eight horns, six trombones, two harps, a piano, three side drums and a full percussion set.
The UK Booker-prize winner Julian Barnes has likewise, but from different angles, captured the stifling reality which Shostakovich had to endure in Stalinist Russia. In his book “The Noise of Time” the reader visits the composer during three key moments (9).
One is of him waiting to be taken away after Pravda denounced his Lady Macbeth because “it tickled the perverted taste of the bourgeois with its fidgety neurotic music;” the next moment is after his successful Seventh Symphony (which restored his reputation with Stalin), as Shostakovich denounces his own and Stravinsky’s work when on a propaganda tour of the USA; and the third one sees a wiser post-Stailin Shostakovich embittered again after been forced by Nikita Khruschev to join the Communist Party and become chair of the Russian Federation Union of Composers.
The review praises Barnes’s novel as “a condensed masterpiece that traces the lifelong battle of one man’s art with the insupportable exigencies of totalitarianism.”
The composer's music in live performances
It is one thing to appreciate music, the era and composers by listening to recordings at home or on radio. A standout experience was a performance of Shostakovich’s work live here in Northern Ireland. The maestro Valerii Gergiev brought and conducted Mariinsky Orchestra in a bravura performance of the composer’s Eleventh Symphony in the Ulster Hall in October 2017. To witness it played here by the Saint Petersburg ensemble on the Revolution’s centenary was a privilege, a huge cultural compliment to our city.
Shostakovich composed the symphony in 1957. This was four years after Stalin’s death. To quote the programme notes’ first sentence, it was written “to mark the fortieth anniversary of the October Revolution (10).” It commemorates the events that led up to the first Russian Revolution, particularly the 1905 Bloody Sunday.
Two pages of historic photographs with details of 1905’s and 1917’s events were included in the Belfast programme, providing visual and verbal insights to the period, the music, and the composer. The narrative interweaves the music with Russian history.
The programme notes explained that whereas the régime “praised it as a fine example of Socialist Realism and awarded the composer a Lenin Prize, many Western critics damned it as glorified film music.” It adds that “in the years since, this symphony has come to be considered not as an official work written to satisfy the Soviet authorities but a deeply moving reflection on Russian history.” D’accord.
Consider his popular Chamber Symphony for Strings in E Minor, opus 110A. I heard it recently performed live by the 12-piece United Strings of Europe broadcast on BBC radio (11). One thinks of the aphorism “if you can’t beat them, join them” as Shostakovich had joined the Communist Party in 1960. Critics, according to the broadcaster, regarded the work as his response to joining the Party involuntarily; whereas he himself regarded the work as his own epitaph “as no one else would write one.”
Radio 3 adds that it contains personal references including to other works such as the Lady Macbeth opera. Another musicologist convincingly says that “the memory of Stalin’s terror… is poured into this penetrating autobiographical work. The DSCH leitmotif (the composer’s personal musical signature) permeates as Shostakovich cites themes from the first, fifth, seventh, eighth, and tenth Symphonies (12).”
The composer’s heartbreaking words attached to the score are “In memory of the victims of fascism and war.”
Epilogue
The devastating effects on Russia itself of Stalin's post-war purges merit emphasis.
Whereas his régime admitted that seven million had died in "the Great Patriotic War" with the Nazis between 1941-45, the fact is that régime's purges included "attacking its own citizens, executing, incarcerating and exiling those it viewed as hostile (13)."
Following his death in 1953, Stalin's successor Nikita Kruschev revealed a much higher death figure of twenty million. And the subsequent opening of State archives by Soviet leader Mikhail Gorbachev enabled historians to declare revised total figures of 26.6 million deaths, comprising of twelve million military and 14.6 million civilians. Slaughter is understatement.
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Considering Shostakovich's “lifelong battle with totalitarianism (14),” this observer considers his versatility and unquenchable zest for musical expression in the face of creativity being denied to be his most impressive compositional characteristics. Miraculous doesn't sound outrageous.
For example, the listener is captivated, on the one hand, by the sheer orchestral power of the 7th Symphony whose “enormous first movement” includes the striking militaristic 356 bar “invasion theme (15),” repeated in the fifth movement with energetic percussive power to reach an emotionally rousing conclusion.
On the other hand, the contrast with his piano concerto number 2 is striking. Composed in 1957 for his then 19 year old son and pianist Maxim, this work is described as an “irresistible charmer replete with delightfully sardonic five-finger exercises and a magical distillation of Rachmaninov for its slow movement (16).” High and worthy praise.
Shostakovich’s biographer Dmitri Rabinovich is quoted as saying that the second concerto showed that it was as though “the composer's youth had returned to him.” A living testimonial to one of the 20th century’s and Russia's great composers and survivors.
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Back to the now, as in this final week of March 2025 the Norwegian pianist Leif Ove Andsnes began a concert tour of the USA, reservations apparent in his thoughts. He expressed concern "that the current US leadership is apparently turning its back on longtime friends in Europe and around the world." He adds, and I end with his quotation -
"Music cannot solve global problems, but it can inspire some of the emotions we so badly need right now; compassion, empathy, generosity, understanding, and an appreciation of diversity."
Related articles:-
1. https://michaelmcsorleycurrent.blogspot.com/2024/11/leader-of-free-world.html (Nov 5 2024 election mandate etc)
2. https://michaelmcsorleyeconomy.blogspot.com/2025/01/contrasting-fortunes.html (re Climate, Greenland & tariffs)
© Michael McSorley 2025
References:-
1. Erik Levi & Steve Wright BBC Music Magazine 25 Sept 2024 Shostakovich: Russia’s voice of the oppressed who walked a tightrope between artistic sincerity and political survival
2 Alec Macdonald QUB School of Open Learning Shostakovich course handouts(Jan 2025)
3. Ibid Erik Levi & Steve Wright BBC Music Magazine 25 Sept 2024
4. https://www.france24.com/en/20200622-stalin-purges-added-to-vast-human-cost-of-wwii
5. David Ashman sleeve notes Shostakovich Symphony no.1 and Piano Concertos 1&2 2003 www.emi-encore.com
6. Described by tutor AMacdonald in class 4 as “one of the 20th century’s most important operas”
7. The Observer NewReview 15 July 2012 The Symphony that silenced the Nazis, Bella Bathurst
8. Ibid Erik Levi & Steve Wright BBC Music Magazine 25 Sept 2024
9. The Observer NewReview 17 January 2016 Review by Alex Preston of “The Noise of Time” 2015, Julian Barnes
10. Andrew Huth Belfast International ArtsFestival concert programme notes 11 Oct 2017 https://belfastinternationalartsfestival.com/event/mariinsky-orchestra/
11. BBC Radio 3 Classical Live 17 Feb 2025 Wigmore Hall United Strings of Europe
12. https://sofiaphilharmonic.com/en/works/dmitri-shostakovich-chamber-symphony-for-strings-in-c-minor-op-110a/
13. Ibid https://www.france24.com/en/20200622-stalin-purges-added-to-vast-human-cost-of-wwii
14. The Observer NewReview 17 January 2016 Alex Preston review “The Noise of Time” Julian Barnes
15. Sleevenotes Mariinsky Orchestra 2012 recording Shostakovich Symphony no.7, Valery Gergiev
16. Sleevenotes London Philharmonic Orchestra recording Shostakovich Piano Concerto no. 2, 2003. Pianist Mikhail Rudy, Conductor Mariss Jansons