The Seventh Leningrad Symphony is one of the greatest scores of the 20th century. The history of its creation and first performances, the strength and scale of the influence of this music on contemporaries are truly unique. The very name of Shostakovich for a wide audience turned out to be forever soldered to the "famous Leningrad woman", - this is how Anna Akhmatova called the symphony.
The composer spent the first months of the war in Leningrad. Here on July 19 he began to work on the Seventh Symphony. “I never composed as fast as I do now,” Shostakovich admitted. Before the evacuation in October, the first three parts of the symphony were written (during the work on the second part, the blockade closed around Leningrad). The finale was completed in December in Kuibyshev, where on March 5, 1942, the Bolshoi Theater Orchestra conducted by Samuil Samosud performed the Seventh Symphony for the first time. Four months later, in Novosibirsk, it was performed by the Honored Collective of the Republic under the direction of Evgeny Mravinsky. The symphony began to be performed abroad - in June the premiere took place in the UK, in July - in the USA. But back in February 1942, the newspaper Izvestia published the words of Shostakovich: “My dream is that the Seventh Symphony in the near future be performed in Leningrad, in my native city, which inspired me to create it.” The blockade premiere of the symphony is akin to events about which legends were composed in the old days, passed down from generation to generation.
The main "protagonist" of the concert was the Grand Symphony Orchestra of the Leningrad Radio Committee - that was the name of the current Academic Symphony Orchestra of the St. Petersburg Philharmonic during the war years. It was he who had the honor of being the first to play Shostakovich's Seventh Symphony in Leningrad. However, there was no alternative - after the beginning of the blockade, this group turned out to be the only symphony orchestra that remained in the city. For the performance of the symphony, an expanded composition was required - front-line musicians were seconded to the team. They were able to deliver only the score of the symphony to Leningrad - they painted the parts on the spot. Posters appeared in the city.
On August 9, 1942, the day previously announced by the German command as the date of entry into Leningrad, the Leningrad premiere of the Leningrad Symphony took place under the baton of Karl Eliasberg in the Great Philharmonic Hall. The concert took place, according to the conductor, "with a completely overcrowded hall" (safety was provided by the fire of Soviet artillery), and was broadcast on the radio. “Before the concert… floodlights were installed upstairs to warm the stage, so that the air was warmer. When we went to our consoles, the searchlights went out. As soon as Karl Ilyich appeared, deafening applause rang out, the whole hall stood up to greet him ... And when we played, they gave us a standing ovation too ... Suddenly a girl appeared from somewhere with a bouquet of fresh flowers. It was so amazing!.. Behind the scenes, everyone rushed to hug each other, kiss. It was a great holiday. Still, we did a miracle. This is how our life began to go on. We are resurrected,” recalled Ksenia Matus, a participant in the premiere. In August 1942, the orchestra performed the symphony 6 times, four times in the Great Hall of the Philharmonic.
“This day lives in my memory, and I will forever preserve a feeling of deepest gratitude to you, admiration for your devotion to art, your artistic and civil feat,” Shostakovich wrote to the orchestra on the 30th anniversary of the blockade performance of the Seventh Symphony. In 1942, in a telegram to Karl Eliasberg, the composer was more concise, but no less eloquent: “Dear friend. Thank you very much. Please convey my heartfelt gratitude to all the musicians of the orchestra. I wish you health, happiness. Hello. Shostakovich.
“An unprecedented thing happened, which does not appear either in the history of wars or in the history of art - a “duet” of a symphony orchestra and an artillery symphony. Formidable counter-battery guns covered up a no less formidable weapon - the music of Shostakovich. Not a single shell fell on the Arts Square, but on the enemy's heads from radio receivers, loudspeakers, an avalanche of sounds fell in a stunning all-conquering stream, proving that the spirit is primary. These were the first volleys at the Reichstag!”
E. Lind, creator of the Museum of the Seventh Symphony,
about the day of the blockade premiere
There are examples in the history of music that make one wonder who a musician, composer is after all: a person who by nature has certain psychological characteristics - or a prophet?
In the late 1930s decided to repeat the experience carried out in the famous "" - to write variations on the ostinato melody. The melody was simple, primitive even, in the rhythm of a march, but with a touch of "dancing". It seemed harmless, but the timbre-textural variations gradually turned the theme into a real monster... Apparently, the author perceived it as a kind of composer's "experiment" - he did not publish it, did not care about performance, did not show it to anyone except colleagues and students. So these variations would have remained a “prototype”, but very little time passed - and not a musical, but a real monster revealed itself to the world.
During the Great Patriotic War, Dmitry Dmitrievich lived one life with his fellow citizens - under the slogan “Everything for the front! Everything for the Victory! Digging trenches, on duty during the air raid - he participated in all this on an equal basis with other Leningraders. He devotes his talent as a composer to the cause of the fight against fascism - the front-line concert teams received many of his arrangements. At the same time he is contemplating a new symphony. In the summer of 1941, its first part was completed, and in the fall, after the beginning of the blockade, the second. And although he completed it already in Kuibyshev - in evacuation - the name "Leningradskaya" was assigned to Symphony No. 7, because its idea matured in besieged Leningrad.
The wide, "infinitely" unfolding melody of the main part opens the symphony, epic power is heard in its unisons. The image of a happy peaceful life is complemented by a cantilena side part - the rhythm of calm swaying in the accompaniment makes it related to a lullaby. This theme dissolves into the high register of the solo violin, giving way to an episode that is usually referred to as "the theme of the fascist invasion." These are the same timbre-texture variations created before the war. Although at first the theme, played alternately by woodwinds against the backdrop of drum roll, does not seem particularly scary, its hostility to the themes of the exposition is obvious from the very beginning: the main and side parts are of a song nature - and this marching theme is completely devoid of such. The squareness, which is not characteristic of the main part, is emphasized here, the themes of the exposition are extended melodies - and this one breaks down into short motifs. In its development, it reaches colossal power - it seems that nothing can stop this soulless war machine - but suddenly the key changes, and the brass has a decisive descending theme (“theme of resistance”), which enters into a fierce struggle with the theme of invasion. And although there was no elaboration with the participation of the themes of the exposition (it is replaced by the “invasion” episode), in the reprise they appear in a transformed form: the main part turns into a desperate appeal, the side part - into a mournful monologue, returning only briefly in its original appearance, but at the end part again there is a drum roll and echoes of the theme of the invasion.
The second movement, a scherzo at a moderate tempo, sounds unexpectedly soft after the horrors of the first movement: chamber orchestration, the elegance of the first theme, the length, songliness of the second, conducted by the solo oboe. Only in the middle section do images of the war remind of themselves with a terrible, grotesque theme in the rhythm of a waltz, turning into a march.
The third movement - an adagio with its pathetic, majestic and at the same time heartfelt themes - is perceived as a hymn to the native city, to which the Leningrad Symphony is dedicated. The intonation of the requiem is heard in the choral introduction. The middle section is distinguished by drama and intensity of feelings.
The third part flows into the fourth without interruption. Against the background of tremolo timpani, intonations gather, from which an energetic, impetuous main part of the finale arises. The theme sounds like a tragic requiem in the rhythm of the sarabande, but the tone for the finale is set by the main part - its development leads to a coda, where the brass solemnly proclaim the main part of the first movement.
Symphony No. 7 was first performed in March 1942 by the orchestra of the Bolshoi Theater, which was then evacuated in Kuibyshev, conducted. But the Leningrad premiere, which took place in August, became a true example of heroism. The score was delivered to the city on a military plane along with medicines, the registration of the surviving musicians was announced on the radio, the conductor was looking for performers in hospitals. Some musicians who were in the army were detached by military units. And these people gathered for a rehearsal - exhausted, with arms roughened from weapons, the flutist had to be brought on a sleigh - his legs were taken away ... The first rehearsal lasted only a quarter of an hour - the performers were not able to endure more. Not all of the orchestra members lived to see the concert, which took place two months later - some died of exhaustion ... It seemed unthinkable to perform a complex symphonic work under such conditions - but the musicians, led by the conductor, did the impossible: the concert took place.
Even before the Leningrad premiere - in July - the symphony was performed in New York under the baton. The words of an American critic who was present at this concert are widely known: “What the devil can defeat a people capable of creating music like this!”.
Music Seasons
Shostakovich's Seventh Symphony
Do you know what this symphony is?
The year of its creation is 1941. The place where it was written is the city of Leningrad.
Yes, such "personal data" speaks for itself, because it's not just the name of the city.
Forty-first in Leningrad is a blockade. This is cold and darkness, this is shelling and bombing, this is a tiny piece of bread that fits in the palm of your hand for the whole day. These are the icy embankments of the Neva and ice-holes, to which endless queues of exhausted, hungry people stretch for water.
But the forty-first in Leningrad is not only horror and death. This is the invincible will of the Soviet people, faith in victory, this is work, hard, hard work in the name of victory.
The Soviet composer Dmitry Dmitrievich Shostakovich is on duty during the raids on the roof of the house, and in his free time from duty he sits in his unheated office, as tired and hungry as all Leningraders, and writes, writes, writes ... He composes a new symphony .
"Our fight against fascism,
our coming victory over the enemy,
to my hometown - Leningrad
I dedicate my Seventh Symphony"
(Dmitry Shostakovich)
And the violins sang again. They are accompanied by violas and cellos. The beautiful melody of the side part flows widely. The sound of the orchestra becomes light and transparent.
This is also an image of the Motherland, this is a song about its beautiful nature, about the wide expanses of our country, a song about peaceful labor and the happy life of Soviet people.
Hear! Here it is, the fraction of a small drum, barely audible, clearly measured fraction. “Tra-ta-ta-ta, tra-ta-ta-ta,” the drum quietly taps, and the heart grows cold from this impassive, measured scattering.
Stubbornly and stupidly repeats steel rhythm. Briefly, abruptly, as if trembling, individual sharp notes of the strings fall into this eerie silence. And the quiet, whistling and corrosive voice of the flute begins a simple dancing melody. From her empty, some kind of mechanical, primitive carelessness, it becomes even more terrible. Everything human, everything living is alien to this music...
The vile song ended and started again. Now it is being whistled by two voices, two flutes. One of them is the same small flute that just sang a gentle duet with the violin. But now her voice is even angrier and more corrosive than the voice of a great flute.
And the beat of the drum is getting louder and louder.
In different registers, with different instruments, the song-march is repeated, each time louder ... louder ... louder ... And the fractional drum beat is still inexorably cruel, and also louder ... louder ... louder. ..
Now, in the sharp, hard, triumphantly insolent voices of copper, a dancing melody rumbles ... It has become even uglier, even more terrible. In all its gigantic growth, a soulless monster rises - war.
Thundering, roaring orchestra. And over all this chaos of sounds reigns the deathly beat of a military drum. There seems to be no escape from the evil force. What can drown out, stop this clanging thunder, this terrible, measured fraction?
And suddenly, in the tense sound of the orchestra, the theme of the Motherland arises. Tragically mournful, she is still beautiful with her courageous, bitter beauty. There is no calm grandeur in her now, but her noble strength remains. And we believe in this power. The deep humanity and nobility of this music is stronger than the most terrible roar of the "invasion" theme.
Like a mournful requiem for the memory of the fallen, the theme of the side part now sounds. Her intonations are restrained and severe.
A bright memory once again passes unchanged, such as at the beginning, the theme of the Motherland. The high violins play the poetic melody of the side part... And again the monotonous beat of the drum. The war is not over yet.
The performance of the symphony took place on August 9, 1942, during the ongoing blockade. Orders were given to issue air and artillery alerts only as a last resort, in order to ensure silence for the performance of the symphony. It is noteworthy that all loudspeakers in the city broadcast the work for citizens. It was a unique demonstration of the fortitude of the people of Leningrad.
A short pause - and the second part began. Remember, when we listened to the symphonies of Beethoven and Tchaikovsky, we talked about how usually the second movement is a rest after the tense and dramatic first movement.
Violins sing thoughtfully and sadly. The calm melody is carefully supported by short notes of the rest of the strings. So a person, tired of painful, incredible tension, tries to calm down, relax. His feelings and thoughts are still fettered, he is too exhausted to rejoice at the short, unreliable rest that has befallen him.
Gradually the melody becomes wider. It becomes easier to breathe, heavy, terrible thoughts disappear...
But the same quiet, cautious rustle of strings replaces light music, again the orchestra sounds restrained. Fatigue is too strong, everything that happens around is too scary for a person to be pleased with these memories and hopes.
The music was loud and mocking. Mockingly corrosive, as if grimacing, the writhing theme of the bassoons and bass clarinet crept.
Do you know, my friends, what this theme music is like? The intonations of Beethoven's Moonlight Sonata are quite clearly audible in it. Those of you who have heard this sonata will certainly remember its first movement, one of the most poetic creations of classical music. A tender, sad, beautiful theme... But why is it here, and in such a distorted, ugly guise?
Such music causes bitter thoughts in us. After all, it was the German people who gave the world the great humanist Beethoven.
How could it happen that in the same country, among the same people, the most terrible and inhuman thing in the world appeared - fascism?
And the music continues to mock. It seems that the whole orchestra is laughing viciously and triumphantly.
Gradually, it subsides, calms down, and again we hear the same cautious, restrained melody that the violins sang at the beginning of the second movement.
Slow and majestic chords - calm, strong, confident. The orchestra sounds like an organ. It seems that before us stands exhausted, covered with snow, wounded, but not giving up, handsome Leningrad. Courageous, strict and at the same time heroically elevated music. It either sounds like the voice of an orator - a strong and wise person, then it spills into a wide solemn song. She again, as at the beginning of the first part, talks about our beautiful and proud Motherland. Only now - this is the Motherland in the days of severe trials.
An energetic, stormy theme decisively breaks into the confident calmness. Again the struggle, again we hear the dry clear rhythm of a small drum. But it no longer has the former rigidity, chilling horror, it only reminds of the terrible music of the “invasion”.
“... yes, that's the way it was in those... days, in fact... this is how mental anxiety and stubbornness of will alternated in the heart... when the body gathered all the strength to fight back death. Music here spoke the language of Shostakovich, but the feelings of all the people of the city going to the feat. These words belong to the Soviet musicologist Asafiev.
The music rushes in an unstoppable stream, with a single breath, a single impulse ... Here the initial “organ” theme of this movement flashed by, but here it is played by pipes - and it sounds like a battle order.
Gradually, the energetic movement slows down, stops, and, as at the beginning of the part, the beautiful, strict and courageous hero city again rises before us. We understand that the composer is talking about the unshakable faith of the Soviet people in victory over the enemy. In every measure of this music you feel noble strength, high moral purity.
Three silent strikes. It's over there. He seems to be preparing us for something, giving a signal. And immediately, without any interruption, the last part of the symphony, the finale, known as "Victory", begins with a distant, but formidable thunder of the timpani.
The main musical theme quickly breaks into the "quiet thunder". Again a struggle, again a desperate fight, but how sharply it differs from the tragically terrible episode of the "invasion"! Energetic, strong-willed music rather tells not about the battle itself, but conveys its high pathos, the rapture of battle.
But now the whirlwind stormy movement of the music disappears, and we hear a slow, majestically mournful theme. This is a requiem. Funeral music does not, however, evoke in us those bitter feelings that arose when we listened to the funeral march in the first part. It was as if we were witnessing death there. Here - we remember the fallen heroes.
There, in the first movement, we heard the mournful rhythm of the funeral march. Here is the rhythm of the old slow dance of the sarabande.
The main theme of the finale appears again. Now it is wide, slower. It seems that the harsh rhythm of the sarabande is holding her back, and she is trying to overcome this rhythm, to escape from its clear framework. The tension is increasing... Step by step, as if climbing a huge, highest peak, the music sounds strivingly, assertively... The last effort... Do you hear? This is the beginning of the first part, the theme of the Motherland, a happy, creative life! Trumpets and trombones play it solemnly and proudly. Victory! Again peace and tranquility in our land. Just think! In the terrible days of the blockade, a hungry and frozen person creates music of such confident victorious power. He believes in victory just as all the Soviet people believed in it then, and his music in the most difficult days of the war told the whole world about the future victory over fascism.
The victory went to the Russian people at a very high price!
Thus ends Shostakovich's Seventh Symphony. The beautiful city lives a calm, peaceful life. And the measured beat of the drum still lives in the memory ... No, it is impossible for all this to happen again! Listen, people of the whole world! It is forbidden!
I am sure that each of you is thinking about this right now. But we only listened to music. That very symphony, in which, as it seems to many, nothing can be understood.
Listen to it again, my dear friends, listen to the entire symphony and think again about whether it is necessary to learn to love and understand music.
Text by Galina Levasheva.
Presentation
Included:
1. Presentation - 13 slides, ppsx;
2. Sounds of music:
Shostakovich. Symphony No. 7, Op. 60:
Part I. Allegretto:
"Theme of the Motherland", mp3;
"Invasion Theme", mp3;
"The theme of Motherland and Resistance", mp3;
Part II. Moderato, mp3;
Part III. Adagio, mp3;
Part IV. Allegro non troppo, mp3;
3. Accompanying article, docx.
Soviet historians claimed that Dmitri Shostakovich began writing his famous Leningrad Symphony in the summer of 1941 under the impression of the outbreak of war. However, there is reliable evidence that the first part of this piece of music was written before the outbreak of hostilities.
Premonition of war or something else?
It is now known for certain that Shostakovich wrote the main fragments of the first movement of his Seventh Symphony approximately in 1940. He did not publish them anywhere, but showed it to some of his colleagues and students. Moreover, the composer did not explain his intention to anyone.
Somewhat later, knowledgeable people will call this music a premonition of an invasion. There was something unsettling about her, turning into absolute aggression and suppression. Given the time of writing these fragments of the symphony, it can be assumed that the author did not create the image of a military invasion, but had in mind the overwhelming Stalinist repressive machine. There is even an opinion that the theme of the invasion is based on the rhythm of the lezginka, highly revered by Stalin.
Dmitry Dmitrievich himself wrote in his memoirs: “While writing the theme of the invasion, I was thinking about a completely different enemy of mankind. Of course, I hated fascism. But not only German - every kind of fascism.
Seventh Leningrad
One way or another, but immediately after the outbreak of the war, Shostakovich intensively continued work on this work. In early September, the first two parts of the work were ready. And after a very short time, already in besieged Leningrad, the third score was written.
In early October, the composer and his family were evacuated to Kuibyshev, where he began work on the finale. As planned by Shostakovich, it was supposed to be life-affirming. But it was at this time that the country was going through the most difficult trials of the war. It was very difficult for Shostakovich to write optimistic music in a situation where the enemy stood at the gates of Moscow. During these days, he himself repeatedly admitted to those around him that with the finale of the seventh symphony, nothing came of it.
And only in December 1941, after the Soviet counter-offensive near Moscow, work on the final went smoothly. On New Year's Eve 1942, it was successfully completed.
After the premieres of the seventh symphony in Kuibyshev and Moscow in August 1942, the main premiere took place - the Leningrad one. The besieged city then experienced the most difficult situation for the entire time of the blockade. Starved, exhausted Leningraders, it seemed, no longer believed in anything, did not hope for anything.
But on August 9, 1942, for the first time since the beginning of the war, music sounded again in the concert hall of the Mariinsky Palace. The Leningrad Symphony Orchestra performed Shostakovich's 7th symphony. Hundreds of loudspeakers, which used to announce air raids, were now broadcasting this concert to the entire besieged city. According to the recollections of the inhabitants and defenders of Leningrad, it was then that they had a firm faith in victory.
Symphony No. 7 "Leningradskaya"
Shostakovich's 15 symphonies constitute one of the greatest phenomena of musical literature of the 20th century. Several of them carry a specific "program" related to history or war. The idea of "Leningradskaya" arose from personal experience.
"Our victory over fascism, our coming victory over the enemy,
to my beloved city of Leningrad, I dedicate my seventh symphony"
(D. Shostakovich)
I speak for everyone who died here.
In my lines their deaf steps,
Their eternal and hot breath.
I speak for everyone who lives here
Who passed fire, and death, and ice.
I speak like your flesh, people
By right of shared suffering...
(Olga Bergholz)
In June 1941, Nazi Germany invaded the Soviet Union and soon Leningrad found itself in a blockade that lasted 18 months and resulted in countless hardships and deaths. In addition to those who died during the bombing, more than 600,000 Soviet citizens died of starvation. Many froze to death or died due to lack of medical care - the number of victims of the blockade is estimated at almost a million. In the besieged city, enduring terrible hardships along with thousands of other people, Shostakovich began work on his Symphony No. 7. He had never dedicated his major works to anyone before, but this symphony became an offering to Leningrad and its inhabitants. The composer was driven by love for his native city and these truly heroic times of struggle.
Work on this symphony began at the very beginning of the war. From the first days of the war, Shostakovich, like many of his countrymen, began to work for the needs of the front. He dug trenches, was on duty at night during air raids.
He made arrangements for concert teams going to the front. But, as always, this unique musician-publicist already had a major symphonic idea in his head, dedicated to everything that was happening. He began to write the Seventh Symphony. The first part was completed in the summer. He wrote the second in September already in besieged Leningrad.
In October, Shostakovich and his family were evacuated to Kuibyshev. Unlike the first three parts, created literally in one breath, the work on the final was moving poorly. It is not surprising that the last part did not work out for a long time. The composer understood that a solemn victorious finale would be expected from a symphony dedicated to the war. But there were no grounds for this yet, and he wrote as his heart prompted.
On December 27, 1941, the symphony was completed. Beginning with the Fifth Symphony, almost all of the composer's works in this genre were performed by his favorite orchestra - the Leningrad Philharmonic Orchestra conducted by E. Mravinsky.
But, unfortunately, Mravinsky's orchestra was far away, in Novosibirsk, and the authorities insisted on an urgent premiere. After all, the symphony was dedicated by the author to the feat of his native city. She was given political importance. The premiere took place in Kuibyshev, performed by the Bolshoi Theater Orchestra conducted by S. Samosud. After that, the symphony was performed in Moscow and Novosibirsk. But the most remarkable premiere took place in besieged Leningrad. Musicians for its performance were collected from everywhere. Many of them were exhausted. I had to put them in the hospital before the start of rehearsals - feed them, treat them. On the day of the performance of the symphony, all artillery forces were sent to suppress enemy firing points. Nothing should have interfered with this premiere.
The Philharmonic hall was full. The audience was very diverse. The concert was attended by sailors, armed infantrymen, air defense fighters dressed in jerseys, emaciated patrons of the Philharmonic. The performance of the symphony lasted 80 minutes. All this time, the enemy's guns were silent: the artillerymen defending the city received an order to suppress the fire of German guns at all costs.
The new work of Shostakovich shocked the audience: many of them cried, not hiding their tears. Great music was able to express what united people at that difficult time: faith in victory, sacrifice, boundless love for their city and country.
During the performance, the symphony was broadcast on the radio, as well as on the loudspeakers of the city network. She was heard not only by the inhabitants of the city, but also by the German troops besieging Leningrad.
On July 19, 1942, the symphony was performed in New York, and after that its victorious march around the world began.
The first part begins with a broad, sing-song epic melody. It develops, grows, is filled with more and more power. Recalling the process of creating the symphony, Shostakovich said: “While working on the symphony, I thought about the greatness of our people, about its heroism, about the best ideals of mankind, about the wonderful qualities of a person ...” All this is embodied in the theme of the main part, which is related to Russian heroic themes by sweeping intonations, bold wide melodic moves, heavy unisons.
The side part is also song. It is like a soothing lullaby. Her melody seems to dissolve into silence. Everything breathes the tranquility of peaceful life.
But from somewhere far away a drum beat is heard, and then a melody appears: primitive, similar to verses - an expression of everyday life and vulgarity. It's like puppets are moving. Thus begins the "episode of invasion" - a stunning picture of the invasion of a destructive force.
At first, the sound seems harmless. But the theme is repeated 11 times, more and more intensifying. Its melody does not change, it only gradually acquires the sound of more and more new instruments, turning into powerful chordal complexes. So this topic, which at first seemed not threatening, but stupid and vulgar, turns into a colossal monster - a grinding machine of destruction. It seems that she will grind into powder all living things in her path.
The writer A. Tolstoy called this music "the dance of learned rats to the tune of a rat-catcher." It seems that the learned rats, obedient to the will of the rat-catcher, are entering the fray.
The episode of the invasion is written in the form of variations on an unchanging theme - the passacaglia.
Even before the start of the Great Patriotic War, Shostakovich wrote variations on an unchanging theme, similar in concept to Ravel's Bolero. He showed it to his students. The theme is simple, as if dancing, which is accompanied by the beat of the snare drum. She grew to great power. At first it sounded harmless, even frivolous, but grew into a terrible symbol of suppression. The composer postponed this composition without performing or publishing it. It turns out that this episode was written earlier. So what did the composer want to portray to them? The terrible march of fascism across Europe or the offensive of totalitarianism on the individual? (Note: A totalitarian regime is a regime in which the state dominates all aspects of society, in which there is violence, the destruction of democratic freedoms and human rights).
At that moment, when it seems that the iron colossus is moving with a roar straight at the listener, the unexpected happens. The opposition begins. A dramatic motive appears, which is commonly called the motive of resistance. Moans and screams are heard in the music. It's like a grand symphonic battle is being played out.
After a powerful climax, the reprise sounds gloomy and gloomy. The theme of the main party in it sounds like a passionate speech addressed to all mankind, full of great power of protest against evil. Particularly expressive is the melody of the side part, which has become dreary and lonely. Here comes the expressive bassoon solo.
It's no longer a lullaby, but more of a weeping punctuated by excruciating spasms. Only in the coda the main part sounds in major, as if asserting the overcoming of the forces of evil. But from afar, the beat of a drum is heard. The war is still going on.
The next two parts are designed to show the spiritual wealth of a person, the strength of his will.
The second movement is a scherzo in soft tones. Many critics in this music saw a picture of Leningrad as transparent white nights. This music combines smile and sadness, light humor and introspection, creating an attractive and bright image.
The third movement is a majestic and soulful adagio. It opens with a chorale - a kind of requiem for the dead. It is followed by the pathetic utterance of the violins. The second theme, according to the composer, conveys "rapture with life, admiration for nature." The dramatic middle part is perceived as a memory of the past, a reaction to the tragic events of the first part.
The finale begins with a barely audible timpani tremolo. It's like the strength is gradually gathering. Thus is prepared the main theme, full of indomitable energy. This is an image of struggle, popular anger. It is replaced by an episode in the rhythm of the sarabande - again a memory of the fallen. And then begins a slow ascent to the celebration of the completion of the symphony, where the main theme of the first movement is played by trumpets and trombones as a symbol of peace and future victory.
No matter how wide the variety of genres in Shostakovich's work, in terms of his talent, he is, first of all, a composer-symphonist. His work is characterized by a huge scale of content, a tendency to generalized thinking, the severity of conflicts, dynamism and a strict logic of development. These features are especially pronounced in his symphonies. Shostakovich's Peru owns fifteen symphonies. Each of them is a page in the history of the life of the people. The composer was not in vain called the musical chronicler of his era. And not a dispassionate observer, as if surveying everything that happens from above, but a person who subtly reacts to the upheavals of his era, living the life of his contemporaries, involved in everything that happens around. He could say about himself in the words of the great Goethe:
- I'm not an outsider,
A participant in earthly affairs!
Like no one else, he was distinguished by his responsiveness to everything that happened with his native country and its people, and even more broadly - with all of humanity. Thanks to this susceptibility, he was able to capture the features characteristic of that era and reproduce them in highly artistic images. And in this regard, the composer's symphonies are a unique monument to the history of mankind.
August 9, 1942. On this day, in the besieged Leningrad, the famous performance of the Seventh (“Leningrad”) Symphony by Dmitry Shostakovich took place.
The organizer and conductor was Karl Ilyich Eliasberg, chief conductor of the Leningrad Radio Orchestra. While the symphony was being performed, not a single enemy shell fell on the city: by order of the commander of the Leningrad Front, Marshal Govorov, all enemy points were suppressed in advance. The guns were silent while Shostakovich's music was playing. She was heard not only by the inhabitants of the city, but also by the German troops besieging Leningrad. Many years after the war, the Germans said: “Then, on August 9, 1942, we realized that we would lose the war. We felt your strength, capable of overcoming hunger, fear and even death ... "
Starting from its performance in besieged Leningrad, the symphony was of great agitational and political significance for the Soviet and Russian authorities.
On August 21, 2008, a fragment of the first part of the symphony was performed in the South Ossetian city of Tskhinval, destroyed by Georgian troops, by the Mariinsky Theater Orchestra conducted by Valery Gergiev.
"This symphony is a reminder to the world that the horror of the blockade and bombing of Leningrad must not be repeated..."
(V. A. Gergiev)
Presentation
Included:
1. Presentation 18 slides, ppsx;
2. Sounds of music:
Symphony No. 7 "Leningrad", Op. 60, 1 part, mp3;
3. Article, docx.
