Symphony no 10 in E minor, op 93 – Dmitri Shostakovich

by richibi

self-portrait-with-stalin-1954.jpg!Large.jpg

     “Self Portrait with Stalin (1954) 

             Frida Kahlo

                 ______

Shostakovich’s 10th Symphony was a
success from the moment I heard it, 
it resolved issues for me I found 
difficult in his earlier showpieces, for
that’s what symphonies are, indeed
blockbusters

from the very beginning, Shostakovich
gives a musical theme, a few notes 
played by a solo oboe, an obbligato
that is then repeated with variations by
other instruments, if not by the entire
orchestra, this is an old trick of 
Beethoven

later movements do the same thing 
with flute, piccolo, or bassoon
obbligati, a particular device of
Shostakovich to indicate a lone,
individual voice amidst the clamour 
of military brass and proletarian
violins

but the tactic of repeating a theme, 
like rhyming in poetry, gives one a 
sense of position, which is lost if 
there’s no reiteration, no reference 
point, it’s like wandering off into a 
forest instead of into a park you 
could safely be enjoying, that had 
trails at least to let you know you 
weren’t far from civilization, 
signposts pointing out directions, 
whereas a forest could be a tundra, 
vast for miles, one could walk for 
days without being found, that’s 
the role of repetition, rhyme, a 
refrain, in music, getting one’s 
bearings

and incidentally, one could be 
walking around in circles in that 
forest and atonality wouldn’t be 
any help at all 


the Tenth has, however, all the 
guideposts throughout, one can 
tell where the music ‘s going at 
each and every movement, it was 
like finding my way home, the, long  
even at nearly an hour, soundscape 
whipped by leaving me breathless, 
awestruck, Shostakovich has hit 
here, I thought, my big time, it took 
him long enough


it was first performed just after the 
death of Stalin, March, 1953, was 
thus probably composed somewhat 
earlier, belying the supposition that 
Stalin‘s demise had affected the 
spirit of his composition, which is 
uncharacteristically cheery for him, 
to my mind, seems to have unleashed 
in him the dogs not of war and 
disillusion, but of fun, something that 
was happening to the entire 20th 
Century, for that matter, especially 
after the Second World War, even, it 
appears, however grimly, in Russia, 
oops, in the U.S.S.R


an aside – Mrs Premise had said of 
Jean-Paul Sartre, the expositor of 
Existentialism in the Twentieth Century, 
implications of which he related to us,
of living in world without God, in his
magnum opusBeing and Nothingness“,
to her Monty Python counterpart, Mrs 
Conclusion, in a hilarious skit of theirs, 
that Sartre wasn’t receiving that day, he 
was, according to his housekeeper, 
especially moody

is he free, asks Mrs Premise, he’s been 
investigating that one for years, the 
woman at the door replies, the kind of 
joke – in musical terminology, a scherzo – 
utterly cherishwitty, pithy, trenchant, 
if you’ll pardon my giddy digression

but I sense Russian counterpart in the
dour Shostakovich

 
it should be noted here, that the 
orchestra in the link I provide, is
the Simon Bolivar Youth Orchestra
of Venezuela, a country with its 
own political history of oppression, 
under the direction of the deservedly 
celebrated conductor, Gustavo 
Dudamelhimself a Venezuelan 

the struggle doesn’t stop, the oracular 
hits must keep on coming, go, Gustavo
Dudamel, go, Simon Bolivar Youth
Orchestra, go, Shostakovich


 R ! chard

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