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Tag: Roger Waters – “The Wall”

Symphony no 7 in C major, opus 60, the “Leningrad”- Dmitri Shostakovich

leningrad-in-blockade-sketch-on-the-theme-of-leningrad-symphony-of-d-d-shostakovich-1943.jpg!Large.jpg

Leningrad in blockade. Sketch on the theme of 
         “Leningrad Symphony” of D. D. Shostakovich. 
                                                                (c.1943) 

     Mstislav Dobuzhinsky

             __________

though I’ve been through the Seventh 
three times already, consecutively, it
doesn’t reach, for me, the heights the 
Fifth did, its first movement is
manifestly imperious, nearly even 
overwhelming, certainly unforgettable, 
I’ve been humming the ostinato in my 
sleep

but the following movements seem to 
me – not being Russian, nor having as
intimately incorporated their culture, 
where rhythms and history are 
inextricably intertwined – muddled 
about the reconstruction of its 
shattered world, melodies might be
lovely but are lost in a blur of musical
directions, there isn’t enough repetition 
of musical motifs to find solid ground, 
angry statements follow lyrical adagios
too often to get our bearings on what 
might be going on 

the first movement, however, remains a 
triumph, note the debt owed to Ravel’s 
Bolero in the rousing ostinato, the 
part where the same musical phrase 
obstinately repeats its peremptory and 
ever more vociferous mantra, its 
headlong incantation, an interesting 
blend in either symphonic work of the 
sinuous, the seductive, the beguiling,
turning into the overtly martial, all to 
do with pulse 

the Symphony no 7, the “Leningrad”,
was first presented in that very city 
during its siege by the Germans
which lasted from 1941 to 1944, 
however unbelievably, Shostakovich, 
already giant, was expected to deliver 
masterpiece by both the people and 
by the regime, imagine Bono doing a
concert for Syria 

Shostakovich doesn’t disappoint

players were culled from what remained 
of instrumentalists among the survivors
of both Stalin’s criminal purges and of 
the German siege itself left in the city, 
those who hadn’t survived the famine
there, Valery Gergiev, an exalted 
Russian conductor, describes them as
walking skeletonsmeagre from 
starvation, we’ve seen these before at 
Auschwitz

the world heard, and was moved, 
imperialism in any form was being 
vociferously condemned, going back 
to Napoleon even and his own failed 
invasion, if not also to Hannibal 
crossing the Alps, Caesar, his 
Rubicon

much of this symphony is about cultural 
resistance, the survival of a proud and 
resilient seed, any proud and resilient 
seed, hence its international standing

see Beethoven’s 9th Symphony for 
comparable fanfare, flourish, and 
circumstance, the only other work of
any such historical political importance
and, appreciably, still unsurpassed,

except for, maybe, Roger Waters
channeling Pink Floyd at the Berlin 
Wall, along with, not incidentally
thereagain Beethoven 


R ! chard

psst: the other great composer of the 
          20th Century, Messiaen, also 
          composed a commemoration of
          an awful moment in our history,
          the Holocaust, his Quartet for 
          the End of Time“, played originally
          in his very concentration camp by 
          similarly “walking skeletons”, does   
          for me everything Shostakovich’s 
          Seventh didn’t 

         

Freedom

Alexandru Ciucurencu - "May Day in Freedom" (1958)

May Day in Freedom (1958)

Alexandru Ciucurencu

__________

two events took place after the fall
of the Berlin Wall, which have
remained cultural landmarks since,
nothing much comes close to their
historical significance, music to
declare a new world order

on December 25, 1989, Leonard
Bernstein conducts Beethoven’s
Ninth Symphony at the
Schauspielhaus in the former
East Berlin, it is remembered as
the “Freedom Concert” for having
replaced the word “Joy” in
Schiller’s poem during the “Ode
to Joy”,
the vocal novelty of the
Ninth, also its triumph, with the
word “Freedom”, a whim of the
conductor, not inappropriately

on July 21, 1990, Roger Waters
puts on The Wall“, Pink Floyd’s
20th-Century counterpart for the
Beethoven, the clarion call to do
away with barriers, fences, it’s
hard to dismiss its prescience
when the piece had been written
eight years earlier, seven years
before the fall of the Wall, as
though Pink Floyd had been
prophetic

like Beethoven had been, not
at all coincidentally here
, in
his own day

both concerts are beyond
description, extraordinary

just click

watch for unexpected guest
appearances in either of,
everywhere, the very highest
quality

Richard