Download A Soviet Credo: Shostakovich's Fourth Symphony by Pauline Fairclough PDF

By Pauline Fairclough

Composed in 1935-36 and meant to be his inventive 'credo', Shostakovich's "Fourth Symphony" used to be no longer played publicly till 1961. right here, Dr Pauline Fairclough tackles head-on essentially the most major and least understood of Shostakovich's significant works. She argues that the "Fourth Symphony" used to be significantly various from its Soviet contemporaries when it comes to its constitution, dramaturgy, tone or even language, and as a result challenged the norms of Soviet symphonism at an important degree of its improvement. With the backing of well known musicologists reminiscent of Ivan Sollertinsky, the composer may perhaps realistically have anticipated the most advantageous to have taken position, and should also have meant the symphony to be a version for a brand new type of 'democratic' Soviet symphonism. Fairclough meticulously examines the rating to notify a dialogue of tonal and thematic procedures, allusion, paraphrase and connection with musical kinds, or intonations. Such research is decided deeply within the context of Soviet musical tradition through the interval 1932-36, concerning Shostakovich's contemporaries Shabalin, Myaskovsky, Kabalevsky and Popov. a brand new approach to research can also be complex the following, the place a number of Soviet and Western analytical equipment are expert by means of the theoretical paintings of Shostakovich's contemporaries Viktor Shklovsky, Boris Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, including Theodor Adorno's overdue research of Mahler. during this means, the publication will considerably elevate an figuring out of the symphony and its context.

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Schwarz, Music and Musical Life, 1 10 . 12 A SOVIET CREDO conformity' , seems paradoxical at first glance: if anything , many artists welcomed the Resolution with open arms precisely because they imagined it would signal the end of RAPM's aggressive demands for conformity. '29 Artistic groups were re-formed into unions, with strictly controlled membership - expulsion effectively meant the end of a career - and with a single journal , in the case of the Composers' Union, Sovetskaya muzi'ka . Schwarz's observation that the advance of socialist realism as the chief guide of artistic creation around this time meant that 'advanced composers turned conventional, and conventional composers became commonplace'30 presupposes a great deal, not least that socialist realism was so well defined and so powerfully enforced that composers had no choice but to toe the line.

As a result, there was a complete ban on the broadcasting of light music from 1930 and a marked increase in performances of the music of RAPM composers , complete with introductory lectures. Perceived as decadent, ideologically damaging and worst of all - more popular with the proletariat than the edifying mass songs that RAPM composers produced specifically for their consumption, jazz and light music were especially vulnerable targets. Between 1 929 and 1932, Western jazz bands were banned from visiting the Soviet Union, the popular Soviet jazz musician Leopold Teplitsky was sent into exile, and all performances of music in any way connected with jazz (including Kienek's Jonny spielt auf) were cancelled; even playing jazz records could lead to a fine.

This level of sophistry was an inevitable by-product of Stalinist culture. Artists had to think big: large-scale Romantic genres reflected the grandiose pretensions of the Stalin administration. Though a prominent feature of the 1 930s was the wholesale abandonment of the proletarian cause, this could not be acknowledged, and so the rhetoric of collectivity remained potent. So Sollertinsky had to juggle demands for social relevance, technical sophistication and moral integrity. One assilmption running through all discussions of the Soviet symphony's future development, during both the proletarian period and afterwards , was that it should be able to rank alongside the greatest works of Romantic bourgeois culture.

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