Symphony No. 10 (Shostakovich)

Formation

The Symphony No. 10 in E minor, Op 93 by Dmitri Shostakovich was premiered by the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky on 17 December 1953. It can not be fully understood when this symphony was written. According to the letters of the composer 's work from July to October In 1953.

It is divided into four sets:

Duration: about 52 minutes.

It was Shostakovich's first symphonic work since 1945 and since its humiliation as a result of " antiformalistischen " purges of 1948, when he was relieved of his teaching career in Moscow and Leningrad. In the period between 1945 and the death of Joseph Stalin on 5 March 1953, he represented the Soviet Union in a number of so-called " international peace congresses ." By March 1953, a significant number of serious works had stacked in the drawers Shostakovich who waited for their first performance or their rehabilitation either. Solomon Volkov wrote in his book " evidence ", the 10th Symphony handle of " Stalin and the Stalin years " This theory is, however, hotly debated to this day.

Shaping

The symphony is divided into four sets.

First Set

In the first sentence suffering is the focus. This is the hitherto most complex and most thoroughly through-composed of all symphonic first movements of Shostakovich. This theme of personal identity is taken up again in the third and fourth set. The first movement opens with a cello double bass unison in E Minor. The themes that uses Shostakovich, all show a similar, tragic impression, with the pace Moderato brings the negative atmosphere appropriate to the action. Up to the middle part where the music builds to noisy chords, this sentence is rather quiet. The musicologist Bernd Feuchtner described the first set as an image of madness.

Second sentence

The second movement is a brief and " brutal " Scherzo, according to Volkov's words, these are " roughly outlined a musical portrait of Stalin ". The set begins with violent chords, what Shostakovich, as Kurt Sanderling, the Stalin theme of paragraph 71, cycle 7 to paragraph 73, 1 clock initially recognized as woodwind quartet, then a quintet. This topic contains Marschpunktierungen and striking rhythms with sixteenth notes, then as the drum solo ( 12:22 Kb ) are repeated.

Third set

The third movement begins Shostakovich with a deformation of its initials, namely CD There H, which he notes similar to Bach's cross symbol with German note names. Paragraph 104 clock 5 his original initials D C H. It show off harmonic reasons he chose C minor, as so H serves as a leading tone to C. Below it will appear again the Stalin issue, but as an imitation, with Shostakovich also continues its initials as well-ordered quarter notes of the flute as staccato whistles. It is comprised mainly of two motives: the DSCH motif represents the composer himself ( the notes D -Es- CH stand for the initials of Dimitri Shostakovich ), and the motif Elmira (E -La -Mi -Re -A in a German - Italian combination of note names ). This motif is played twelve times on the horn; with him, pays homage to Shostakovich composition of the Azerbaijani student Elmira Nasirova, his former muse, confidante and object of his unrequited affection. The DSCH motif Elmira and the change in the course of the third set and finally come together in time. The initial theme is heard at the end of the sentence from paragraph 142 six times. The last appearance of his initials appear as augmentation.

Fourth proposition

The fourth and final movement of this symphony is divided into an Andante and Allegro. The Andante begins in Section 144, clock 8 with a theme that is first played by the oboe. In bar 18, the topic turns away from the idyllic character and shows an aggressive sound, Shostakovich achieved by chromaticism and dissonant HC - F-sharp chord in the strings. This turn takes the issue several times, each time producing a strange impression.

In the second part of the sentence from paragraph 153 (Allegro) the pessimistic mood is finally broken through and plays a cheerful dance music. The darkness at the beginning of the last sentence is apparently driven by a cavalier clarinet and violins carefree, but which are accompanied again in the middle part of the principle of " brutal ", increasingly strong theme of the Scherzo. This then gains the upper hand briefly before it is knocked down with a firm DSCH in triple forte by the full orchestra (Section 184). Are for a short bit of reflection in the more " unsafe " DSCH sounds embedded in the subdued mood of the Andante part of the finale, the positive dance mood (Section 191) and then expanded sets ( gradually, starting with the bassoon again by the clarinet (paragraph 194) ) and finally culminates - initiated by the horns (from Section 202) - in a triple DSCH triumphant unison as almost the entire orchestra as half notes forte fortissimo (from paragraph 203). In the last cycles (from paragraph 206) the timpani pounding multiply the DSCH like a punch in the score. ( The latter can be heard particularly drastic in the congenial recording the piano version for four hands with Shostakovich and Weinberg at the piano ( Melodiya, 1954). )

9878
de