Research Point: Shostakovich and Politics

The Communist movement made the composition of music very difficult for many composers, especially in the Soviet Union during Stalin’s regime.  The right to musical autonomy was removed, forcing composers to stick to strict themes and styles.  Composers such as Shostakovich and Prokofiev did strive to ‘break free’ of this convention, but often at great personal risk to themselves and their families.   Horton (1999) writes that:

“Composers like Shostakovich and Prokofiev were able to perform clever balancing acts, pushing the authorities to the limits and then mollifying them with a mellifluous piece of populism.”

Shostakovich’s 5^th Symphony is a great example of the composer’s patriotic defiance and despite being heralded by the Soviet Union, is rumoured to contain numerous satirical jokes and messages. 

Shostakovich – 5^th Symphony (1937) found on Spotify

Despite instructions from the Soviet Union for music to be ‘uplifting’, some sections of this symphony contain a deep sense of despair.  Dissonance is rife throughout the composition, which I highly doubt was the permitted style of the time.  However, the overarching feel of this piece is very bright and hopeful, with definite joyous folk tones appearing in the closing sections. 

Throughout, the strings provide a very textural effect, blending dark tones of the bass and cello with lighter harmonies provided by the higher pitched instruments.  Shostakovich’s use of the entire orchestra is used to great effect in the latter half of the piece, blending motifs to create a very ‘heroic’ sound.

In contrast to Symphony No.5, Shostakovich’s earlier opera, Lady Macbeth of Mtsensk (1934), was banned by the Soviet Union, effectively exiling him from composition. 

Shostakovich – La Macbeth of Metsensk (extracts from entire score) (1934) found on Spotify

With its themes of sexual scandal and adultery, it is clear to see why this composition may not have been popular with the Soviet party at that time.  However, Shostakovich’s use of both traditional and expressive techniques makes this opera a rollercoaster of feelings and moods.  Great awe-inspiring choral sections contrast more melancholic solos, whilst the orchestra seems to blend rhythm and tonality seamlessly into numerous styles.  Overall I found this piece to be much more expressive than his Symphony No.5, which is understandable given the constraints of composition. 

Exercise: Interpreting the final section of Shostakovich’s 5^th Symphony

As my earlier research demonstrates, composers in Soviet Russia were given such strict guidelines on their compositions that it was very difficult to write a piece that would be approved by the Party.  However, some composers such as Shostakovich were able to manipulate this system and create ‘secret’ layers and themes.  During this time of musical censorship, Shostakovich was forced to keep his ‘unorthodox’ compositions hidden, many of which didn’t surface until after Stalin’s death in 1953.

Although Shostakovich’s Symphony No.5 was considered to be his ‘rise from exile’ following his banned opera Lady Macbeth of Mtsensk in 1934, it is rumoured to contain many hidden jokes and clues.  In the Amarillo Symphony programme notes, Kahn & Kahn (n.d.) write that at the premiere of the Symphony, its enthusiastic reviews caused suspicions with the Soviet Party, leading officials to believe that the audience and musicians were made up of Shostakovich’s friends.  However, following a harsh questioning, Shostakovich’s work was approved and later heralded by the Union. 

Shostakovich – Symphony No. 5 (1937) found on Spotify

I managed to find two versions of this piece, one performed at a faster tempo, and the other at a much slower tempo.  Whilst listening to the two pieces I was struck by the different effect achieved by a mere tempo change.  In the ‘slower’ version, there was a definite sense of ceremony and celebration; much in keeping with the Soviet rules.  However, I found the fast version to be much more tense and devious, with its darker tones becoming more of a feature.  The ‘joyous’ and ‘heroic’ motifs heard in the slower version had somehow turned into a sense of ‘rushing’ and great danger.  

However, within the two pieces, I found the slower version to contain much more expression of the hardships of Soviet life.  The changes in timbre seem to be more apparent in the slower version, allowing the feeling of the arduous drudge of Soviet life.