Wang B. —
The role of E. Mravinsky in the triumph of Shostakovich’s Symphony No 5
// PHILHARMONICA. International Music Journal.
– 2021. – ¹ 4.
– P. 1 - 10.
DOI: 10.7256/2453-613X.2021.4.36033 URL: https://en. nbpublish.com/library_read_article.php?id=36033
Read the article
The author reconsiders the interpretation of the concept of Shostakovich’s Symphony No 5 based on the fact that the composition was created during Stalin’s Great Terror of the 1930s and after a harsh criticism of his compositions by the Communist Party and the USSR government in the early 1930s. During the creation of the Symphony No 5, the Soviet music experts defined its concept as a celebration of a “happy” life of Soviet people, However, in the author’s opinion, the symphony has another idea. The researcher notes that the triumph of the Symphony No 5 in the global culture had happened only owing to the director’s interpretation by Yevgeny Mravinsky during the premiere at Leningrad Philharmonic Hall on November 21, 1937, after which the Symphony was performed all over the world and became the gold standard of the Soviet music. Probably, Shostakovich intended to create an optimistic finale for the Symphony. But there are many examples when the composer’s goal doesn’t correspond with the final result. The author provides the conclusion that almost all music experts, who analyze this symphony, use abstract phrases: contrast themes, lyrical image, enemy, etc. But the only proven fact is that a “mechanistic” march is a heavy and ponderous advance of the power of a tyrant eliminating everything he wants based on the principle “who is not with us is against us”. This idea pierces into the Forth and later the Seventh Symphonies by Shostakovich. Today, the Symphony is still a music masterpiece and a part of the global music heritage, but the new socio-cultural interpretations of modern directors each time reveal the new faces of this composition.
repressions, symphonic music, Mravinskiy, conductor's interpretations, Shostakovich, Soviet composer, Fifth Symphony, musical style, orchestral classics, conductor
Danilevich L. Kniga o sovetskoy muzyke. M. : Gosmuzizdat, 1962. 340 s.
Orlov G. Simfonii Shostakovicha. Leningrad : Muzgiz, 1961. 322 s.
Khentova S. Shostakovich. Leningrad: Sov. kompozitor, 1985. T 1. 543 s.
Tsvibel' D. Evreyskaya dominanta Shostakovicha. URL: http://shorashim.narod.ru/case_ shostakovich.htm#_ftn1 (data obrashcheniya 15.10.2020).
Fay L.E. Shostakovich: A Life. New York: Oxford University Press, 2000.
Gow D. Shostakovich’s ‘War” Symphonies» The Musical Times 105, No. 1453 (March, 1964). R. 191-193.
Newman E. The New Shostakovich.. Sunday Times, June 28, 1942. Quoted in Pauline Fairclough, The ”Old Shostakovich”: Reception in the British Press.» Music and Letters. 88, No. 2 (May 2007).
Roseberry E. Ideology, Style, Content, and Thematic Process in the Symphonies, Cello Concertos, and String Quartets of Shostakovich.Outstanding Dissertations in Music from British Universities. New York and London: Garland Publishing Inc., 1989.
Schwarz B. Music and Musical Life in Soviet Russia: 1917-