MHL 204 - PROKOFIEV AND SHOSTAKOVICH

(F-11)

 

1.  Russian music in the 20th century is the story of relation between music and politics

Politics important in other times and other places - e.g. Beethoven, Verdi, Wagner, Copland, Kurt Weill

But in 20th-century Russia politics was not matter of conviction or choice for a composer - no composer or performer could avoid politics

 

2.  Key event was the Bolshevik Revolution in October, 1917 - Communist Party assumed state power in the name of the "working class" - Embarked on a program to create socialism - i.e. working people control the economy and the state - The Communist regime lasted until 1991

Consequences of Communist control for the arts - Initially the system was not repressive - The first phase was a blossoming of the arts, particularly avant-garde and experimental art - Artists saw the workers' state as liberation from Czarist repression and middle-class prudery - 1919-1926 or so was an optimistic and productive period in theater, painting, architecture and music

Repression set in gradually in the late 20s - partly because of the rise of Stalin, also because of the internal dynamic of a totalitarian state – The arts were seen as essential to ideology – Because artists communicated ideas, they needed to communicate the right ideas

 

3.  Political control of music in USSR

Basic Soviet notions of music's role in society don't sound half bad:

1. Music is not just for the rich but for all classes

2. Good music is music that people can relate to (i.e. masses of people, not just trained musicians)

3. The State and the Communist Party should encourage good music and discourage bad music

These principles were promoted under the slogan "socialist realism" - Same principles promoted in visual arts and literature – socialist realism discussed in NAWM note to Nevsky

The opposite aesthetic philosophy was termed "formalism" - This designated art that aimed at formal goals or perfection, the sort of philosophy that Stravinsky expressed in the essays - "formalism" became a term of abuse:  art that didn't try to reach out to masses of people

When these principles were put into practice they often led to unpleasant consequences, especially imposing tastes of individuals or small group on everyone else

     Example of conversation about movie music (Shumiatsky notes – Prep 5) – Occasion was screening of latest movies for top party brass – Stalin’s opinion: 1) artists need to be directed by the Party; 2) art should be accessible to masses of people; 3) Stalin’s taste is everyone’s taste

 

 

4.  Sergei Prokofiev (1891-1953)

Most important biographical point is that P. left Russia after the Revolution (in 1918) and made a career abroad - in US and Western Europe - He then returned to Russia in 1936 and spent the rest of his life in Russia under strict political controls – Motives for return: 1) homesickness; 2) prospects for dominant position in Soviet musical world; 3) felt musically empty in West

P. established himself as an important composer and as a "modernist" already in Russia before the War, especially with piano concertos 1 and 2 – Wrote two ballets for Diaghilev during WW I – American tour of 1918-1920 - Paris in the 20's

Style change after return to Russia? -- Sometimes said that P. sold out after returning to USSR (V.Seroff), composing propaganda works like Alexander Nevsky (film score for the Eisenstein movie) and "On Guard for Peace" and tuneful works for the masses like Peter and the Wolf and Romeo and Juliet

  This is unfair -- Some of P's later works are among his most complicated and best - e.g. 5th and 6th Symphonies, violin and flute sonatas -- If P. mellowed with age, that was his privilege

1948 – Prokofiev subjected to a good deal of political pressure but spared public criticism or direct threats until Party campaign of 1948 (around beginning of Cold War) led by Zhdanov (commissar of culture) against ideological deficiencies of Soviet composers, especially for “formalism” and lack of “melody” : “This direction has found its fullest expression in the works of such composers as comrades D. Shostakovich, S. Prokofiev, A. Khachaturyan, V. Shebalin etc.” (Fay, 158)

   Prokofiev was obliged to write a letter to the Assembly of Composers apologizing for his music:  “elements of formalism were peculiar to my music as long as 15 or 20 years ago.  Apparently the infection was caught from contact with some Western ideas. . . . I must admit too that I have indulged in atonality . . . In some of my works there are sporadic atonal moments . .  In the future I hope to get rid of this mannerism . . . “ etc. (quote from Weiss & Taruskin) – Clearly this is insincere!

   Also in 1948 P’s estranged wife Lina was arrested, charged with “spying for a foreign power” and sentenced to 8 years hard labor in Siberia

Prokofiev managed to compose a few more works, notably the cello sonata, between 1948 and his death in 1951 on the same day as Joseph Stalin – His last work was On Guard for Peace, a propaganda cantata

 

5.  Alexander Nevsky (1938)

Score for film by Eisenstein – Prokofiev later arranged high points as cantata for concert performance – Eisenstein’s first sound film, so music was a very big deal

Shumyatsky notes on film board (Prep) demonstrate how seriously Soviet government took film music – All leading composers wrote film scores

Nevsky story – German invasion of 13th century Russia – Alexander Nevsky organizes Russian masses to drive back invaders

Irony of political control – After Soviet-Hitler pact of 1939 the film was withdrawn, because Soviets and Nazis were (temporarily) friends

PLAY DVD track 9 – German music

PLAY DVD track 10 – NAWM selection

Is this “socialist realism”?

 

 

6.  Dmitri Shostakovich (1906-1975)

Most important point of Shostakovich biography is that S. (unlike Prokofiev) grew up and lived whole life in Soviet Union – in 1917 he was only 11 – S. scarcely traveled abroad, had few friends or musical associates abroad (unlike P)

2nd point - S. was the leading official Soviet composer from Lady Macbeth of the Mtsensk District (1934)  and especially from the 5th Symphony (1937) -- His 7th Symphony (1942) became an international symbol of resistance of fascism (Toscanini premier etc)  -- S. held many official posts (e.g. professor at Leningrad Conservatory, Chairman of Composers' Union) – But didn’t join Communist Party until 1960

3rd point (rumored widely during life, increasingly clear after death) - S. was deeply at odds with Soviet government and musical establishment - Forced to withdraw several works or recant (see below), left others “in the drawer” (4th Symphony) - bitter about official duties – Compelled to say and to sign many things that he didn’t believe - Personally depressed, desperate

4th point – Shostakovich was tremendously dedicated, committed, professional composer and artist – He took great pride in his productivity and craftsmanship and continued to believe in his artistic mission

Debate over Shostakovich, his music, and his legacy

During his lifetime  he was proposed by the Russians as the model Soviet composer and artist – In the West he was criticized for same

Russian public loyal to him despite his compromised position – People came to believe that S was a “secret dissident” and that if you knew what to listen for, you could hear his “true” opinions in the music – tradition of hermeneutic interpretations of Russian instrumental music (Tchaikovsky)

Testimony  - The Memoirs of Dmitri Shostakovich as Related to and Edited by Solomon Volkov (1979) – Purports to be Shostakovich memoirs dictated to Solomon Volkov – Conclusive evidence that it’s a forgery, i.e. Shostakovich did not dictate these words or these opinions to Volkov – Valuable, nonetheless, because it transmits what Russian intelligentsia (like Volkov) believed about Shostakovich

Cultural optimism in early years of Soviet Union (1917-c.1932) – Progressive and experimental art with communist ideals – e.g. Akhmatova, Malevich, Eisenstein, Meyerhold – Shostakovich participated enthusiastically in the endeavor of creating new, socialist art – Aphorisms (piano, 1927), The Nose (opera, 1930), Symphony #2 (1927) are all self-consciously avant garde works

Consolidation of Stalin’s power 1927-32 – increasing political control of culture – Purges 1934-37 – Many of Shostakovich’s friends, patrons and artistic associates were executed (e.g. Meyerhold, Shubiatsky, S’s wife’s family)

Lady Macbeth of the Mtsensk District (Leningrad, 1934) – Initially tremendously successful and confirmed S as leading Soviet composer – Attacked in Pravda in 1936 after Stalin objected to its sex scenes  – Lady M was shut down and S withdrew 4th Symphony

5th Symphony composed in 1936 and premiered in 1937, evidently with aim to restore S’s status as a loyal servant of the Soviet regime – The musical idiom isn’t all that different from the first 4 symphonies, but it’s less confrontationally dissonant, more obvious melodically and formally very clear – Shostakovich called it in print “a Soviet artist’s practical creative reply to just criticism” (but he attributed the remark to someone else)

Irony is that people have come to take it as exactly the opposite – They read a subtext of dissent and defiance into the symphony – The first movement is heard as “the artist’s cry of despair,” the second as a satire on Soviet bureaucrats – Last movement ends in loud major-key celebration, so Volkov puts the following words into Shostakovich’s mouth: “I think it is clear to everyone what happens in the Fifth.  The rejoicing is forced, created under threat . . . It’s as if someone were beating you with a stick and saying ‘your business is rejoicing’ . . . You have to be a complete oaf not to hear that.” – Again, it has been proved that Shostakovich did not say or write these words; they are a forgery

PLAY 2nd movement (NAWM 154)– modeled on Mahler - Obviously satirical, but not so clear what is satirized

PLAY last movement beginning, 8:30 – evidently this is celebratory, but should we interpret it as sincere? ironic? defiant? – Is this any more sarcastic than Beethoven’s 5th?