(Leningradskaya) is a great work that reflects not only the will to win, but also the irresistible strength of spirit of the Russian people. The music is a chronicle of the war years; a trace of history can be heard in every sound. The composition, grandiose in scale, gave hope and faith not only to people in besieged Leningrad, but also to the entire Soviet people.
History of creation Symphonies No. 7 Shostakovich, called “Leningradskaya”, content and many interesting facts Read about the work on our page.
The history of the creation of the “Leningrad Symphony”
Dmitry Shostakovich was always a very sensitive person; it was as if he anticipated the beginning of a difficult historical event. So, back in 1935, the composer began to compose variations in the passacaglia genre. It is worth noting that this genre is a funeral procession, common in Spain. According to the plan, the essay was supposed to repeat the principle of variation used Maurice Ravel V " Bolero " The sketches were even shown to students at the conservatory where the brilliant musician taught. The theme of the passacaglia was quite simple, but its development was created thanks to the dry drumming. Gradually the dynamics increased to enormous power, which demonstrated a symbol of fear and horror. The composer was tired of working on the work and put it aside.
The war awakened Shostakovich the desire to complete the work and bring it to triumphant and victorious finale. The composer decided to use the previously started passacaglia in the symphony; it became a large episode, which was built on variations, and replaced the development. In the summer of 1941, the first part was completely ready. Then the composer began work on the middle movements, which were completed by the composer even before the evacuation from Leningrad.
The author recalled own work over the work: “I wrote it faster than previous works. I couldn't do anything differently and not write it. There was a terrible war going on all around. I just wanted to capture the image of our country, which is fighting so hard in its own music. On the first day of the war, I already got to work. Then I lived at the conservatory, like many of my musician friends. I was a fighter air defense. I didn’t sleep or eat, and only looked up from my writing when I was on duty or when there were air raid alarms.”
The fourth part was the most difficult, as it was supposed to be the triumph of good over evil. The composer felt anxious; the war had a very serious impact on his morale. His mother and sister were not evacuated from the city, and Shostakovich was very worried about them. Pain tormented his soul, he could not think about anything. There was no one nearby who could inspire him to the heroic finale of the work, but, nevertheless, the composer gathered his courage and completed the work in the most optimistic spirit. A few days before the onset of 1942, the work was completely composed.
Performance of Symphony No. 7
The work was first performed in Kuibyshev in the spring of 1942. The premiere was conducted by Samuil Samosud. It is noteworthy that correspondents from different countries came to the small town for the performance. The audience's assessment was more than high; several countries immediately wanted to perform the symphony in the world's most famous philharmonic societies, and requests began to be sent to send the score. The right to be the first to perform the work outside the country was entrusted to the famous conductor Toscanini. In the summer of 1942, the work was performed in New York and was a huge success. The music spread all over the world.
But not a single performance on Western stages could compare with the scale of the premiere in besieged Leningrad. On August 9, 1942, the day when, according to Hitler’s plan, the city was supposed to fall from the blockade, Shostakovich’s music was played. All four movements were played by conductor Carl Eliasberg. The work was heard in every home and on the streets, as it was broadcast on the radio and through street speakers. The Germans were amazed - it was real feat, showing the strength of the Soviet people.
Interesting facts about Shostakovich's Symphony No. 7
- The work received the name “Leningradskaya” from the famous poetess Anna Akhmatova.
- Since its composition, Shostakovich's Symphony No. 7 has become one of the most politicized works of all time. classical music. Yes, the premiere date symphonic work in Leningrad was not chosen by chance. According to the German plan, the complete massacre of the city built by Peter the Great was scheduled for August 9th. The commander-in-chief was given special invitation cards to the Astoria restaurant, which was popular at that time. They wanted to celebrate the victory over the besieged in the city. Tickets for the premiere of the symphony were distributed free of charge to survivors of the siege. The Germans knew about everything and became unwitting listeners of the work. On the day of the premiere, it became clear who would win the battle for the city.
- On the day of the premiere, the whole city was filled with music Shostakovich . The symphony was broadcast on the radio and also from city street loudspeakers. People listened and couldn't hide own emotions. Many cried with a sense of pride for the country.
- The music of the first part of the symphony became the basis of a ballet called “Leningrad Symphony”.
- The famous writer Alexei Tolstoy wrote an article about the “Leningrad” Symphony, in which he not only described the work as a triumph of the thought of humanity in man, but also analyzed the work from a musical point of view.
- Most of the musicians were taken out of the city at the beginning of the blockade, so difficulties arose in collecting whole orchestra. But nevertheless, it was assembled, and the piece was learned in just a few weeks. Conducted the Leningrad premiere famous conductor German origin Eliasberg. Thus, it was emphasized that, regardless of nationality, every person strives for peace.
- The symphony can be heard in the famous computer game called "Entente".
- In 2015, the work was performed at the Philharmonic Society of the city of Donetsk. The premiere took place as part of a special project.
- Poet and friend Alexander Petrovich Mezhirov dedicated this work poetry.
- One of the Germans, after the USSR’s victory over Nazi Germany, admitted: “It was on the day of the premiere of the Leningrad Symphony that we realized that we would lose not only the battle, but the entire war. Then we felt the strength of the Russian people, which could overcome everything, including hunger and death.
- Shostakovich himself wanted the symphony in Leningrad to be performed by his favorite orchestra of the Leningrad Philharmonic, conducted by the brilliant Mravinsky. But this could not happen, since the orchestra was in Novosibirsk, transporting musicians would have become too difficult and could lead to tragedy, since the city was under siege, so the orchestra had to be formed from people who were in the city. Many were musicians in military bands, many were invited from neighboring cities, but in the end the orchestra was assembled and performed the work.
- During the performance of the symphony, the secret operation "Squall" was successfully carried out. Later, a participant in this operation will write a poem dedicated to Shostakovich and the operation itself.
- A review by a journalist from the English magazine Time, who was specially sent to the USSR for the premiere in Kuibyshev, has been preserved. The correspondent then wrote that the work was filled with extraordinary nervousness; he noted the brightness and expressiveness of the melodies. In his opinion, the symphony had to be performed in Great Britain and around the world.
- The music is associated with another military event that has happened in our days. On August 21, 2008, the work was performed in Tskhinvali. The symphony was conducted by one of the best conductors modernity Valery Gergiev. The performance was broadcast on leading Russian channels, and was also broadcast on radio stations.
- On the building of the St. Petersburg Philharmonic you can see a memorial plaque dedicated to the premiere of the symphony.
- After signing the surrender in one of news releases in Europe, a reporter said: “Is it possible to defeat a country in which, during such terrible military operations, blockades and death, destruction and famine, people manage to write such strong work and perform it in a besieged city? I think not. This is a unique feat."
The seventh symphony is one of the works written on a historical basis. The Great Patriotic War awakened in Shostakovich the desire to create a composition that would help a person gain faith in victory and a peaceful life. Heroic content, the triumph of justice, the struggle of light with darkness - this is what is reflected in the essay.
The symphony has a classic 4-part structure. Each part has its own role in terms of drama development:
- Part I written in sonata form without development. The role of the part is an exposition of two polar worlds, namely the main part represents a world of calm, grandeur, built on Russian intonations, the side part complements the main part, but at the same time changes its character, and resembles a lullaby. New musical material called “invasion episode” is a world of war, anger and death. Primitive melody accompanied percussion instruments carried out 11 times. The climax reflects the struggle of the main party and the “invasion episode.” From the coda it becomes clear that the main party won.
- Part II is a scherzo. The music contains images of Leningrad in peacetime with notes of regret for the past peace.
- Part III is an adagio written in the genre of a requiem for dead people. The war took them away forever, the music is tragic and sad.
- The final continues the struggle between light and darkness, the main party gains energy and defeats the “invasion episode.” The theme of the saraband glorifies all those who died in the struggle for peace, and then the main party is established. The music sounds like a real symbol of a bright future.
The C major key was not chosen by chance. The fact is that this tonality is a symbol clean slate, on which history is written, and only man decides where it will turn. Also, C major provides many opportunities for further modulations, both in the flat and sharp directions.
Use of music from Symphony No. 7 in films
Today, the Leningrad Symphony is rarely used in cinema, but this fact does not diminish the historical significance of the work. Below are films and TV series in which you can hear fragments of the most famous work of the twentieth century:
- "1871" (1990);
- “War Field Romance” (1983);
- "Leningrad Symphony" (1958).
"Leningrad Symphony" Dmitry Dmitrievich Shostakovich is a grandiose work glorifying the strength and invincibility of the Russian people. This is not just an essay, it is a story telling about a feat, about the victory of good over evil. And while the seventh symphony sounds solemnly Shostakovich , the whole world will remember the victory over fascism, and how many people laid down their own lives so that we could have today bright sky over your head.
Dmitry Shostakovich "Leningrad Symphony"
Seventh Symphony op. 60 “Leningradskaya” in C major- one of most important works Dmitry Dmitrievich Shostakovich.
The composer created the finale of the symphony, completed in December 1941, in Kuibyshev, where it was first performed on the stage of the Opera and Ballet Theater on March 5, 1942 by the orchestra of the Bolshoi Theater of the USSR under the direction of S. A. Samosud. The Moscow premiere (conducted by S. A. Samosud) took place on March 29, 1942.
Performance of the symphony in besieged Leningrad
Orchestra
Performed the Bolshoi Symphony Symphony Orchestra Leningrad Radio Committee. During the days of the siege, many musicians died of hunger. Rehearsals were stopped in December. When they resumed in March, only 15 weakened musicians could play. Despite this, concerts began in April.
Memorial plaque in honor of Dmitry Shostakovich in Samara
In May, a plane delivered the symphony's score to the besieged city. To replenish the size of the orchestra, the missing musicians were sent from the front.
Execution
Exclusive importance was attached to execution. Despite the bombs and airstrikes, all the chandeliers in the Philharmonic were lit.
Viktor Kozlov, clarinetist:
The Philharmonic hall was full. The audience was very diverse. The concert was attended by sailors, armed infantrymen, air defense soldiers dressed in sweatshirts, and emaciated regulars of the Philharmonic. The performance of the symphony lasted 80 minutes. All this time, the enemy’s guns were silent: the artillerymen defending the city received an order from the commander of the Leningrad Front, L.A. Govorova - suppress the fire of German guns at all costs. The operation of fire suppression of enemy batteries was called "Shkval".
Shostakovich's new work shocked the audience: many of them cried without hiding their tears. Great music managed to express what united people at that difficult time: faith in victory, sacrifice, boundless love for their city and country.
During its performance, the symphony was broadcast on the radio, as well as over the loudspeakers of the city network. It was heard not only by the residents of the city, but also by the German troops besieging Leningrad. Much later, two tourists from the GDR who found Eliasberg confessed to him:
Galina Lelyukhina, flutist:
Famous performances and recordings
Among the outstanding interpretive conductors who performed recordings of the Seventh Symphony are Paavo Berglund, Leonard Bernstein, Kirill Kondrashin, Evgeny Mravinsky, Gennady Rozhdestvensky, Evgeny Svetlanov, Yuri Temirkanov, Arturo Toscanini, Bernard Haitink, Carl Eliasberg, Maris Jansons, Neeme Järvi.
Starting from its performance in besieged Leningrad, the symphony had enormous propaganda and political significance for the Soviet and Russian authorities. On August 21, 2008, a fragment of the first movement of the symphony was performed in the South Ossetian city of Tskhinvali, destroyed by Georgian troops, by the Mariinsky Theater Orchestra conducted by Valery Gergiev. Live broadcast shown on Russian channels“Russia”, “Culture” and “Vesti”, the English-language channel Russia Today, and was also broadcast on the radio stations “Vesti FM” and “Culture”. On the steps of the parliament building destroyed by shelling, the symphony was intended to emphasize the parallel between the Georgian-South Ossetian conflict and the Great Patriotic War.
Notes
Links
- Opus 60 - 60 years later..., Shostakovich’s famous Seventh (“Leningrad”) Symphony was performed in Baltimore. Conducted by Yuri Temirkanov.
- Classica.FM "Ingo Metzmacher - Shostakovich's 7th Symphony"
- Petrov V. O. Shostakovich's work against the backdrop of the historical realities of the 20th century. - Astrakhan: Publishing house OGOU DPO AIPKP, 2007. - 188 p.
- Rusov L. A."Leningrad Symphony. Evgeny Aleksandrovich Mravinsky conducts.” 1982. // Ivanov S. V. Unknown socialist realism. Leningrad school. - St. Petersburg: NP - Print, 2007. - p. 109.
Music lesson notes, grade 7 " Symphonic music. Symphony No. 7 by D. D. Shostakovich"
Target: Introduce students to the history of the creation of Symphony No. 7 by D. D. Shostakovich.
Tasks:
Educational:
To form a concept of Shostakovich’s music as music corresponding to the spirit of the times
Remember the history of the Great Patriotic War- Leningrad blockade;
Reinforce the concept: symphony, musical image.
Educational:
Develop emotional-imaginative thinking in the process of perceiving a piece of music; associative connections between music and literature and history.
Develop students’ ability to analyze and compare;
Development of vocal and choral skills, development of memory, thinking, speech, and performing skills of students.
Educational:
Fostering patriotism and a sense of love for the Motherland;
Upbringing moral qualities personalities based on the example of courage and heroism Soviet people during the war years.
Lesson type : A lesson in studying and initially consolidating new knowledge.
Didactic support of the lesson : portrait of the composer, analysis diagram of a musical work, presentation.
Technical support lesson : accordion, PC, screen and projector.
Symphony No. 7 (invasion theme) by D. D. Shostakovich. J. Frenkel "Cranes"
Multicase “About that spring”
Methods:
Verbal;
Visual;
method of emotional dramaturgy;
intonation analysis of works of art.
Types of student activities :
listening to music;
participation in thinking about music, analysis according to the scheme;
vocal and choral work;
peer assessment;
reflection.
During the classes:
1. Organizational stage (1 min)
2) Setting the goals and objectives of the lesson. Motivation educational activities students
Today our lesson is special. We will work in groups, according to sectors: literary, scientific, visual and journalistic. Having received homework, each group had to prepare, and today you will demonstrate your homework.
The topic of our lesson is:"Symphonic music. Symphony No. 7 by D. D. Shostakovich"
Epigraph of the lesson: “I do not want and cannot believe that evil exists normal condition people" F. Dostoevsky
In order to sing a song, you must answer the questions (educational game “Top Canvas”. (Questions for the game canvas 1. What is an orchestra? What is a symphony? Etc.)
What song does this picture remind you of? (“Cranes”). Let's do it. In the background of the song, a video about the Second World War is shown.
The literary sector prepared V. Galitsky’s poem “An Ordinary Soldier of the Motherland.”
Second World War. Not a single state was able to withstand the onslaught of Hitler's army. Having captured almost all of Europe, without declaring war, Hitler invaded Soviet Union. The courage of our people, their readiness to defend their Motherland to the last drop of blood, was reflected in many musical works of that time. Many composers turned to the theme of war in their work.
The scientific sector has prepared a report about D. D. Shostakovich. Presentation.
Dmitry Dmitrievich Shostakovich Russian composer of the twentieth century. At the age of 9 he began studying music, and at 14 he entered the conservatory to study two specialties: pianist and composer. He had excellent memory, hearing and the ability to improvise. But the most important thing is its depth and originality musical thinking. He went through a lot: the death of his wife, friends, accusations of formalism. He fought for justice, cruelty, violence and reflected all this in his works. The genre range is very wide. The basis of Shostakovich's creativity is instrumental music, in particular symphonies. He wrote 15 symphonies, the first he wrote at the age of 19.
Shostakovich was born in Leningrad, where the war found him. Together with other Leningraders, he defended his city. I went out of town to dig fortifications, in the evenings I was on duty on the roof, extinguishing incendiary bombs, and in free time wrote music. In the autumn of 1941 he composed the 7th Leningrad Symphony. The symphony premiered in 1942 and was performed by an orchestra Bolshoi Theater. Soon the 7th symphony was performed in Moscow. A special plane that broke through the blockade into the city delivered the score to Leningrad. The author wrote on it: “Dedicated to the city of Leningrad.” After hearing this symphony, one American critic wrote: “What devil can defeat a people capable of creating music like this...”.
On August 9, 1942, when, according to the plan of the fascist command, Leningrad was supposed to fall, Shostakovich’s 7th symphony was performed in this city, exhausted by the blockade, but not surrendering to the enemy. On this day, the Nazis were never able to begin artillery shelling of the city of Leningrad, because Marshal Govorkov, commander-in-chief of the Leningrad Front, ordered the suppression of enemy positions during the concert. It is believed that such a fact is unique in music. In the same year, 1942, Shostakovich received the Stalin Prize for this composition. Among the numerous musical genres in Shostakovich’s work, one of the most honorable places belongs to the symphony. From its inception to the present day, it has sensitively reflected its time.
Now we will listen to D. Shostakovich’s 7th symphony “Episode of Invasion”. Think about why the author called this symphony that way? The symphony consists of 4 parts: 1 war 2 memories 3 native spaces 4 victory. Hearing.Analysis of a piece of music
What is the nature of a piece of music?
Shostakovich's music has a great influence. An episode from the first movement of the Leningrad Symphony depicts a fascist army that is approaching and destroying all living things. It’s not for nothing that this passage is called the “Invasion Episode.” Against the background of a clear drum rhythm, the theme of the enemy appears, which at first has the image of a wound-up toy, gradually turning into soullessness, arrogance, and the stupid mechanism of the fascist military. A wild chaos of destruction begins. He used the march theme 11 times and the clear drum rhythm 175 times, but the harmony and dynamics change.
Why did Shostakovich call this music that? (she vividly depicts the attack)
What genre is this music based on? (March. At the beginning it is toy-like, but at the end of the music the clanging of soulless machines drowns out the theme, the melody becomes rough, scary, threatening, inhuman).
What happens to the dynamics? Melody? (the dynamics sound from piano to forte. The melody remains unchanged, but it changes, becomes angry, scary, harsh).
What image did Shostakovich create? (image of a fascist offensive, movement of fascist tanks, planes, terrible enemy strength, mortal combat).
Let's see what the visual sector presents to us, how did they see this music?
Tremendous grief affected almost every family during the Second World War. Listen to the song “And All About That Spring”
What feelings does this song evoke?
What means musical expressiveness did the composer use?
What is the image of this work?
Chanting using modal gestures. Learning a song.
Journalists are present at our lesson. They closely followed the course of events. They will conduct a survey.Reflection.
We must remember that Soviet soldiers liberated our country and all of Europe from fascism. Eternal glory and honor to those who are still alive. Low bow to them. Performing the song “And All About That Spring”
Back forward
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The purpose of the lesson: introduce students to outstanding work world classical music, determine its historical significance.
Tasks:
- characterization of the image of the enemy invasion and the means of musical expressiveness with which the image was created,
- identifying the relationship between a musical work and works visual arts and poetry,
- development of figurative and creative thinking students, the ability to express their thoughts and judgments,
- nurturing patriotism, love of the motherland, interest in the history of the native country.
Equipment: computer, multimedia projector, piano.
During the classes
Teacher. Guys, today we are going on an unusual journey. Let's get acquainted with the epigraph of our lesson:
“A thunderstorm was rolling over the world.
Never before at a concert
I never felt the hall so close
The presence of life and death."
M. Matusovsky
Based on the epigraph, think about what time we will leave? (children's statements).
Yes indeed. We will go with you to the 20th century, during the Great Patriotic War, and specifically to August 9, 1942 in besieged Leningrad, to the large hall of the Leningrad Philharmonic.
(Slide 2) I. Silver. Concert in besieged Leningrad.
This year, this hall, these are the people who are present at this concert. Let's imagine that we find ourselves in this room. Let's take a close look at the faces of the people who came to the concert and try to understand what kind of music is heard in this hall. (Slide 3)
In the compositional center of the picture is located man with a menacing face. What feelings did the music evoke in his soul? (Feeling of rage, hatred towards the enemy: his cheekbones are compressed, his eyebrows are knitted, his hand on his bag is tense, it seems he is about to get up and rush into battle).
To his left man covering his face with his hands. What feeling did the music evoke in his soul? (Bitter memories of the death of loved ones, friends, perhaps he is crying).
A young girl sits by a column. Compositionally, it is located in the brightest place of the picture. What does this mean? (That her soul is bright, pure, that she is young and romantic). What feelings did the music evoke in her soul? (Feelings of pain, sorrow, bright dreams of happiness were shattered by the terrible reality of war).
A girl standing at a pillar. What can you say about her? (She's wearing military uniform, which means she takes part in hostilities, she is closed in on herself). What feelings does music evoke in her soul? (In her eyes there is sadness mixed with pain and bitterness; she remembers everything she had to endure in the war).
Look, guys, all the characters in the picture are in one place, sitting next to each other, listening to the same music, but does this music evoke the same feelings in each of them? (No, music evokes different feelings for each of them).
Let's now listen to this music too. What feelings will it evoke in your soul? I will give you pieces of paper on which you can write down your thoughts while listening.
The teacher distributes pieces of paper, the children listen to the “episode of the fascist invasion” from part 1 of D. Shostakovich’s “Leningrad Symphony”, and write down their thoughts. After listening, children read and express their impressions of what they heard.
Teacher. Thank you guys, you listened to the music very carefully and emotionally and expressed your thoughts very figuratively. And now I will tell you the truth. August 9, 1942 in besieged Leningrad in great hall The Leningrad Conservatory performed the 7th symphony of the outstanding Russian composer Dmitry Dmitrievich Shostakovich. This symphony was called "Leningrad". The guys who prepared short messages will tell us about the history of the creation of this symphony.
Student 1.“Soon after the start of the war, Leningrad was surrounded by a fiery ring of siege, which lasted 900 days and nights and claimed hundreds of thousands of lives. There, in besieged Leningrad, in darkness, in hunger, in sadness, where death, like a shadow, trailed on the heels... the professor of the Leningrad Conservatory, the most famous composer throughout the world, Dmitry Dmitrievich Shostakovich, remained. (Slide 4) In his soul, seething with great anger, a grandiose plan for a new work matured, which was supposed to reflect the thoughts and feelings of millions Soviet people. Everything that was changed and felt in the first days of the war demanded release for months and sought its embodiment in sounds. With extraordinary enthusiasm, the composer began to create his 7th symphony. “Music burst out of me uncontrollably,” he later recalled. Neither hunger, nor the onset of autumn cold and lack of fuel, nor frequent artillery shelling and bombing could interfere with inspired work.”
Student 2. Here is one of the episodes that gives an idea of the conditions under which the symphony’s music was created: “On the morning of September 16, 1941, Dmitry Dmitrievich spoke on Leningrad radio. The city was bombed by fascist planes, and the composer spoke to the roar of anti-aircraft guns and bomb explosions: “An hour ago I finished the score of two parts of a large symphonic work. If I manage to write this work well, if I manage to finish the third and fourth parts, then it will be possible to call this work the Seventh Symphony. Why am I reporting this? So that the radio listeners who are listening to me now know that life in our city is going well. We are all currently on our combat watch..."
Children listen to an archival recording of D. Shostakovich's radio address to the people of Leningrad on September 16, 1941 (this recording can be listened to on the website www.nivasposad.ru).
A significant part of the symphony was written by the composer in the fall of 1941 in Leningrad. (Slide 5) On title page Seventh Symphony by D.D. Shostakovich wrote: “Our victory over fascism, our future victory over the enemy, my hometown“I dedicate my Seventh Symphony to Leningrad.” (Slide 6)
Student 3. Shostakovich completed the entire symphony in Kuibyshev (Samara), where he was evacuated by order in 1942. (Slide 7)
The first performance of the symphony took place on March 5, 1942 in the hall of the Palace of Culture on Kuibyshev Square (modern opera and ballet theater) under the direction of S. Samosud. (Slides 8–11)
In besieged Leningrad, the symphony was first performed on August 9, 1942. (Slide 12) In a besieged city, people found the strength to perform a symphony. There were only 15 people left in the radio committee orchestra, but at least a hundred were needed! Then they called together all the musicians who were in the city and also those who played in the army and navy front orchestras near Leningrad. On August 9, Shostakovich's Seventh Symphony was played in the large hall of the Philharmonic. (Slide 13) Conducted by Karl Ilyich Eliasberg. (Slides 14, 15)“These people were worthy to perform the symphony of their city, and the music was worthy of them,” they wrote then in “ Komsomolskaya Pravda».
Teacher. From the children's story we learned about the history of the creation of the symphony. What do you guys think, what idea did Shostakovich put into this symphony? What did he want to tell people?
Children's answers.
Teacher summarizes the children's answers: the idea of the symphony is the struggle of the Soviet people against the fascist occupiers and faith in victory. This is how the composer himself defined the idea of the symphony: “My symphony is inspired by the terrible events of 1941. The insidious and treacherous attack of German fascism on our Motherland rallied all the forces of our people to repel the cruel enemy. The seventh symphony is a poem about our struggle, about our impending victory.” This is what he wrote in the Pravda newspaper on March 29, 1942.
The idea of the symphony is embodied in 4 movements. Part I is of particular importance. Shostakovich wrote about it in the author’s explanation, published in the program of the concert on March 5, 1942 in Kuibyshev: “The first part tells how a formidable force burst into our beautiful peaceful life - war.” These words defined two themes contrasted in the first part of the symphony: the theme of peaceful life (the theme of the Motherland) and the theme of the outbreak of war (fascist invasion). “The first theme is the image of joyful creation. This emphasizes the Russian sweeping, broad theme, filled with calm confidence. Then melodies embodying images of nature sound. They seem to dissolve, melt. Warm summer night sank to the ground. Both people and nature – everything fell asleep.”
Children listen to part 1 of the symphony before the episode of the fascist invasion.
And then the invasion of enemy forces begins, the invasion episode begins. This is exactly what you and I heard when we went to a concert in besieged Leningrad at the beginning of the lesson. “Against the background of the mysteriously rustling, barely audible beat of the snare drum, the theme of the enemy appears. Wind instruments sound muffled and insinuating. It’s as if wind-up dolls are marching and someone is playing along on a nasal, rattling pipe. Little by little, the sound of the orchestra becomes denser and more massive. The theme of the enemy seems to grow, approach us, it becomes more and more frantic, frantic. The monster throws off his jester mask, and we see, and we see his bestial grin. And then the wild chaos of destruction begins.
In the episode of the invasion, the composer conveyed inhuman cruelty, blind, lifeless, creepy automatism, inextricably linked with the appearance of the fascist military. Leo Tolstoy’s expression – “evil machine” – is very appropriate here.
Now we will listen to this famous episode again, after which we will try to characterize the image of the fascist invasion and think about what means of musical expressiveness this image is achieved.
Children listen to an episode of the fascist invasion.
After listening, children characterize the image and means of musical expression.
- Characteristics of the image - dull, cold, automatic, iron, soulless, intensifying, growing, etc.
- The means of musical expressiveness with which the image is achieved are dullness, coldness, automatism is created the monotony of the melody, the chased rhythm, the constant repetition of the same motive; impression of impending formidable force creates increasing dynamics, increasing the number of instruments; creates a military image march genre; the main means of image development – dynamics and orchestral variations.
Teacher. And here is how musicologists L. Danilevich and A. Tretyakova characterize the image of an enemy invasion: “To create such an image, Shostakovich mobilized all the means of his compositional arsenal. The theme of the invasion is deliberately blunt, square, reminiscent of a Prussian military march. It is repeated eleven times - eleven variations. The harmony and orchestration change, but the melody remains the same. It repeats itself with iron inexorability - exactly, note for note. All variations are permeated with a fractional march rhythm. This snare drum rhythmic figure is repeated 175 times. The sound gradually increases from subtle pianissimo to thunderous fortissimo.” “Growing to gigantic proportions, the theme depicts some kind of unimaginably gloomy, fantastic monster, which, growing larger and denser, moves forward more and more rapidly and menacingly.” This topic is reminiscent of “the dance of learned rats to the tune of the rat catcher,” A. Tolstoy wrote about it.
How does such a powerful development of the theme of enemy invasion end? “At the moment when it would seem that all living things are dying, unable to resist the onslaught of this terrible, all-crushing robot monster, a miracle occurs: a new power, capable of not only resisting, but also joining the fight. This is the theme of resistance. Marching, solemn, it sounds with passion and great anger, resolutely opposing the theme of invasion. The moment of its appearance is the highest point in musical dramaturgy 1 part. After this collision, the theme of invasion loses its solidity. It fragments and becomes smaller. All attempts to revive are in vain - the death of the monster is inevitable."
Children listen to a fragment of the collision between the theme of invasion and the theme of resistance.
Teacher. In Moscow, D. Shostakovich's Seventh Symphony was performed on March 29, 1942, 24 days after its premiere in Kuibyshev. In 1944, the poet Mikhail Matusovsky wrote a poem called “The Seventh Symphony in Moscow” . (Slide 16)
You probably remember
How the cold then penetrated
Night quarters of Moscow,
Entrances of the Hall of Columns.
The weather was stingy
A little powdered with snow,
As if this cereal
We were given cards.
But the city, shrouded in darkness,
With a sadly crawling tram,
Was this siege winter
Beautiful and unforgettable.
When the composer is sideways
I made my way to the foot of the piano,
In the orchestra, bow by bow
Woke up, lit up, shone
As if from the darkness of nights
Blizzard gusts reached us.
And immediately all the violinists
The sheets flew off the stands.
And this stormy darkness,
Whistling gloomily in the trenches,
Wasn't anyone before him
Written like a score.
A thunderstorm was rolling over the world.
Never before at a concert
I never felt the hall so close
The presence of life and death.
Like a house from floors to rafters,
Immediately engulfed in flames,
The orchestra, maddened, screamed
One musical phrase.
The flames were breathing in her face.
The cannonade drowned her out.
She was breaking through the ring
Siege nights of Leningrad.
Humming in the deep blue,
I was on the road all day.
And the night ended in Moscow
Air raid siren.
Teacher. Let's summarize our lesson. Which historical assessment can you give D. Shostakovich's "Leningrad" symphony?
Children's answers.
Teacher summarizes the children's answers: Everyone performed feats in the war - on the front line, in partisan detachments, in concentration camps, in the rear in factories and hospitals. Musicians who wrote music in inhuman conditions and performed it at the fronts and for home front workers also performed feats. Thanks to their feat, we know a lot about the war. The 7th Symphony is not only musical, it is a military feat of D. Shostakovich.
“I put a lot of strength and energy into this composition,” the composer wrote in the Komsomolskaya Pravda newspaper. – I have never worked with such enthusiasm as I do now. There is such a thing popular expression: “When the guns roar, then the muses are silent.” This rightly applies to those guns that suppress life, joy, happiness, and culture with their roar. Then the guns of darkness, violence and evil roar. We are fighting in the name of the triumph of reason over obscurantism, in the name of the triumph of justice over barbarism. There are no more noble and sublime tasks than those that inspire us to fight the dark forces of Hitlerism.”
Works of art created during the war are monuments to military events. The Seventh Symphony is one of the most grandiose, monumental monuments, This live page history that we should not forget.
During the lesson we learn the song “Memory of the War” lyrics. and music N. Tananco (Appendix 1) .
Bibliography:
- Tretyakova L.S. Soviet music: Book. for students of Art. classes. – M.: Education, 1987. Pp. 73–77.
- I. Prokhorova, G. Skudina. Soviet musical literature for children's grade VII music school edited by T.V. Popova. Eighth edition. – Moscow, “Music”, 1987. Pp. 78–86.
- Soviet musical literature. First issue, ed. 4th revised and expanded. Textbook for music schools. – Moscow, “Music”, 1977. Pp. 355–364. Author of the article T.V. Popova.
- L. Danilevich. The book about Soviet music. – Moscow, MUZGIZ, 1962. Pp. 342–344.
- Music in grades 4–7: a manual for teachers / T.A. Bader, T.E. Vendrova, E.D. Kritskaya et al.; Ed. E.B. Abdullina; scientific Head D.B. Kabalevsky. – M.: Education, 1986. Pp. 132, 133.
- Poems about music. Russian, Soviet, foreign poets. Second edition. Compiled by A. Biryukova, V. Tatarinov under general edition V. Lazareva. – M.: All-Union edition. Soviet composer, 1986. Pp. 98.
Shostakovich is the author of fifteen symphonies. This genre is very important in his work. If for Prokofiev, although all his creative aspirations were varied, the most important, perhaps, was Musical Theatre, and his instrumental music is very closely connected with his ballet and opera images, then for Shostakovich, on the contrary, the defining and characteristic genre is a symphony. And the opera "Katerina Izmailova", and many quartets, and his vocal loops- they are all symphonic, that is, imbued with the continuous intense development of musical thought. Shostakovich is a true master an orchestra that thinks orchestrally. He uses combinations of instruments and instrumental timbres in many new ways and with amazing precision as living participants in symphonic dramas.
One of the most significant works Shostakovich's seventh symphony, "Leningrad", written by him in 1941. The composer composed most of it, as already mentioned, in besieged Leningrad. Here is just one of the episodes that would give an idea of the conditions in which the music was written.
On September 16, 1941, in the morning, Dmitry Dmitrievich Shostakovich spoke on Leningrad radio. Fascist planes bombed the city, and the composer spoke amid the explosions of bombs and the roar of anti-aircraft guns:
“An hour ago I finished the score of two movements of a large symphonic work. If I manage to write this work well, if I manage to finish the third and fourth parts, then it will be possible to call this work the Seventh Symphony.
Why am I reporting this? - asked the composer, - ... so that the radio listeners who are listening to me now know that life in our city is going normally. We are all now on our combat watch... Soviet musicians, my dear and numerous comrades in arms, my friends! Remember that our art is in great danger. Let us protect our music, let us work honestly and selflessly...” No less remarkable is the history of the first performances of this symphony, both in the USSR and abroad. Among them there is this amazing fact- The premiere in Leningrad took place in August 1942. People in the besieged city found the strength to perform the symphony. To do this, we had to solve several problems. For example, there were only fifteen people left in the Radio Committee orchestra, but the symphony needed to be performed by at least a hundred! Then they decided to convene all the musicians who were in the city, and even those who played in the naval and army front-line orchestras near Leningrad. Shostakovich's Seventh Symphony was played on August 9 in the Philharmonic Hall under the baton of Karl Ilyich Eliasberg. “These people were worthy to perform the symphony of their city, and the music was worthy of them...” - Georgy Makogonenko and Olga Berggolts responded then in Komsomolskaya Pravda.
Shostakovich's Seventh Symphony is often compared to documentary works about the war, called a “document”, a “chronicle”, because it conveys the spirit of events with unusual precision. But at the same time, this music amazes with the depth of thought, and not just with the immediacy of impressions. Shostakovich reveals the struggle between the people and fascism as a struggle between two poles:
the world of reason, creativity, creation and - the world of cruelty and destruction; a real Man and a civilized barbarian; good and evil.
To the question of what wins as a result of this battle in the symphony, Alexey Tolstoy said very well: “To the threat of fascism - to dehumanize man - he (i.e. Shostakovich) responded with a symphony about the victorious triumph of everything high and beautiful created by humanitarian culture. .."
The four movements of the symphony reveal in different ways the idea of the triumph of Man and his struggle. Let us take a close look at the first part, which depicts the direct “military” collision of two worlds.
Shostakovich wrote the first movement (Allegretto) in sonata form. Its exhibition contains images of the Soviet people, country, and people. “Working on the symphony,” said the composer, “I thought about the greatness of our people, about their heroism, about the best ideals of humanity, about the wonderful qualities of man...”. The first theme of this exhibition is the theme of the main part - majestic and heroic. It is voiced in the key of C major by string instruments:
Let us list some of the features of this topic that give it modern dynamism and poignancy. This is, first of all, an energetic marching rhythm, characteristic of many popular Soviet songs, and bold, wide melodic moves. In addition, this is the tension and richness of the mode: C major, exuding in the third bar into a higher degree (the sound F-sharp), and then the minor third - E-flat - is used in the development of the theme.
The main part of the composer’s seventh symphony is similar to the “heroic” Russian themes in its heavy unisons and swinging, sweeping intonations.
Immediately after the main part, a lyrical side part plays (in the key of G major):
Quiet and somewhat shy in expressing emotions, the music is very sincere. The instrumental colors are pure, the presentation is transparent. The melody is led by violins, and the background is a swaying figure of cellos and violas. Towards the end of the side part there are solos from a muted violin and a piccolo flute. The melody seems to dissolve in silence, flowing. This is how the exhibition ends, revealing a reasonable and active, lyrical and courageous world.
Then follows the famous episode of the fascist attack, a grandiose picture of the invasion of the force of destruction.
The last “peaceful” chord of the exposition continues to sound when the beat of a military drum can be heard from afar. Against its background, it develops strange topic- symmetrical (a move up a fifth corresponds to a move down a fourth), abrupt, neat. Like clowns twitching:
Alexey Tolstoy allegorically called this melody “The dance of learned rats to the tune of the rat catcher.” The specific associations that arise in the minds of different listeners may be different, but there is no doubt that there is something of an ominous caricature in the theme of the fascist invasion. Shostakovich exposed and satirically sharpened the traits of automatic discipline, stupid narrow-mindedness and pedantry, brought up among the soldiers of Hitler's troops. After all, they should not have reasoned, but blindly obeyed the Fuhrer. In the theme of the fascist invasion, the primitiveness of intonations is combined with the “square” rhythm of the march: at first this theme seems not so much formidable as stupid and vulgar. But in its development, a terrible essence is revealed over time. Obedient to the rat catcher, the learned rats enter the battle. The march of the puppets transforms into the stride of a mechanical monster that tramples all living things in its path.
The invasion episode is built in the form of variations on one theme (in the key of E-flat major), melodically unchanged. The drumbeat remains constant, constantly intensifying. From variation to variation, orchestral registers, timbres, dynamics, density of texture change, and more polyphonic voices are added. All these means rob the character of the topic.
There are eleven variations in total. In the first two, the deadness and coldness of the sound are emphasized by the timbre of the flute in a low register (first variation), as well as the combination of this instrument with a piccolo flute at a distance of one and a half octaves (second variation).
In the third variation, the automaticity stands out more strongly: the bassoon copies each phrase from the oboe an octave lower. A new figure, dully beating out a rhythm, enters the bass.
The militant nature of the music intensifies from the fourth to the seventh variations. Copper comes into play wind instruments(trumpet, trombone with mute in the fourth variation). The theme sounds for the first time in forte; it is presented in parallel triads (sixth variation).
In the eighth variation the theme begins to sound terrifyingly fortissimo. It is played in the lower register, in unison with eight horns, string instruments and woodwinds. The automatic figure from the third variation now rises, tapped by the xylophone in combination with other instruments.
The iron sound of the theme in the ninth variation is joined by the motive of a groan (for trombones and trumpets in the upper register). And finally, in the last two variations the theme takes on a triumphant character. It seems that an iron monster is crawling heavily towards the listener with a deafening clang. And then something happens that no one expects.
The tone changes dramatically. Another group of trombones, horns and trumpets enters. To the triple composition of wind instruments in the orchestra of the seventh symphony, 3 more trombones, 4 horns and 3 trumpets were added. A dramatic motif called the resistance motif is played. In an excellent article dedicated to the seventh symphony, Evgeniy Petrov wrote about the theme of invasion: “It is overgrown with iron and blood. She shakes the hall. She shakes the world. Something, something iron is walking along human bones, and you hear them crunching. You clench your fists. You want to shoot at this monster with a zinc muzzle, which inexorably and methodically walks towards you, - once, two, one, two. And so, when, it would seem, nothing can save you, when the limit of the metallic power of this monster, incapable of thinking and feeling, has been reached... a musical miracle occurs, which I know of no equal in world symphonic literature. A few notes in the score, and at full gallop (so to speak), at the utmost tension of the orchestra, the simple and intricate, buffoonish and terrible theme of war is replaced by the all-crushing music of resistance”:
The symphonic battle begins with terrible tension. Variational development flows into development. The iron motives of the invasion are attacked by powerful volitional efforts. Moans, pain, and screams are heard in heartbreaking, piercing dissonances. Together, all this merges into a huge requiem - a lament for the dead.
This is how they begin an unusual reprise. It contains both side and main topic the expositions become noticeably changed - just like the people who entered the flames of war, were filled with anger, experienced suffering and horror.
Shostakovich's talent had such a rare property: the composer was able to convey in music great sorrow, welded with the enormous power of protest against evil. This is how the main part sounds in the reprise:
Now she floats in a minor key, the marching rhythm has turned into a mournful one. This is indeed a funeral procession, but the music has acquired the features of a passionate recitative. Shostakovich addresses this speech to all people.
Similar melodies - full of passionate, angry, inviting oratorical intonations, widely presented by the entire orchestra - are found more than once in the composer's music.
Previously lyrical and bright, the side part in the reprise by the bassoon sounds mournful and dull, in a low register. She sounds special minor scale, often used by Shostakovich in tragic music (minor with 2 lower degrees - II and IV; in this case, in F-sharp minor - G-becar and B-flat). A quick change of time signatures (3/4, 4/4, then 3/2) brings the melody closer to the living breath of human speech. This contrasts quite strongly with the automatic rhythm of the invasion theme.
The theme of the main part appears again at the end of the first part - the coda. She has returned to her original major appearance, but now the violins sound melodiously and quietly, like a dream of the world, a memory of it. The end is unsettling. From afar, the theme of the invasion and the drum roll sounds. The war is still going on.
Shostakovich, without embellishment, with cruel truthfulness, painted true pictures of war and peace in the first movement of the symphony. He captured in music the heroism and greatness of his people, depicted the dangerous power of the enemy and all the tension of a life-and-death battle.
In the two subsequent parts, Shostakovich contrasted the destructive and cruel power of fascism with a spiritually rich man, the strength of his will and the depth of his thought. The powerful finale - the fourth part - is full of anticipation of victory and offensive energy. In order to fairly evaluate it, we should once again remember that the composer composed the finale of the seventh symphony at the beginning of the Great Patriotic War.
Many years have passed since the first performance of the Leningrad Symphony. Since then, it has been heard around the world many times: on the radio, in concert halls, even in cinema: a film was made about the seventh symphony. Her performance again and again resurrects the indelible pages of history before the audience, pouring pride and courage into their hearts. Shostakovich's Seventh Symphony can well be called the “Eroic Symphony” of the twentieth century.