After the colossal and tragic symphonies of the war-torn years of World War II, Soviets and critics alike expected another grand symphony from the pen of Dmitri Shostakovich. Indeed, even Shostakovich expected as much from himself. In January of 1945, he confided to his students that he had begun a new symphony—a grand work for soloists, chorus and orchestra that would be an appropriate tribute to Soviet Russia’s victory over Nazi Germany. A week after his announcement, he informed them he was halfway through the development section. One student, who heard a fragment of the symphony in progress, described it as “majestic in scale, in pathos, in its breathtaking motion.”
For whatever reason, however, Shostakovich then ceased working on the new symphony. It lay untouched for three months before he took up work on it again in July. During the intervening time, Shostakovich’s conception of the work drastically changed. The majesty and pathos of what he had begun became instead a light and transparent jollity, and the planned soloists and chorus were eliminated completely. Yevgeny Mravinksy, who conducted the symphony’s premiere, described it as “a joyous sigh of relief” both for Russia’s victory on the Eastern Front and after the tragedies of the Seventh and Eighth symphonies.
The Symphony No. 9 was premiered on November 3, 1945 with the Leningrad Philharmonic under Mravinsky. Shostakovich was optimistic about its premiere, predicting that it would be a delight to audiences and the fodder of critics. Though it passed the cultural officers of the Soviet Union in its screening in September, the symphony nonetheless, and not surprisingly, was not well-received by members of the government. They were expecting a grand tribute to Stalin and Soviet Russia’s victory, but were offered a neo-Classical symphony that appeared to be more a tribute to Haydn than anything else. Mravinsky’s description of the work temporary appeased Soviet officials, but the work was inevitably banned in 1948. The symphony further failed to appeal to Western audiences, and was dismissed by the New York World-Telegraph as a “childish manner” of expressing the “feelings about the defeat of Nazism.”
Despite its unimpressive premieres, the Symphony No. 9 perhaps fares better with audiences today. It is among the shortest of Shostakovich’s symphonies, even though it is written in five movements. Its modest forces of a mid-Romantic orchestra plus percussion and neo-Classical style reminiscent of Prokofiev First Symphony create a light and joyful mood that one would be hard-pressed not to find pleasing.Joseph DuBose
Classical Music | Orchestral Music
Dmitry Shostakovich
Symphony No. 9, mvt III Play
Recorded on 06/11/2010, uploaded on 11/25/2010
Musician's or Publisher's Notes
After the colossal and tragic symphonies of the war-torn years of World War II, Soviets and critics alike expected another grand symphony from the pen of Dmitri Shostakovich. Indeed, even Shostakovich expected as much from himself. In January of 1945, he confided to his students that he had begun a new symphony—a grand work for soloists, chorus and orchestra that would be an appropriate tribute to Soviet Russia’s victory over Nazi Germany. A week after his announcement, he informed them he was halfway through the development section. One student, who heard a fragment of the symphony in progress, described it as “majestic in scale, in pathos, in its breathtaking motion.”
For whatever reason, however, Shostakovich then ceased working on the new symphony. It lay untouched for three months before he took up work on it again in July. During the intervening time, Shostakovich’s conception of the work drastically changed. The majesty and pathos of what he had begun became instead a light and transparent jollity, and the planned soloists and chorus were eliminated completely. Yevgeny Mravinksy, who conducted the symphony’s premiere, described it as “a joyous sigh of relief” both for Russia’s victory on the Eastern Front and after the tragedies of the Seventh and Eighth symphonies.
The Symphony No. 9 was premiered on November 3, 1945 with the Leningrad Philharmonic under Mravinsky. Shostakovich was optimistic about its premiere, predicting that it would be a delight to audiences and the fodder of critics. Though it passed the cultural officers of the Soviet Union in its screening in September, the symphony nonetheless, and not surprisingly, was not well-received by members of the government. They were expecting a grand tribute to Stalin and Soviet Russia’s victory, but were offered a neo-Classical symphony that appeared to be more a tribute to Haydn than anything else. Mravinsky’s description of the work temporary appeased Soviet officials, but the work was inevitably banned in 1948. The symphony further failed to appeal to Western audiences, and was dismissed by the New York World-Telegraph as a “childish manner” of expressing the “feelings about the defeat of Nazism.”
Despite its unimpressive premieres, the Symphony No. 9 perhaps fares better with audiences today. It is among the shortest of Shostakovich’s symphonies, even though it is written in five movements. Its modest forces of a mid-Romantic orchestra plus percussion and neo-Classical style reminiscent of Prokofiev First Symphony create a light and joyful mood that one would be hard-pressed not to find pleasing. Joseph DuBose
Cliff Colnot, Guest Conductor
More music by Dmitry Shostakovich
Prelude n. 1 (from five preludes without opus number)
Trio No. 1 in c minor, Op. 8
Adagio from The Limpid Stream, Op. 39
Prelude Op.34 no.5
Violin Concerto No. 1, Op. 99
Prelude n. 3 (from five preludes without opus number)
Sonata for Cello and Piano in d minor, Op. 40
Sonata for Cello and Piano in d minor, Op. 40
Piano Quintet in g minor, op. 57
String Quartet no. 1, op. 49
Classical Music for the Internet Era™