Shostakovich: Symphony No. 13 for bass soloist and men's choir (1961-62)

When writing his 13th Symphony, Shostakovich drew inspiration from Yevgeny Yevtushenko's poignant poem "Babi Yar," initially published in the September 1961 edition of the Soviet newspaper Literaturnaya Gazeta. This poem marked a revolutionary shift in Soviet cultural expression, bravely challenging the societal norms of the time. Yevtushenko's verses served as a bold denouncement of anti-Semitism within the USSR, spotlighting the disturbing official stance that consistently thwarted initiatives to memorialize the tragic Babi Yar massacre site from 1941, where a majority of the victims were Ukrainian Jews.

During the Nazi occupation, the ravine outside Kiev witnessed the horrifying extermination of thousands, yet anti-Semitism persisted in Soviet culture. Following a brief postwar respite, coinciding with Joseph Stalin's acknowledgment of the newly formed state of Israel, this prejudice resurged. It manifested as a vehement denial of the notion that Jews had endured greater suffering than "native" Russians and Ukrainians during the war.

In 1961 Shostakovich held the mantle of the Soviet Union's preeminent composer, standing as a vital cultural emissary both nationally and internationally. Despite his recent affiliation with the Communist Party, a move compelled by intense pressure, his membership cast a shadow over his standing, particularly among the younger generation of Soviet artists. While Shostakovich clandestinely assisted those imprisoned or facing adversity during and after the Stalin era, his association with the authorities led to a perception shift, transforming him into a symbol of the establishment.

Amidst the disquietude permeating Shostakovich's life during those years, some of his most remarkable compositions found their genesis. Once again assuming the role of a compelling orator, he echoed his eloquence from the 1930s and 1940s during the tumultuous Stalinist purges and the war, with his 13th Symphony staking a central claim in this resurgence.

In the backdrop of Khrushchev's administration seeking to erase all traces of the Babi Yar massacre, an unsettling solution emerged: a road carved across the gorge. The symphony's opening line, "There is no memorial to Babi Yar," stands as an accusatory finger pointing squarely at those accountable. Until 1966, no memorial existed, with a permanent one only materializing in 1991. The aftermath of Yevtushenko's publication triggered a vitriolic campaign against him, accusing him of inciting racial hatred. Despite the impending premiere's precarious position, fueled by the sensitivity of the subject and irrespective of Shostakovich's party affiliation, the cultural milieu was on the brink of canceling the event.

Yevgeny Mravinsky, who had introduced Shostakovich's previous eight symphonies, declined to conduct the new work. Even at this eleventh hour, Soviet cultural authorities endeavored to dissuade musicians from proceeding with the premiere, yet their resistance prevailed. Remarkably, the impending premiere garnered no promotional attention, underscoring the tense and clandestine atmosphere surrounding this significant cultural event.

The movements:

Babi Yar: Adagio

Within this composition, Shostakovich and Yevtushenko undertake a profound metamorphosis, transcending the historical atrocity of the 1941 Nazi massacre of Jews at Babi Yar near Kiev to craft a scathing rebuke of anti-Semitism in its various manifestations. Despite the Soviet government's failure to erect a memorial at Babi Yar, the site assumed an unspoken significance, evolving into a pilgrimage destination for Soviet Jews.

Shostakovich intricately weaves Yevtushenko's verses into a tapestry of theatrical episodes, each a narrative pivot – from the infamous Dreyfus Affair to the chilling Bialystok pogrom and the poignant tale of Anne Frank. These segments, akin to extended interludes, interlace with the poem's overarching theme, imbuing the movement with a dynamic structural framework reminiscent of opera. The composer delves into the arsenal of graphic illustration and vivid word-painting, manifesting the drama through evocative imagery.

Consider, for instance, the cruel mockery of the imprisoned Dreyfus through the prison bars with umbrellas, portrayed by an accented pair of eighth notes in the brass. In another climactic juncture, the Anne Frank episode unfolds with a palpable sense of menace, reaching its zenith in the musical portrayal of the door to the Franks' hiding place breaking down, intensifying the urgency and peril of their pursuit. Shostakovich, through these masterful strokes, elevates the symphonic canvas to a realm of heightened expressiveness, where the power of music becomes a potent vehicle for storytelling, evoking profound emotions and social critique.

Humor: Allegretto

Shostakovich skillfully weaves a tapestry of cultural references in this symphony, drawing from the third of his Six Romances on Verses by British Poets, Op. 62, specifically Robert Burns' "Macpherson Before His Execution." This serves to infuse Yevtushenko's vivid imagery with a nuanced shade, vividly portraying the spirit of mockery persistently murdered and resurrected, an indictment against the futile attempts of tyrants to stifle intellect and wit. The movement, characterized by a Mahlerian gesture of mocking burlesque, transcends mere levity, embracing a tone that is both witty and satirical, an artful parody that resonates with depth.

In the store: Adagio

In the segment titled "In the store: Adagio," Shostakovich delves into the poignant plight of Soviet women standing in line at a store. Here, his compassion surfaces as prominently as in his denunciation of racial prejudice and gratuitous violence. Crafted in the form of a lament, the chorus momentarily diverges from its unison line only in the final two harmonized chords, concluding with a cadence that echoes a liturgical Amen, marking a solemn homage to the women enduring these struggles.

Fears: Largo

This movement touches on the theme of repression in the Soviet Union and is the most musically elaborate of the symphony's five movements, using a variety of musical ideas to emphasize its message, from an angry march to alternating soft and violent episodes. Harmonic ambiguity creates a deep sense of unease as the chorus intones the opening lines of the poem: "Fears are dying out in Russia." Shostakovich breaks this mood only in response to Yevtushenko's agitprop lines, "We weren't afraid / Of construction work in blizzards / Or of going into battle under shellfire," parodying the Soviet marching song "Bravely, comrades, march to the beat of the drums".

The movement titled "Fears: Largo" delves into the theme of repression within the Soviet Union, showcasing the symphony's most musically elaborate facet. Through an array of musical ideas, including an angry march and alternating soft and violent episodes, Shostakovich heightens the impact of the message. Harmonic ambiguity pervades, creating a profound sense of unease, especially as the chorus intones the opening lines of Yevtushenko's poem: "Fears are dying out in Russia." Shostakovich briefly disrupts this mood, responding to Yevtushenko's agitprop lines, "We weren't afraid / Of construction work in blizzards / Or of going into battle under shellfire," with a parody of the Soviet marching song "Bravely, comrades, march to the beat of the drums."

A Career: Allegretto

The movement labeled "A Career: Allegretto" opens with a pastoral duet of flutes over a B♭ pedal bass, creating a musical effect reminiscent of sunshine after a storm. However, beneath this seemingly serene surface lies an ironic attack on bureaucrats, exploring themes of cynical self-interest and robotic unanimity while paying homage to genuine creativity. The soloist shares an equal footing with the chorus, accompanied by sarcastic commentary from the bassoon and other winds, punctuated by rude squeaks from the trumpets. This movement relies more heavily on purely orchestral passages as connectors between the vocal statements, further emphasizing its satirical edge.

Texts of the poems in Russian and English translation (original text).

Listen to Radio Filharmonisch Orkest, Groot Omroepmannenkoor o.l.v. Dmitri Slobodeniouk m.m.v. Sergej Aleksashkin (bass).



[Based on the German and English articles about the symphony in Wikipedia]

Choral Masterworks