CVII. SHOSTAKOVICH, Dmitri: Symphony #14, Op. 135

CVII. SHOSTAKOVICH, Dmitri (1906-1975)

Symphony #14, Op. 135 (1969)
1. Adagio. "De profundis" (Federico García Lorca)
2. Allegretto. "Malagueña" (Federico García Lorca)
3. Allegro molto. "Loreley" (Guillaume Apollinaire)
4. Adagio. "Le Suicide" (Guillaume Apollinaire)
5. Allegretto. "Les Attentives I" (On watch) (Guillaume Apollinaire)
6. Adagio. "Les Attentives II" (Madam, look!) (Guillaume Apollinaire)
7. Adagio. "À la Sante" (Guillaume Apollinaire)
8. Allegro. "Réponse des Cosaques Zaporogues au Sultan de Constantinople" Guillaume Apollinaire)
9. Andante. "O, Del'vig, Del'vig! (Wilhlem Küchelbecker)
10. Largo. "Der Tod des Dichters" (Rainer Maria Rilke)
11. Moderato. "Schlußstück" (Rainer Maria Rilke)
Frankfurt Radio Symphony
Klaus Mäkelä, cond.
(58:58)

You're gonna die, you're gonna die, and I'm gonna die.

Shostakovich was not necessarily a pessimist. He lived his life -- writing music constantly (he was extremely prolific) -- mostly in the crushing shadow of Stalin, who on more than one occasion literally threatened the composer's life. His music can be dark, but it is always tinged with optimism.

But he detested the concept of a "pretty, gentle" death:

"In part, I am trying to polemicise with the great classics who touched upon the theme of death in their work ... remember the death of Boris Gudunov. When he dies, then a kind of brightening sets in. Remember Verdi's Otello. When the whole tragedy ends, and Desdemona and Otello die, we also experience a beautiful tranquility. Remember Aida? When the tragic demise of the hero and heroine occurs, it is softened with radiant music."

Inspired by Mussorgsky's song cycle, "Songs and Dances of Death," which Shostakovich orchestrated, he set out to enlarge the scope (11 poems versus four) and put his personal late-stage stamp on what he decided to call a "symphony."

"I want listeners to reflect upon my new symphony ... to realise that they must lead pure and fruitful lives for the glory of their Motherland, their people and the most progressive ideas motivating our socialist society. That is what I was thinking about as I wrote my new work. I want my listeners, as they leave the hall after hearing my symphony, to think that life is truly beautiful ...

They say that death is only the beginning. But it's not a beginning, it's the real end, there will be nothing afterwards, nothing. I feel you must look truth right in the eyes ... to deny death and its power is useless. Deny it or not, you'll die anyway ..."

Ah, but this music is harsh and has a finality about it that is inescapable. But -- strangely -- the music is also quite beautiful, because it is so truthful.

The orchestra is small and loaded with percussion. Examine this interesting introduction in Movement Five: