(bez virsraksta) @ 10:04
Labāk paklausieties Šostakoviča Astoto
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10. Maijs 2007
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līdz šim es arī tā domāju, bet tad paklausījos Marisa Jansona ierakstu
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Saptītajā jau nekas nav jādiriģē, ritmiņu var uzturēt ar vienu kāju!
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(Parent)
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no intervijas ar Aškenazi:
- The Eighth Symphony, which you're recording tomorrow - how do you feel it fits into the development of Shostakovich? I'm thinking of the 'political' aspects of the Seventh and Eighth Symphonies. Do you think they were wholly 'patriotic' works?
- (Thoughtfully) Patriotic works... Well, the Seventh is in a way patriotic, of course. I don't know the Seventh that well - I haven't learnt it yet. I don't think it is one of his strongest pieces. The man was identifying himself very much with his country and his people. During the war how could you help but be patriotic? The country was invaded by a hostile enemy, and a very strong enemy, who was marching through the west of the country and burning everything around him, torturing and killing people for no reason. Naturally, Shostakovich, as a son of his motherland, couldn't help but express it. There's nothing political about it. Just being a part of your country. In a way, you would feel the same about England if an invasion of this kind happened to you. Whether it is Communism or not, you just feel for your country.
The Eighth is a different cup of tea, although it's still a war symphony - you hear the armies are still marching. But I think he knew the war was going well. His mind turned back to the stark reality of the country, as it would be again after the war. The oppressiveness of the system, and the suffering of the individual, both in the first movement and in the slow movement - you can hear them very strongly. The Eighth was written at exactly the same time as the great tank battle of Kursk, which followed the battle of Stalingrad, in July and August 1943. I'm sure the optimism was there. They knew they were winning the war. There was nothing to hold the Soviet army. That's why I think his mind was already turning to the future. And the future probably didn't sound terribly optimistic to him. There is a glimmer of hope in the symphony, at the very end, there is a kind of... not optimism, but a feeling that at least some of the suffering is over with the eventual end of the war. At least something has been achieved. But that's not all. It's only a glimmer of hope. Interestingly enough, in the Thirteenth Symphony, which was composed and performed in 1962, again at the very end, there is also - very reminiscent of the Eighth Symphony - this glimmer of hope at the end of the quartet of the strings. Maybe it's not the end of the world. Something will happen. Maybe something will happen. Maybe we'll find peace with ourselves, in our soul or... somewhere! (Chuckles.)
- The Eighth Symphony, which you're recording tomorrow - how do you feel it fits into the development of Shostakovich? I'm thinking of the 'political' aspects of the Seventh and Eighth Symphonies. Do you think they were wholly 'patriotic' works?
- (Thoughtfully) Patriotic works... Well, the Seventh is in a way patriotic, of course. I don't know the Seventh that well - I haven't learnt it yet. I don't think it is one of his strongest pieces. The man was identifying himself very much with his country and his people. During the war how could you help but be patriotic? The country was invaded by a hostile enemy, and a very strong enemy, who was marching through the west of the country and burning everything around him, torturing and killing people for no reason. Naturally, Shostakovich, as a son of his motherland, couldn't help but express it. There's nothing political about it. Just being a part of your country. In a way, you would feel the same about England if an invasion of this kind happened to you. Whether it is Communism or not, you just feel for your country.
The Eighth is a different cup of tea, although it's still a war symphony - you hear the armies are still marching. But I think he knew the war was going well. His mind turned back to the stark reality of the country, as it would be again after the war. The oppressiveness of the system, and the suffering of the individual, both in the first movement and in the slow movement - you can hear them very strongly. The Eighth was written at exactly the same time as the great tank battle of Kursk, which followed the battle of Stalingrad, in July and August 1943. I'm sure the optimism was there. They knew they were winning the war. There was nothing to hold the Soviet army. That's why I think his mind was already turning to the future. And the future probably didn't sound terribly optimistic to him. There is a glimmer of hope in the symphony, at the very end, there is a kind of... not optimism, but a feeling that at least some of the suffering is over with the eventual end of the war. At least something has been achieved. But that's not all. It's only a glimmer of hope. Interestingly enough, in the Thirteenth Symphony, which was composed and performed in 1962, again at the very end, there is also - very reminiscent of the Eighth Symphony - this glimmer of hope at the end of the quartet of the strings. Maybe it's not the end of the world. Something will happen. Maybe something will happen. Maybe we'll find peace with ourselves, in our soul or... somewhere! (Chuckles.)
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(Parent)
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