Symphony No.13 in B flat minor "Babi Yar" - Dmitri Shostakovich

Royal Liverpool Philharmonic Orchestra & Philharmonic Choir, Huddersfield Choral Society conducted by Vasily Petrenko. Alexander Vinogradov as the bass soloist.
I - Babi Yar. Adagio (𝅘𝅥 = 58) - Più mosso (𝅗𝅥 = 92) - Adagio (𝅘𝅥 = 58) - Poco animato - Più mosso (𝅗𝅥 = 92) - Allegretto (𝅗𝅥. = 88) - (𝅗𝅥 = 88) - (𝅘𝅥 = 88) - Adagio (𝅘𝅥 = 58) - Poco più mosso (𝅘𝅥 = 76) - Adagio (𝅗𝅥 = 58) - Più mosso (𝅘𝅥 = 72): 0:00
II - Humour. Allegretto (𝅗𝅥 = 114): 15:38
III - In the Store. Adagio (𝅘𝅥 = 66) - Meno mosso, sostenuto (𝅘𝅥 = 56) - Meno mosso (𝅘𝅥 = 60) - (𝅘𝅥 = 56) - (𝅘𝅥 = 66) - Largo (𝅘𝅥 = 48) - Adagio (𝅘𝅥 = 66) - (attacca): 23:05
IV - Fears. Largo (𝅘𝅥 = 84) - (𝅘𝅥 = 76) - (𝅘𝅥 = 84) - Sostenuto (𝅘𝅥 = 76) - Più mosso (𝅘𝅥 = 88) - Moderato (𝅘𝅥 = 100) - Largo (𝅘𝅥 = 76) - Poco più mosso (𝅘𝅥 = 84) - Sostenuto - Allegro (𝅘𝅥 = 104) - Largo (𝅘𝅥 = 76-88) - (𝅘𝅥 = 63) - (attacca): 35:40
V - A Career. Allegretto (𝅘𝅥 = 184) - (𝅗𝅥 = 92) - Pesante - Meno mosso (𝅗𝅥 = 76) - Allegretto (𝅘𝅥 = 184) - (𝅗𝅥 = 84) - Adagio (𝅗𝅥 = 60) - Allegretto (𝅘𝅥 = 126) - Adagio (𝅘𝅥 = 108) - Allegretto (𝅘𝅥 = 184) - Meno mosso (𝅘𝅥 = 138): 46:44
Shostakovich's Symphony No.13 was composed between March and July 1962, being inspired by the poem "Babi Yar" by Yevgeny Yevtushenko. It was initially conceived as a vocal symphonic poem, then a vocal suite before expanding into a full symphony. It was premiered on December 18 of 1962, performed by the Moscow Philharmonic Orchestra and the Republican State and Gnessin Institute Choirs conducted by Kirill Kondrashin, with Vitali Gromadsky as the bass soloist. It was very well-received by audiences, but the critics were completely muted, soviet press said not a word about the concert and not a single review appeared in the newspapers.
The piece is divided in five movements (the last three performed continuously) scored for large orchestra, male choir and bass soloist. The poem itself was very controversial if not explicitly banned, it denounced the Soviet distortion of historical fact regarding the Nazi massacre of the Jewish population of Kyiv in September 1941, as well as the anti-Semitism still widespread in the Soviet Union. The Soviet policy in relation to the Holocaust in Russia was to describe it as atrocities against Soviet citizens and to avoid mentioning the ethnic background. However, Yevtushenko's poem "spoke not only of the Nazi atrocities, but the Soviet government's own persecution of Jewish people".
When Shostakovich announced he was working on the piece, they became the centre of attention and the ire of authorities. Soviet officials attempted to pressure Shostakovich and Yevtushenko with no avail. The premiere was nearly cancelled several times and only went ahead thanks to the perseverance of Shostakovich, Yevtushenko and Kondrashin. Khruschev himself threatened to ban the piece. Yevtushenko was forced by authorities to revise the poem so it fitted in the soviet ideology. Similarly, Shostakovich was pressured to revise the piece according to these new lines, something which he greatly detested. Since the fall of the USSR, the original version of the poem has been vindicated.
The first movement is structured in sonata form, using the 1941 massacre by Nazis of Jews at Babi Yar into a denunciation of anti-Semitism in all its forms. It begins with an intensely tragic and dissonant main theme, which is the basis of the whole work as will be signaled by the tolling of the bell. A second, deeply expressive theme is then introduced as the lyrics describe the horrors suffered by the jews through a vivid word painting of Ancient jews enslaved by Egyptians and the Dreyfus case. A violent, vociferous third theme appears in the orchestra in form of a vulgar march, unleashing a graphic description of a pogrom.
The development begins with the reappearance of the sombre main theme, becoming unhinged as the third theme appears. A graphic description of the detainment of Anne Frank ensues, reaching a dissonant and ferocious climax of unrestrained violence with the themes in counterpoint. The music, as well as setting of the poems shows the influence of Mussorgsky. A slow recapitulation of the themes begins as the Babi Yar massacre is reflected once again, leading us to a sorrowful coda based on the third theme.
[Musical analysis continued in the comments section].
[Activate subtitles to see the lyrics].
Picture: Photograph of the Babi Yar Memorial Monument in Kyiv.
Musical analysis partially written by myself. Source: tinyurl.com/269okedz
To check the score: tinyurl.com/29prwh8z

The second movement is a scherzo in ternary form, denouncing the vain attempts of tyrants to shackle humour and wit. It opens with a lively and sardonic theme, which is derived from the third theme of the previous part. It is followed by an ironic second theme in form of a waltz, extracted from Shostakovich's Robert Burns setting "Macpherson before his Execution" from his six romances on English poets, the humour considerably darkens with the mention of death.
The trio begins with a rhythmic second theme derived from the opening theme of the work. A wild and frenetic dance then takes place, painting Yevtushenko's imagery of the spirit of mockery, endlessly murdered and endlessly resurrected. The dance is then transformed as a jagged and dissonant march, which then dissolves into the bacchanal dance. The main theme is then recapitulated, before a lively coda based on the dance material ends the scherzo in high spirits.
The third movement is structured as a passacaglia, reflecting the hardships of Russian women queueing in a shop. It begins with a dark and gloomy ostinato on low strings, which is a subtle transformation of the opening theme of the work. It slowly unfolds contrapuntally and in a rising motion, with bass and chorus describing the scene as the castanets and woodblock paint the "clanking cans". Different instruments take the theme over the bassline in between the vocal interventions. The music becomes highly expressive as the lyrics honour the strength and courage of the Russian women. A powerful climax is then reached, before a final repetition of the ostinato on the bass leads us into the next part.
The fourth movement is in rondo form, addressing fear and repression in the Soviet Union. It opens with a dreary and chromatic main theme introduced by tuba over sustained strings, which again is derived from the opening theme. After the hushed entrance of the chorus, the bass describes the effects of fear as a dissonant second theme is introduced by the orchestra. As the music grows more intense and menacing, we find a distant reminiscence of the opening theme with the chimering bells.
Bass and chorus lists the terrors of life as the main theme is recapitulated; the fear of anonymous denunciation, of the secret knock at the door, of speaking to foreigners, of speaking even to one's own wife. A third theme in form of a wilful march as the chorus refers to the disappearance of fear in the face of adversity. The music grows into an intense climax as the bass lists possibly future fears. The main theme is then sombrely recapitulated, before a hushed transition leads us into the finale.
The fifth movement is written also as a rondo, it attacks bureaucrats while admiring intellectuals like Galileo, Shakespeare, Pasteur, Newton and Tolstoy, who stood up for the truth despite the consequences. It begins with a pastoral main theme on the flute, a transformation from the main theme of the third movement. The bass enters referencing Galileo, describing how he was prosecuted by the church for his heliocentric theory, despite being right. At the same time, a rhythmic second theme appears, being a mocking transformation of the menacing third theme from the first movement.
The main theme is recapitulated by strings pizzicati, before bass and chorus continue mocking those who denounced said intellectuals. The central section being with a complex and angular fugue, with the opening theme of the work as the subject. So harsh and astringent that reminds us of Shostakovich's modernist second symphony, before quickly dissolving at its peak. The main theme then reappears on the wood in a distorted way, before the bell tolls reappear in the distance. The two themes are then recapitulated in a fragmented way, then in counterpoint with fragments from other themes and materials, right after the bass makes his promise of following his career by not following it. The coda features the main theme of the opening on celesta gradually dissolving in the silence, with a final chime of the bell.
I don't think I need to add much personal reflections, as the piece pretty much explains itself. Each movement is a scathing critique not only of soviet authorities but of Russian society at large, only made more explicit and powerful through the poems of Yevtushenko. I think its worth highlighting how different it is from the previous symphony, conservative and almost socialist-realist in language. It showcases Shostakovich's ability to adapt, a skill that certainly assured his survival in the Soviet Union.

[@Rahatlakhoom]

A study in bitter, empty triumph that only a sarcastic jester might entertain. The sense of hopelessness is projected with a finesse that is chilling.
Lines of Dostoevsky pin human life of that time as a mockery. Shostakovich delivered with eminent power, the spirit shall not be denied.

[@dejanstevanic5408]

Love it - TY

[@javicluster]

Caramba, nunca me había llamado la atención la integral de Shostakovich por V Petrenko, pero es muy buena!
Por cierto, hoy he estado en la presentación del último libro de Xavier Güell, "Shostakovich contra Stalin". El acto ha estado muy bien, y el libro parece prometer.

[@tomstarzeck7137]

One of the darkest moments in the history of the symphony..shostakovich portrays the gloomy darkness of genocidal action by a tyrant..one of my favorite symphonies by shostakovich..this is metal before metal ..heavy and dark..