This disc highlights yet another of the many talented
composers from Soviet times whose careers or creative urge was stifled
by the State. This suffocation was driven by the misguided concept that
Art could only be of value if it accurately reflected the forward struggle
of working people in the building of Socialism and Communism. Any artists
that could not or would not hone their works to fit this goal were marginalised
at best or suppressed altogether. We are lucky, therefore, that people
such as Shostakovich, whilst appearing to conform, still managed to
compose works of lasting worth. In his chamber music, he created a private
world in which he so often mirrored the disappointment and bitterness
he felt, and which resonated with the concert-going public in his country
as part of their collective experience.
The interesting and informative liner notes with this
CD describe how closely the lives of Popov and Shostakovich resembled
each other. They were both born within two years and died three years
apart. Both began as pianists, later on choosing composition as their
main career. Both composed much music for the theatre and for films.
Both were branded as "formalists" by the authorities that
oversaw things artistic. This ridiculous term was made to cover anything
they considered non-conformist and which did not fit the concept of
"socialist realism". It was used against dozens of composers
as well as writers, graphic artists, stage directors, film-makers. For
many that was the end of their careers, since, without official sanction
their works would neither be published nor performed.
Popov’s Symphony No.1 was one such casualty of this
anti-artistic notion. Unlike Shostakovich and Prokofiev, Popov was pushed
to the very margins of society. Though he completed six symphonies in
later years he never fulfilled the promise that the present work demonstrates.
Yet with typical irony this work had a description by Popov that struck
just the right note: "I dedicate this symphony to my dear father,
a worker and fighter on the front of proletarian culture (educating
young workers). It’s about 1) Struggle and failure 2) Humanity and 3)
The energy, will and joy of the victor’s work". In 1932, with only
the finale to complete the symphony won second prize in a competition
for a symphony to commemorate the 15th anniversary of the
October Revolution. This had been organised jointly by the Bolshoi Theatre
and the Young Communist League newspaper Komsomolskaya Pravda. The orchestration
took Popov a further two years and the symphony finally had its premiere
in Leningrad on March 22, 1935. It was banned the very next day on the
grounds that it reflected "the ideology of classes hostile to us".
Although the ban was withdrawn a month later Popov was affected by Pravda’s
denunciation of Shostakovich and the symphony was pronounced as "formalist".
It was never performed again in his lifetime.
A weak beat reminiscent of the start of Stravinsky’s
"Rite of Spring", gets the first movement off to a cracking
start. sample The main theme is driven along
but then meets a sad second subject that gives way to a kaleidoscope
of sound rushing forward in a thrilling and demonic way. sample
All three ideas are then fused into a vast central development section
sample and later on there is a return to
the first theme before the movement simply evaporates. The slow movement
begins in a tranquil enough way. There was even an English pastoral
feel to part of it that reminded me of Vaughan Williams. sample
In the background however there is a sense of impending turbulence
that eventually inches its way in to dominate much of the rest of this
movement. This rises to a peak characterised by a hailstorm of notes
before the movement comes to rest in the peaceful way it began. sample
The final movement throws us back into chaos with braying brass
contrasted with cheeky themes on piccolos and xylophone. sample
If you think you recognise them then that’s because Shostakovich borrows
from it for the finale of his Fifth Symphony and the second movement
of his Seventh Symphony. The central section of the finale is a tumultuous
powerhouse where ideas are spat out white hot from Popov’s musical furnace.
Remember that this is the movement that Popov described as "the
energy, will and joy of the victor’s work", as you listen to this
immense force culminating in the ringing of bells as it reaches its
conclusion. ending
This is an extremely satisfying work and poignant when
you know the background. It is difficult to understand why it is still
hardly known. It has so many echoes of Shostakovich and Prokofiev and
of other Soviet composers. Many Soviet works have this mind-set in common.
Very probably it reflects a shared experience of turbulent post-revolutionary
times for artists from the late 1920s. It make for exciting listening
and this Symphony is thoroughly recommended.
Shostakovich’s Theme and Variations, op.3 (1921-2)
is a delightful and hugely accomplished work dating from the composer’s
third. year at the conservatoire. It shows the fantastic promise of
the sixteen year old and is a great contrast to the thunder and lightning
of Popov’s symphony. The deconstruction of the theme simply stated at
the outset then gently played with is brilliantly successful. opening
Whilst it is less than typical Shostakovich - not surprisingly for such
a young man at the very start of his career - it is nevertheless reminiscent
of his ballet and some of his film music. var
2 The Theme and Variations are brimful of luscious melodies and
an inventiveness that was to become the hallmark of the greatest composer
to have come out of the Soviet era. var13
Everyone should hear it. finale There
are no records of it ever having been performed in his lifetime so it
is very exciting to have come across, if, like me you are a Shostakovich
aficionado.
Steve Arloff
London Symphony Orchestra/ Botstein 