Dmitri Shostakovich composed his Symphony No. 4 in C minor, Op. 43, between September 1935 and May 1936, after abandoning some preliminary sketch material. In January 1936, halfway through this period, Pravda—under direct orders from Joseph Stalin —published an editorial "Muddle Instead of Music" that denounced the composer and targeted his opera Lady Macbeth of Mtsensk. Despite this attack and the political climate of the time, Shostakovich completed the symphony and planned its premiere for December 1936 in Leningrad. After rehearsals began, the orchestra's management cancelled the performance, offering a statement that Shostakovich had withdrawn the work. He may have agreed to withdraw it to relieve orchestra officials of responsibility. The symphony was premiered on 30 December 1961 by the Moscow Philharmonic Orchestra led by Kirill Kondrashin.

Instrumentation

Shostakovich uses a large orchestra requiring over one hundred musicians. It is scored for the following instruments:

Structure

The symphony has three movements:

1. Allegretto poco moderato – Presto
2. Moderato con moto
3. Largo – Allegro Most performances of the symphony last a little over an hour.

Historical overview

Composition

Shostakovich began the Fourth Symphony in September 1935. His second and third symphonies, completed in 1927 and 1929, had been patriotic works with choral finales, but the new score was different. Toward the end of 1935 he told an interviewer, "I am not afraid of difficulties. It is perhaps easier, and certainly safer, to follow a beaten path, but it is also dull, uninteresting and futile." Shostakovich abandoned sketches for the symphony some months earlier and began anew. On 28 January 1936, when he was about halfway through work on the symphony, Pravda printed an unsigned editorial entitled "Muddle Instead of Music", which singled out his internationally successful opera Lady Macbeth of Mtsensk for condemnation. The fact that the editorial was unsigned indicated that it represented the official Party position. Rumors circulated for a long time that Stalin had directly ordered this attack after he attended a performance of the opera and stormed out after the first act. Pravda published two more articles in the same vein in the next two and a half weeks. On 3 February, "Ballet Falsehood" assailed his ballet The Limpid Stream, and "Clear and Simple Language in Art" appeared on 13 February. Although this last article was technically an editorial attacking Shostakovich for "formalism", it appeared in the "Press Review" section. Stalin, under cover of the Central Committee, may have singled out Shostakovich because the plot and music of Lady Macbeth infuriated him, the opera contradicted Stalin's intended social and cultural direction for the nation at that period, or he resented the recognition Shostakovich was receiving both in the Soviet Union and in the West. Despite these criticisms, Shostakovich continued work on the symphony—though he simultaneously refused to allow a concert performance of the last act of Lady Macbeth. He explained to a friend, "The audience, of course, will applaud—it's considered bon ton to be in the opposition, and then there'll be another article with a headline like 'Incorrigible Formalist.'" Once he completed the score, Shostakovich was apparently uncertain how to proceed. His new symphony did not emulate the style of Nikolai Myaskovsky's socialist realist Sixteenth Symphony, The Aviators, or Vissarion Shebalin's song-symphony The Heroes of Perekop. Showing the new symphony to friends did not help. One asked what Shostakovich thought the reaction from Pravda would be. Shostakovich replied, "I don't write for Pravda, but for myself." Despite the increasingly repressive political atmosphere, Shostakovich continued to plan for the symphony's premiere, scheduled by the Leningrad Philharmonic Orchestra for 11 December 1936 under the orchestra's music director, Fritz Stiedry. The composer also played the score on piano for Otto Klemperer, who responded enthusiastically and planned to conduct the symphony's first performance outside the USSR in Latin America.

Withdrawal

After a number of rehearsals that made the musicians increasingly unenthusiastic, Shostakovich met with several officials of the Composers Union and the Communist Party, along with I.M. Renzin, the Philharmonic's director, in the latter's office. He was informed that the 11 December performance was being cancelled and that he was expected to make the announcement and provide an explanation. The composer's direct participation is unknown, but the newspaper Soviet Art (Sovetskoe iskusstvo) published a notice that Shostakovich had asked for the symphony's premiere to be cancelled "on the grounds that it in no way corresponds to his current creative convictions and represents for him a long-outdated creative phase", that it suffered from "grandiosomania" and he planned to revise it. Decades later, Isaak Glikman, who was Shostakovich's personal secretary in the 1930s and a close friend, provided a different account. He wrote that party officials exerted pressure on Renzin to cancel the scheduled performance, and Renzin, reluctant to take responsibility for the programming decision himself, instead privately persuaded Shostakovich to withdraw the symphony.

Premiere

The manuscript score for the Fourth Symphony was lost during World War II. Using the orchestral parts that survived from the 1936 rehearsals, Shostakovich had a two-piano version published in an edition of 300 copies in Moscow in 1946. Shostakovich began considering a performance only after Stalin's death in 1953 changed the cultural climate in the Soviet Union. He undertook no revisions. Conductor Kirill Kondrashin led the premiere of the orchestral version on 30 December 1961 with the Moscow Philharmonic Orchestra. The first performance outside the USSR took place at the 1962 Edinburgh Festival with the Philharmonia Orchestra under Gennady Rozhdestvensky on 7 September 1962. Soviet critics were excited at the prospect of finding a major missing link in Shostakovich's creative output, yet refrained from value-laden comparisons. They generally placed the Fourth Symphony firmly in its chronological context and explored its significance as a way-station on the road to the more conventional Fifth Symphony. Western critics were more overtly judgmental, especially since the Fourth was premiered just three days after the Twelfth Symphony in Edinburgh. The critical success of the Fourth juxtaposed with the critical disdain for the Twelfth led to speculation that Shostakovich's creative powers were on the wane.

Influence of Mahler

The symphony is strongly influenced by Gustav Mahler, whose music Shostakovich had been closely studying with Ivan Sollertinsky during the preceding ten years. (Friends remembered seeing Mahler's Seventh Symphony on Shostakovich's piano at that time.) The duration, the size of the orchestra, the style and range of orchestration, and the recurrent use of "banal" melodic material juxtaposed with more high-minded, even "intellectual" material, all come from Mahler.

Sources

Encryptions

Encryption was practiced by many Soviet artists during the Great Purge. Shostakovich was no exception. He wanted to give his listeners not only the general character of the emotions he wanted to express, but to be as specific and concrete as possible. The best-known example in his work is his four-note theme DSCH. Part of this encryption takes the form of quotation from Shostakovich's own music as well as that of others. Those who knew those musical works were "in the know" to what Shostakovich was expressing. In the first movement of the Fourth Symphony, one of the repeated leitmotifs is the "police" march from Lady Macbeth. The melody of the funeral march which begins the finale resembles the theme of the final song in Mahler's song cycles Lieder eines fahrenden Gesellen (usually rendered as 'Songs of a Wayfarer', but very literally, 'Songs of a Travelling Comrade, Companion, or Journeyman'). The text for this song contains the words, "Num hab' ich ewig Leid und Grämen!" This translates in English to "Sorrow and grief are now with me forever!" At the end of the finale, Shostakovich inserts two telling quotes. The first is from the opening of Act 2 of Igor Stravinsky's Oedipus Rex. This work was well known to Shostakovich as well as his fellow Leningrad musicians. The Latin text for the musical passage he quotes is, "Gloria! Laudibus regina Iocasta in pestilentibus Thebis." This passage translates in English to, "Glory! We hail Queen Jocasta in pestilent Thebes." In other words, Shostakovich was drawing a parallel between Stalinist Russia and the plague-ridden city of Greek tragedy. This quote also draws an indirect inference to Alexander Pushkin's short play, Pir vo vremya chumy (Пир во время чумы); the title of which translates in English as A Feast During the Plague. The second quotation is also from Stravinsky, this time from the finale of The Firebird. The last moments of Stravinsky's ballet are filled with relief and triumph over the death of Kashchei the Immortal, the evil sorcerer and ruler of the Rotten Kingdom. By quoting from this music, Volkov claims, Shostakovkch was incanting, "Die, Kaschei-Stalin! Die! Be gone, Rotten Kingdom!" This could be considered the first time Shostakovich pens a musical characterization of Stalin, a practice he would practice much more fully in the Tenth Symphony.

Recordings

Recordings of the work include: The last two recordings also include performances of the surviving original drafts of the Fourth Symphony's first movement. -->