Music

During Orchestra last night, we learned about the significance of Shostakovich's 5th Symphony due to its historic context. Shostakovich, a Russain, had a benefactor in Marshal Mikhail Tukhachevsky, a high-ranking official of the Red Army. However, Tukhachevsky had been convicted for treason and was shot, as were many of Shostakovich's friends; in "1930, unlimited artisticic freedom was coming to an end" (PBS). Book publishing halted, and authors disappeared, just like in the case of Irene Nemirovsky. The PBS video that we watched in Orchestra mentioned that musicians "needed to write politically acceptable music," so Shostakovich's response was Symphony no. 5. This comment reminded me of the discussion in class that we had about how Nemirovsky might have swayed her description of the German soldiers to be slightly less harsh than we would have expected, in order to appease the Germans in the event that they found her writings.

The PBS video also drew comparisons between Shostakovich No. 5 and Beethoven No. 5, which Angela informed us about in her presentation. Both symphonies start with a dismal sonata, reminding me of Nermirovsky's title for the first section of her Suite Francaise, "Storm in June." Both incorporate phrases of three brash notes that set a authoritative tone. Another similarity is that both pieces have occupational march-like phrases throughout the piece. Later in each peace, there is a sweeter, less austere movement, just like "Dolce" in Suite Francaise.

Paying attention to the music surrounding both Suite Francaise and World War I, I was curious to find what the movie adaptation will include for its music. I was not surprised that the music is an orchestral score to keep in line with the serious and historic story of war. In the first part of the trailer, one can here a similar marching theme that is found in both Beethoven No. 5 and Shostakovich No. 5. As the trailer continues, the music becomes dulcet. When I see the movie, I will hold an ear out for the score.