Schostakowitsch - Sinfonie Nr. 10 | Semyon Bychkov | WDR Sinfonieorchester

Dmitri Shostakovich's Symphony No. 10 in E minor op. 93 was performed by the WDR Symphony Orchestra, conducted by Semyon Bychkov in April 2005 in the Cologne Philharmonic Hall. Dmitri Shostakovich - Symphony No. 10 in E minor op. 93 00:00:00 I. Moderato 00:23:09 II. Allegro 00:27:21 III. Allegretto 00:39:54 IV. Andante – Allegro WDR Sinfonieorchester Semyon Bychkov, conductor Hans Hadulla, director ► More information about the symphony orchestra, concerts and current live streams can be found at https://www.wdr-sinfonieorchester.de ► The WDR Symphony Orchestra on Facebook   / wdrsinfonieorchester   ► Further concerts and introductions to works from the world of classical music, symphonic crossover, choral singing and concerts for children can also be found in the ARD Mediathek: https://www.ardmediathek.de/klassik Introduction to the work: Outwardly, Dmitry Shostakovich was a stroke of luck for the Soviet Russian party and state leadership. Respected and admired by audience and critics alike, the much-decorated composer also represented his homeland abroad. In the Soviet Union, his works were the focus of interest and Shostakovich assumed high offices in the leadership apparatus. In the reality of the surveillance state, however, he led a life between rebellion and conformity. After Stalin's death in March 1953, the time was ripe for a bitterly angry reckoning - Shostakovich wrote his 10th symphony. Its premiere on December 17, 1953, immediately triggered lively debates. The Soviet Composers' Union spent three (!) days discussing the work controversially. In the end, however, the 10th Symphony was recognized as one of the most important symphonic works of the present day in the Soviet Union. In the West, on the other hand, the Tenth Symphony enjoyed great popularity shortly after its publication. The 10th Symphony reveals the wounds inflicted on Shostakovich during the Stalin era. The attempt at reconciliation is counteracted by the failure of this attempt. The notes D-S(E flat)C-B as monogram of Shostakovich's initials run through the score as leitmotif. The musicologist Bernd Feuchtner suspects that in this way the composer is not focusing on the party but on his individual identity, thus clearly rejecting the Stalinist-imposed collectivization of the individual. The character of the first movement, already significant in its length, is characterized by a melancholy and thoughtful first theme. Later a clarinet theme and a third flute theme are added. All in all, the events revolve around the same piercing questions and complaints. The second movement is the shortest and most furious scherzo Shostako-witsch ever wrote - destructive madness reigns. Shostakovich revealed: "The second movement [...] is, roughly speaking, a musical portrait of Stalin". In the following Allegretto, the notes of the dance main theme contain the initials D-S(Es)-C-H. These also fulfill an important function in the Finale, when at the climax of an enormous movement of increase they trigger a liberating effect and in the end even triumph over the evil play. (Text: Tilla Clüsserath)