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Schostakowitsch Sinfonie Nr 9 Constantinos Carydis WDR Sinfonieorchester
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Dmitri Shostakovich's Symphony No. 9 in E flat major op. 70, played by the WDR Symphony Orchestra under the baton of Constantinos Carydis. Recorded live on 22.09.2023 in the Kölner Philharmonie. • Dmitri Shostakovich - Symphony No. 9 in E flat major op. 70 • 00:00:00 I. Allegro • 00:05:23 II. Moderato • 00:12:40 III. presto • 00:15:23 IV. Largo • 00:19:20 V. Allegretto - Allegro • WDR Symphony Orchestra • Constantinos Carydis, conductor • ► Find out more about the symphony orchestra, concerts and current live streams at https://sinfonieorchester.wdr.de • ► The WDR Symphony Orchestra on Facebook / wdrsinfonieorchester • • Introduction to the work: • • What to do as one of the Soviet Union's leading composers when the Great Patriotic War against Hitler's Germany is won? - Compose the great heroic symphony and pay homage to the dictator Stalin? And what should a symphony composer do when his own Ninth is due? - Try to outdo Beethoven? • • In 1945, Dmitri Shostakovich bravely, if not death-defyingly, rejected all expectations of Soviet power. He did compose his Ninth and even chose the key of E flat major for it - the heroic key par excellence, at least since Beethoven's Third. However, Shostakovich thumbs his nose at everyone with a bold musical language that borrows from Viennese classical music. And he peppered the work with cheeky jokes to boot. In the first movement, for example, where he spices up the almost Haydn-like opening with lots of 'wrong' notes and soon has the trombone playing fanfares. Or at the beginning of the fourth movement: Is the quasi-quote from the final section of Mussorgsky's Pictures at an Exhibition a parody of the inhuman ruler Stalin? Today, this quotation has a topical reference, given the title chosen by Mussorgsky: The Great Gate of Kiev . • • The final movement then sounds like a so-called Freilach dance of Jewish klezmer music - the celebration of victory in sound expected by the Soviet apparatchiks is thus downright defiantly absent. In short, Shostakovich's Ninth is nothing less than a dangerous defiance of Stalin's murderous regime. And the reaction comes - albeit with a delay of almost three years, but all the more devastating for it. Shostakovich and other artists were publicly accused of formalism - the aesthetic death sentence in the Soviet state. As a composer, he was effectively condemned to silence. Only years later, after Stalin's death in 1953, was Shostakovich freed and able to present his tenth symphony to the public. • • (Text: Otto Hagedorn)
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