Symphony No. 7 Shostakovich Wikipedia. Dmitri Shostakovichs Symphony No. C major, Op. 6. 0 titled Leningrad, was written c. Initially dedicated to the life and deeds of Vladimir Lenin, Shostakovich decided instead to dedicate the symphony to the city of Leningrad on its completion in December 1. The work remains one of Shostakovichs best known compositions. The piece soon became very popular in both the Soviet Union and the West as a symbol of resistance to Nazitotalitarianism and militarism. It is still regarded as the major musical testament of the estimated 2. Soviet citizens who lost their lives in World War II. The symphony is played frequently at the Leningrad Cemetery, where half a million victims of the 9. Siege of Leningrad are buried. The symphony is Shostakovichs longest, and one of the longest in the repertoire, with performances taking approximately one hour and fifteen minutes. The scale and scope of the work is consistent with Shostakovichs other symphonies as well as with those of composers considered to be his strongest influences, including Bruckner, Mahler, and Stravinsky. The symphony is written in the conventional four movements. AllegrettoeditThe first movement 2. National Symphony Orchestra. A premier U. S. orchestra, the NSO performs approximately 150 concerts each year of classical and popular music, new works, and special. Ben Folds Composes with the NSO live Watch as NSO Artistic Advisor Ben Folds composes a piece live with the National Symphony Orchestra during Sound Health Music. Symphonic Dances From West Side Story Program Notes For RainThe original title for this movement was War. It begins with a rousing, majestic theme played by all the strings, which is subsequently echoed by woodwinds. The melody continually rises in pitch through the first moments of the piece, with octave long runs in the strings. This is followed by a slower, more tranquil section driven by flutes and lower strings. This quieter part leads directly into the so called invasion theme, a 2. This march is actually a pastiche of Da geh ich zu Maxim, from Franz Lehrs operetta. Dr. David R. Holsinger is an American composer and conductor writing primarily for concert band. Holsinger is a graduate of HardinCentral High School in Hardin. Dmitri Shostakovichs Symphony No. C major, Op. 60 titled Leningrad, was written c. Initially dedicated to the life and deeds of Vladimir Lenin. Wanna sing Our Choir Auditions page is the place to help you find the perfect outlet for your singing ambitions. Ads here are for groups listed in the VAN. The Merry Widow for its latter half4 and a theme from Shostakovichs opera Lady Macbeth of the Mtsensk District, the work for which the composer suffered his first official denunciation in 1. The prominent sequence of six descending notes in the seventh bar, derived from the Lehar, has been said by musicologist Ian Mc. Donald to resemble the third bar of Deutschlandlied. This composite is first played softly by the strings pizzicato, then is echoed by multiple instruments accompanied by the snare drum. The march is repeated twelve times, louder and more accented each time, somewhat in the manner of Maurice Ravels Bolro. Other instruments accompany with undertones that forebode increasing action and excitement. At the end of the twelfth repetition, the brass particularly the trumpets interject very loudly with a new, more frantic theme, announcing the arrival of the invaders. The passage has rising and falling scales, one after the other. This snare drum beats at an increased rate, and several exchanges between the brass occur, resembling danger sirens. This climaxes in a somewhat slower, but loud and chaotic passage driven by competing blaring brass and frantic strings. A slower, two part section follows a very prominent bassoon solo introduced by a solo clarinet, then a soft, moving recapitulation of the first theme played by the strings. The short coda presents the invasion theme one last time, played by a solo trumpet and percussion. Symbol P470 Driver. Download Fasters. Moderato poco allegrettoeditThe second movement 1. Reminiscence,6 is the symphonys shortest. Though this title is the movements only heading other than its tempo indication, Shostakovich referred to it as both a scherzo and a lyric intermezzo. It begins in the latter vein with a quiet, playful theme in the strings. Some aspects of the interplay of the violins are evocative of a fugue. Moments later, a solo oboe plays a high variation on the tune. Other instruments continue with tunes of their own for several moments. Then, in the middle of the movement, woodwinds interject with a brash, shrill theme, followed by brass, then strings, then woodwinds. This eventually leads to a quick, majestic passage that is another ostinato, but different from the invasion theme in the first movement. The remaining third of the movement is much like the beginning of the second movement. The third movement 1. The original title for this movement was Home Expanses. Shostakovich stated elsewhere that he had hoped to portray Leningrad by twilight, its streets and the embankments of the Neva River suspended in stillness. Woodwinds begin with slow, sustained notes, accentuated by the horns. This simple theme cadences, and is followed by a declamatory theme played by violins. Winds and brass repeat the string theme, which the strings take over with another brief variation. This transitions directly into a faster and fiercer passage. The violins return with the opening theme of the movement. Manual De Marqueteria Pdf'>Manual De Marqueteria Pdf. This builds into a somewhat frantic passage underlaid by an ostinato in the lower strings a deliberately awkward oomph pah motif. This leads into a loud development section evoking the first movement. However, the passage ends quickly, with the woodwinds bringing back the original theme, again echoed by the strings, just as in the beginning. The final third of the movement continues in this vein. Allegro non troppoeditThe fourth movement 1. Victory,6 begins with a very quiet, searching melody in the strings that slowly rises in pitch. The high strings hold the high notes, and are joined briefly by woodwinds. The low strings suddenly begin a quick march like tune that is answered by increasingly frantic violins, and point like interjections from the rest of the orchestra. This sustained section continues for several minutes with increasing frenzy. A brief break comes in the form of a transition passage with repetitive three note figures played by high strings, accented by slap pizzicati in the cellos and bass. A slower, deliberately paced and sharply accented section follows. Several minutes of quiet foreboding take place from this point, with melodies from previous movements particularly the first movement. Woodwinds build one of these melodies until violins take over with another familiar melody that builds to the ferocious climax. The piece ends in the key of C major, but it is by no means a joyous ending. The tremendous coda bears some resemblance to the equally colossal ending to Anton Bruckners Eighth Symphony, and the opening theme from that symphony is even quoted here. Near the conclusion of the movement, there is a piercing interjection of repetitive statements, shattering hopes of a happy ending. Previous themes are brought back, only this time laboriously augmented, and the colossal C major finish is quite ambiguous, if not blatantly ironic. InstrumentationeditThe work is written for OvervieweditCompositioneditMusic about terroreditThere are conflicting accounts as to when Shostakovich began the symphony. Officially, he was said to have composed it in response to the German invasion. Others, such as Rostislav Dubinsky, say that he had already completed the first movement a year earlier. The composer stated, according to Testimony, that he had planned the symphony before the German attack and that he had other enemies of humanity in mind when he composed the invasion theme of the first movement. He had no problem calling the work the Leningrad Symphony. Which Leningrad became the question after the publication of Testimony in the West. The Leningrad Shostakovich reportedly had in mind was not the one that withstood the German siege. Rather, it was the one that Stalin destroyed and Hitler merely finished off.