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Feb 13, 2017  ‘Een magisch moment’. Rick Huls laat de klarinetsolo horen uit het eerste deel van de 10e symfonie van Sjostakovitsj. Uit het niets komt ineens die melodie.

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Composed his Symphony No. 4 in C minor, Opus 43, between September 1935 and May 1936, after abandoning some preliminary sketch material. In January 1936, halfway through this period, —under direct orders from —published an editorial ' that denounced the composer and targeted his opera. Despite this attack, and despite the, 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rehearsals began, the orchestra's management cancelled the performance, offering a statement that Shostakovich had withdrawn the work.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 led.

2 4 4 (4th doubling on ) 1 4 1 3 1 2 16–20 1st 14–18 2nd 12–16 12–16 10–14 8 4 3 2 6 (two players) (crash and suspended) Historical overview [ ] Composition [ ] Shostakovich began the Fourth Symphony in September 1935. His and 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, printed an unsigned editorial entitled 'Muddle Instead of Music,' which singled out his internationally successful opera for particularly savage condemnation. The fact that the editorial was unsigned indicated that it represented the official 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, and 'Clear and Simple Language in Art' appeared on 13 February.

Although this last article was technically an editorial attacking Shostakovich for ', it appeared in the 'Press Review' section. Stalin, under cover of the, 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 's Sixteenth Symphony, The Aviators, or 's song-symphony The Heroes of Perekop, and contained nothing placatory at all in it, having been conceived before the Pravda attacks.

Showing the new symphony to friends did not help. One asked, frightened, what Shostakovich thought the reaction from Pravda would be. Shostakovich jumped up from the piano, scowling, replying sharply, '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 for 11 December 1936 under the orchestra's music director,, a musician active in the Soviet Union since 1933. The composer also played the score on piano for, who responded enthusiastically and planned to conduct the symphony's first performance outside the USSR. Withdrawal [ ] After a number of rehearsals that left both the conductor and musicians 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.