The symphony is a short (about 20 minutes) experimental work in one movement; within this movement are four sections, the last of which includes a chorus. In a marked departure from his First Symphony, Shostakovich composed his Second in a gestural, geometric "music without emotional structure" manner, with the intent of reflecting speech patterns and physical movements in a neo-realistic style. This choice may have been influenced at least partially by Vsevolod Meyerhold's theory of biomechanics.^[2]

Shostakovich placed far more emphasis on texture in this work than he did on thematic material. He quickly adds sonorities and layers of sound in a manner akin to Abstract Expressionism instead of focusing on contrapuntal clarity. While much of the symphony consequently consists of sound effects rather than music, the work possesses an unquestionable vitality and incorporates the basic elements of the musical language he used in the rest of his career.^[4]

The symphony is scored for mixed choir (in the final part) and orchestra of piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, bass drum, cymbals, glockenspiel, (factory) siren, and strings.

Shostakovich's Second and Third Symphonies have often been criticized for incongruities in their experimental orchestral sections and more conventionally agitprop choral finales. In the Soviet Union they were considered experiments, and since the days of Stalin the term "experiment" was not considered positive.^[3] Much later, Shostakovich admitted that out of his 15 symphonies, "two, I suppose, are completely unsatisfactory – that's the Second and Third."^[6] He also rejected his early experimental writing in general as "erroneous striving after originality" [the piano cycle Aphorisms] and "infants' diseases" [the Second and Third Symphonies].^[7]

The Second Symphony was commissioned to include a poem by Alexander Bezymensky, which glorified Lenin's role in the proletariat struggle in bombastic style.^[8] The cult of Lenin, imposed from the upper echelons of the Party, grew to gigantic proportions in the years immediately following his death.^[9] The work was initially titled "To October". It was referred to as a Symphonic Poem and Symphonic Dedication to October. It became To October, a Symphonic Dedication when the work was published in 1927. It only became known as a "symphony" considerably later.^[10]

The spirit of October edit

During the 1920s in Russia, "October" referred to the spirit of the Revolution, which was a new world of freedom and fellowship reaching politically from the center to the left. The nearest political idea to this concept was the Trotskyist doctrine of "permanent revolution".^[11]

Composition edit

Shostakovich was commissioned by Lev Shuglin, a Bolshevik and head of the Propaganda Department of the State Music Publishing House (Muzsektor), to write a large orchestral work with a choral finale called Dedication to October to celebrate the 10th anniversary of the October Revolution.^[12] Shuglin suggested the use of a factory whistle to open the choral finale. The composer wrote to Tatyana Glivenko on 28 May 1927, that he was tired of writing it, and considered the Bezymensky text "abominable".^{[citation needed]}

Part of the problem Shostakovich had in writing the symphony was that people expected a successor to his First Symphony, and he no longer believed in writing in the same compositional style. He also had other projects toward which he wanted to direct his attention as soon as possible, and the First Symphony had taken him nearly a year to write. As it turned out, the Commissariat for Enlightenment's propaganda department, Agitotdel, regularly commissioned single-movement works on topical subjects. These works often featured revolutionary tunes and invariably employed sung texts to make the required meaning clear. Furthermore, because of the non-musical orientation of potential audiences, these pieces were not expected to last more than 15 or 20 minutes at most.^[13]

Though Shostakovich had been commissioned by Muzsektor rather than Agitotdel, and was thus expected to produce a composition of abstract music instead of a propaganda piece, writing a short agitprop symphony seemed to solve all of Shostakovich's problems. Such a work was entirely appropriate for the occasion for which it was being written. It would also be impossible for Muzsektor to turn it down, and was guaranteed at least some friendly press. It also sidestepped the stylistic problem of producing a sequel to the First Symphony while also opening the door to experiment with orchestral effects in an entirely new vein. Most importantly for Shostakovich, the piece took little time to compose, allowing him to return to other projects at his earliest convenience.^[14]

The choral section gave the composer particular trouble. Shostakovich told Yavorsky confidentially, "I'm composing the chorus with great difficulty. The words!!!!"^[15] Solomon Volkov said of it that "one is tempted simply to cut it off with a pair of scissors".^[16]

Chorus: "To October" edit

Text by Alexander Bezymensky^[17]

Reception edit

In the West, listeners appreciated the orchestral section but not the choral emotionalism that followed.^[3] While some Soviet critics acclaimed it at the time of the premiere, the Second Symphony did not attain lasting success.^[18]

Notes edit

Sources edit

Books

Records

Further reading edit

• Simpson, Robert (1972). "Chapter 16: Dmitri Shostakovich b. 1906 (Robert Layton)". The Symphony. Vol. II: Mahler to the Present Day. New York: Drake Publishers. pp. 197–216. ISBN 0-87749-244-1. OCLC 348095.

• Symphony No. 12 "The Year 1917"
• October
• Loyalty

• Symphony No. 2 (Shostakovich): Scores at the International Music Score Library Project