Talk:Symphony No. 7 (Shostakovich)
|WikiProject Classical music / Compositions|
|WikiProject Soviet Union||(Rated B-class, Mid-importance)|
- Did you read the article? --Yms 12:12, 30 May 2006 (UTC)
"Leningrad" was recently used as part of episode 11 of "The Melancholy of Suzumiya Haruhi."
3 things to possibly add
Hello, the book Natasha's Dance by Orlando Figes says on page 493 (softcover edition)that 9 August 1942 was when Hitler had planned to celebrate the fall of Leningrad. The book doesn't say if that is why the premiere date was chosen, or if it was just coincidence.
- I don't know, either. Thanks for providing the page number in Figis. I agree—it should be included.
Another thing: the liner notes to Kurt Masur's recording say that the third movement has a parody of "Da geh' ich zu Maxim" from The Merry Widow, and that Lady Macbeth of the Mtsensk District is quoted elsewhere in the movement.
- This is already included in the article (see "Invasion" theme. (I also have the Masur recording, BTW.) MacDonald also mentions the Merry Widow parody in The New Shostakovich
I'm not familiar with The Merry Widow, with Shostakovich's operas, nor with this symphony. I would rather not listen to it either just to hear what is being talked about, as I don't like this symphony very much. Could someone who is more familiar with these works decide if this content is worth adding to the article. Thank you. --Kyoko 16:48, 6 May 2008 (UTC)
- For all his reporrted pretensions to Wagner, Hitler was actually a greater fan of operetta or light opera, with The Merry Widow being his personal favorite. Jonyungk (talk) 14:45, 15 June 2008 (UTC)
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While in one part of Testimony it is stated (supposedly by Shostakovich) that he wrote the theme before the German invasion, it also states (again, this time certainly by Shostakovich) that he, "...From the first days of the war, [he] sat down at the piano and started work." - Why should one part of Testimony subvert the other? Yagankiely (talk) 09:39, 19 December 2008 (UTC)
- Because Testimony is about cut-and-paste and smoke-and-mirrors, and was not composed the way Volkov said it was. I am firmly of Alex Ross's opinion that Testimony should not be regarded as even a secondary source; as long as Volkov refuses to show evidence that Shostakovich definitely dictated the whole book, it's impossible to authenticate Testimony, and I think that the stakes in the Shostakovich debates are too high to allow dubious evidence to be admitted. Testimony is highly dubious, and should be ruled out of court. Lexo (talk) 01:01, 15 January 2010 (UTC)
From the section on "Form": "The second movement, originally titled Memories is the symphony's shortest. Though its only heading other than its tempo indication, Shostakovich referred to it as both a scherzo and a lyric intermezzo."
Almost this entire article seems to be derived from Volkov one way or another, who is a rather dubious source in many ways...can some other sources possible be cross-referenced here to add a little objectivity? For example the references to Stalin's supposed views or the Soviet people's views on the 7th can hardly be argued to be reliable fact if only derived from Volkov —Preceding unsigned comment added by 184.108.40.206 (talk) 21:42, 22 January 2010 (UTC)
The German wikipadia mentions that half of the large brass section (4 fr.horns, 3 trumpets, 3 trombones) is actually an off-stage orchestra. I don't have the score here to verify this, but if true, shouldn't it be mentioned in the instrumentation section? I was wondering about the obvious disbalance in forces between woodwind and brass until I read the explanation on the German wikipedia... -- megA (talk) 13:36, 20 January 2011 (UTC)
None of the orchestra is used offstage: although the brass section is a large one, in performance it is generally larger still, as there are usually auxiliary players and frequently augmentations as well (e.g. doubling the tuba in all the performances I have attended). — Preceding unsigned comment added by Barbirolli (talk • contribs) 13:46, 27 May 2013 (UTC)
The "invasion" theme and Deutschland über alles
Added to this musical quotation was a prominent sequence of six descending notes in the seventh of the theme's 22 bars—a sequence which bears a passing resemblance to the third bar of Deutschland Über Alles.
Even if this is sourced, I'd call it, sorry, hogwash. A sequence of six (out of seven for the complete sequence) descending notes (a descending diatonic scale, which is hardly a unique invention), of which only five actually coincide with the mentioned part of the German anthem, plus the fact that the sequence starts with an upbeat, whereas the same sequence in the anthem starts with a downbeat, thus stressing completely different notes. Five notes from a diatonic scale cannot even be called a "passing resemblance". A better coincidence (six notes) could be found, (and conclusions drawn) with themes from Tchaikovsky's Third (the "Polish") Symphony (Polish struggle for liberty?) or Sibelius's Seventh (Finnish struggle for liberty?). I am sure, more "parallels" to other works could be found if one was desperate enough to make a point... At least the sentence should be changed to "MacDonald sees a passing resemblance with etc.". -- megA (talk) 15:45, 22 January 2011 (UTC)