Shostakovich Symphony No. 6

Dmitri Shostakovich: "I have set myself a task fraught with tremendous responsibility, to express in sound the immortal image of Lenin as a great son of the Russian people and as a leader of the masses. I have received numerous letters from all over the Soviet Union with regard to my future symphony. The most important advice contained therein was to make considerable use of musical folklore."

In the massively consequential year of 1939, Shostakovich used these words to launch his Sixth Symphony. The piece was meant to have soloists and a chorus alongside the orchestra — perhaps a nod to his Second and Third Symphonies, which were essentially propaganda pieces. Shostakovich even promised to use the poem "Vladimir Ilyich Lenin" by Vladimir Mayakovsky as the basis for his choral text.

The Soviet public eagerly awaited this new symphony, which was inevitably going to be compared with his Fifth Symphony — the piece that had brought Shostakovich back into the Soviet government's good graces, and which remains one of his most popular works even as it's also one of his most complex and nuanced pieces beneath its relatively conservative surface.

But whether Shostakovich ever actually planned to write this gigantic "Lenin" symphony is highly doubtful, since no sketches of it have ever turned up. Instead, Shostakovich pivoted publicly to describing his new symphony this way:

"The musical character of the Sixth Symphony will differ from the mood and emotional tone of the Fifth Symphony, in which moments of tragedy and tension were characteristic. In my latest symphony, music of a contemplative and lyrical order predominates. I wanted to convey in it the moods of spring, joy, youth."[6]

As you can see, Shostakovich wasn't actually saying much about the content of the symphony — if anything at all. He was leaving things deliberately ambiguous, and, fittingly, ambiguous is a pretty good description of this highly enigmatic symphony.

Everything about this symphony is slightly off. It's in three movements, not the typical four, and it opens with a massive slow movement; the two remaining movements are fast and significantly shorter, together lasting less than the first movement alone. It was written in 1939 — supposedly a year of military triumph for the Soviet Union, given the Stalin pact with Hitler that allowed Hitler to invade Poland and launch World War II — and yet there is not a hint of military triumphalism in it.

In short, this symphony confused a lot of people and has always received mixed reviews, whether from musicologists trying to fit it into the traditional "everything in Shostakovich is about Stalin" narrative, or from Soviet critics of the time trying to fit it into Socialist Realist aesthetics. In the end, descriptions of Shostakovich always attempt to put him into a box — silent dissident, Soviet stooge, hero, coward, etc. The truth, of course, is complicated, and this symphony is a great example of the eternal enigma that is Dmitri Shostakovich.

Today, on this Patreon-sponsored episode, I'll take you through this wonderful symphony from a musical perspective, trying to parse its unusual form, its unusually lyrical first movement, and the wild, madcap dash of the final two movements. Join us!