Music of the People – Music of the Soviet Union and Socialist Movements Throughout the  World

 

Links and more information.

 

 

1.         The Soviet National Anthem (sung by the Red Army Chorus)

 

            English Translation

 

Unbreakable Union of freeborn Republics,

Great Russia has welded forever to stand.

Created in struggle by will of the people,

United and mighty, our Soviet land!

 

Sing to the Motherland, home of the free,

Bulwark of peoples in brotherhood strong.

O Party of Lenin, the strength of the people,

To Communism's triumph lead us on!

 

Through tempests the sunrays of freedom have cheered us,

Along the new path where great Lenin did lead.

To a righteous cause he raised up the peoples,

Inspired them to labour and valorous deed.

[Or, the old way:

Be true to the people, thus Stalin has reared us,

Inspire us to labour and valorous deed!]

 

Sing to the Motherland, home of the free,

Bulwark of peoples in brotherhood strong.

O Party of Lenin, the strength of the people,

To Communism's triumph lead us on!

 

In the vict'ry of Communism's deathless ideal,

We see the future of our dear land.

And to her fluttering scarlet banner,

Selflessly true we always shall stand!

 

            Check out the Marxist website for more information on the anthem, and recordings of all the anthems of the former Soviet Union.

 

2.         From Border to Border – Dzerzhinsky sung by Paul Robeson from the PEARL release Songs For Free Men.  GEMM CD 9264

 

            Paul Robeson was an important right’s activist in America during the first and early second half of the 20th century.  Accused of being a communist, he was stripped of his passport during the McCarthy era.  He spent much of his later life in Europe and visited the Soviet Union often.  When it was discovered that Stalin was not the man he said he was, Robeson became very upset.  Nevertheless,  he continued to promote peace and socialism until his death.  There are several sites on Robeson as noted below.

 

Ivan Dzerzhinsky (1909-1978) was a Soviet composer known for his patriotic and propagandist compositions.   “From Border to Border” is extracted from his opera Quiet Flows the Don.  This opera premiered in 1936 along with Shostakovich’s acclaimed Lady MacBeth of Mtsensk.  Stalin saw both, loved Dzerzhinsky’s cheesy melodies but detested the “cacophony” of the Shostakovich work.  It was with this performance that Shostakovich was heavily censored by the Soviet authorities, nearly losing his life.  There’s a great article on this by Taruskin here.

 

All but forgotten.  The Penguin Music Dictionary (1997) lists him Dzerzhinsky as:

 

Russian composer (also pianist), pupil of Gnesin. Works include Quiet Flows the Don and Virgin Soil Upturned (from Sholokhov's novels) and other operas; also three piano concertos, orchestral works, theatre and film music, etc.

 

3.         Song of Youth – Dunayevsky sung by the Red Army Chorus from the EMI release Soviet Army Chorus and Band.  CDC-7 47833 2

 

            Isaak Dunayevsky was born in 1900 and quickly rose under Stalin as one of the pre-eminent composers of the USSR.  In 1937 he was elected President of the Union of Soviet Composers at Leningrad.  There’s an interesting snippet on the Voice of Russia website discussing his life and in particular commenting on the controversy of his situation as a pseudo “court” composer to Stalin.

 

4.         2 Elegien – Hanns Eisler, lyrics by Bertolt Brecht sung by Monika Moldenhauer, mezzo-soprano with Paulo Alvares on the piano  from the CPO release Hanns Eisler: Chamber Cantatas and Songs.  999 339-2

 

“ When I saw that politics occupied itself with me, I occupied myself with politics.  The feeling was mutual”

 

Hanns Eisler left Germany in 1933 soon after Hitler came to power.  Like Kurt Weill, he moved to New York where he worked with Bertolt Brecht.  Unlike Weill, he was not enthusiastic about composing “american” or becoming “american” in any way.   In 1948, the American government declared him an “unperson” and shipped him off to East Germany where he continued to compose music that would liberate humanity; this was led in part by then congressman Richard Nixon!   In East Germany he would compose their national anthem, “Auferstanden aus Ruinen”.  His life and music is now beginning to be rediscovered.   I think this guy is really interesting.  Definitely worth checking out.

 

There is a fabulous website dedicated to Eisler’s music and life.  It is really very exhaustive.  Kudos to the webmaster and researcher.  You can hear recordings of many of Eisler’s works there as well.  Including his Lenin requiem.

 

5.         Finale (4th movement) of Symphony #3 Moderato: ‘V pervoye Pervoye maya’

Shostakovich performed by the London Philharmonic Orchestra and Choir under Bernard Haitink from the London release Shostakovich: Symphonies 2 & 3, The Age of Gold. 421 131-2

 

Well, Shostakovich tried to appease the Soviet authorities by composing first his Second Symphony called “To October – A Symphonic Dedication” and then his Third Symphony subtitled “The First of May”.  Unlike his Fifth, the authorities didn’t really buy it and were none to impressed with his attempts to be “patriotic”.  I don’t know but I think there is a truly forced feeling to the final triumphant chorus of the fourth and final movement. 

 

English Lyrics

 

On the very first May Day

a torch was thrown into the past ,

a spark , growing into a fire , 

and a flame enveloped the forest . 

 

With the drooping fir trees' ears

the forest listened 

to the voices and noises 

of the new May Day parade .

 

Our May Day .

In the whistling of grief's bullets

grasping bayonet and gun , 

the tsar's palace was taken .

 

The fallen tsar's palace -

this was the drawn of May ,

marching ahead ,

in the light og grief's banners .

 

Our May Day - 

in the future there will be sails - 

unfurled over the sea of corn ,

and the resounding steps of the corps .

 

New corps - the new ranks of May 

their eyes like fires looking to the future . 

factories and workers

march in the May Day parade .

 

We will reap the land ,

our time has come .

Listen , workers , to the voice of our factories :

in burning down the old , you must kindle a new reality . 

 

Banners rising like the sun ,

march , let your steps resound . 

Every May Day 

is a step towards Socialism .

 

May Day is the march 

of armed miners .

Into the squares , revolution ,

march with a million feet !

 

(lyrics taken from a website dedicated to the poet Kirsanov)

 

 

There is a lot of information on Shostakovich out there.  I recommend most wholeheartedly this site from  Southern Illinois University at Edwardsville (I know, I know!) maintained by Ian MacDonald.  It’s been a great help for a long, long time.

 

6.         Heroic March for the Buryiat-Mongolian ASSR, Op. 71 - Reinhold Glière

(1875-1956) performed by the BBC Philharmonic under Vassily Sinaisky from the Chandos release Gliere: Overtures and Orchestral Works  Chan 9518

 

Glière, born in Kiev of Belgian and Jewish extraction was successful under two political regimes, the tsarist and the Bolshevik.  Nowhere as experimental as Shostakovich or Prokofiev his music still remains very popular.  There are several websites out there for more information on his life and music.  Perhaps most interesting is the complete list of his works, compiled by one of his relatives!

 

Perhaps you’d like to visit Glière’s grave?  You can find it here.

 

The obituary that was posted in the Musical Times (of London) stated:

 

Reinhold Glière, on 23 June, in Russia, aged eighty-one. Of Belgian descent but Russian upbringing, he studied in Kiev and Moscow, where he soon allied himself to the ‘westernizing’ school of Tchaikovsky and Arensky, whose pupil he was. After the Revolution he specialized in ‘regionalist’ music, first Azerbaijanian and later Uzbek. Among his pupils were Prokofiev, Khachaturyan and Miaskovsky.

 

Glière’s Heroic March was written with a simple pentatonic structure and quotes as a villainous middle development theme “God Save the Tsar” and near the end, the Internationale triumphing over imperialism.

 

7.         The Sun Shines Over Our Motherland, Op. 90 – Dmitri Shostakovich (1906-1975) performed by the Moscow Philharmonic and the RSFSR Russian Chorus under Kiril Kondrashin from the Melodiya release Prokofiev, Shostakovich: Cantatas  LP ANGEL SR - 40129

 

Written during the early 1950’s at the height of Stalin’s tyrannical and insane power, The Sun Shines Over Our Motherland is but one of a fleet of “patriotic” works written by Shostakovich to appease the Soviet authorities.   Other works at this time included the Op. 86 The Homeland Hears, Op. 95B Poem of Labour and Op. 95G October Dawn.  An ongoing propaganda battle ensued throughout the cold war with Melodiya sending its recordings over to be heard by the western masses and driven to socialist rebellion.  So let’s let the words speak for themselves.

 

(from the liner notes)

 

The theme of revolutionary struggle has often found expression in Shostakovich’s works, among which the present cantata, The Sun Shines Over Our Motherland is one such example.   [It was] first performed in November, 1952, when the Soviet people were celebrating the 35th anniversary of the October Revolution…

 

The text is by the poet Yevgeny Dolmatovsky, winner of a Stalin Prize in 1949, the year in which he wrote the Cantata poem.  From the title Dolmatovsky gave to his poem, one might expect a celebration of all the bounties nature has bestowed on the Russian land.  In fact, however, the sun is a metaphor throughout the poem for the spirit and achievement of the Soviet people under the leadership of the Communist party.  The October Revolution represents the initial victory of the people and the beginning of the tangible accomplishments.  Thus, it is not the plains, rivers and fields that the poet celebrates but the roads, factories and power stations – the work of the people.

 

In character and style the Cantata is similar to Shostakovich’s oratorio The Songs of the Forest.  It tells of Russia’s eternal youth and bright future in musical language that shows the influence of Soviet popular songs.  A dramatic focal point throughout the work is the dynamic call “Forward, Communists!”

 

The opening section is lyrical in nature, with the boys’ chorus, lightly accompanied by strings and woodwinds, describing the beauties of the mother country.  This is followed by an energetic section, sung mainly by the men, in which we hear of the past , of the battles for a “splendid life,” of the Party and of the great Lenin.  The image is one of a country building wealth and brotherhood through a hard-won victory.  The finale is a majestic hymn-like tribute to a confident, triumphant people.  It concludes with a vow that all the visionary aspirations of their leader will be fulfilled. 

 

Well, was Shostakovich a communist or not a communist.  Who knows.  This is one of the greatest debates of twentieth century music.  Read up on it. 

 

Dolmatovsky’s poem is great something.  I’m typing out the whole thing, because I couldn’t find it on the net, and it’s so great! 

 

The sun shines over our great contry.

It lights up the great buildings and monuments.

We have become wealthy and strong beneath the sun of freedom.

But our greatest treasure is our brotherhood.

All our roads are clear and bright;

Our hearts are filled with courage.

We are led by Communists, Communists are always ahead.

The banner of Lenin will lead our generation.

Our country is blessed with our courage.

The great party will lead us to Communism.

We will fly like an eagle.

The kolkhoz fields, the gardens and the factories belong to the people.

We have become wealthy and strong beneath the sun of freedom.

But our greatest wealth is our brotherhood.

Our glorious fate has been won through angry battles,

We had to go forward, it was a heavy fight.

The proletariat fought for the workers’ freedom, a final decisive battle.

The brave Bolshevik party led the masses of the people.

Our country was brought under the banner of the Soviet

By almighty Lenin.

Lenin was always with and for the people,

His great name will remain in our hearts.

The Soviet people fought a fierce battle for their freedom and honour,

And many a time, during attacks, the following cry could be heard:

Communists, forward!

It was in the face of the enemy’s fire

That the friendship of the people was seen.

Nature was conquered for the people,

So forward and forward we go!

Communists, forward!

We are not afraid of the clouds of war, peace is in good hands.

Our great party teaches us to build long-lasting peace and happiness.

Gigantic buildings willdecorate our land based on the widest plans.

Power stations, grow along our Russian rivers, like the beacons of a great achievement.

May my Soviet land shine through all corners of the world.

Thunder clouds must not darken this brightness.

Our way is sunny and bright.

We shall cultivate the empty plains, and we shall harness the power of the rivers.

May my Soviet land shine through all the corners of the world.

We shall fulfill all Lenin’s wishes, We go forward with the party.

Our generations will see Communism.  Our people will build Communism.

We pledge our oath to the Communist party of our country.

Children of the Soviet spring, we shall enrich our land with our work.

We sing the glory of our party, the party of Lenin.

Forward, Communists!  Glory! Glory! Glory! Glory!

 

 

8.         Y entonces comprendio – Luigi Nono (1924-1990) Lindsay, Poli, Ravazzi, Bove, Acevedo, Vicini – singers and the Coro da camera della Rai, Roma under the direction of Nino Antonellini from the LP Luigi Nono: Como una ola de fuerza y luz  DG 2530 436

 

This is certainly not one of Nono’s better known works of music.  There is hardly any web information on it, in Italian, German or any other language for that matter.  Nevertheless I thought it was interesting because it is influenced by the Cuban political situation.  It uses quotations of Che Guevara’s writing and the tape part uses in part a speech by Fidel Castro. 

The music brings to life Nono’s political wanderings.  He was a member of the Central Committee of the Communist Party and made several trips to the Soviet Union and Cuba.  David C. F. Wright has an excellent article both on Nono’s music and his political leanings.  Later, Nono would become disillusioned with communism when he learned of the Soviet atrocities in Poland.

Now, this is when it gets really juicy.  Nono visited California and fell in love with Schoenberg’s (yes, that Schoenberg) daughter.  She went to Italy and married him.  She was as excited about the communists as her husband and named her daughter Tai-yang Cheng in honour of the Chinese Cultural Revolution.

Here’s a picture of Luigi Nono and Nuria Schoenberg.

 

Mode records has released a CD of more political music by Nono.  You can find out more about their disc here.

 

In terms of music, the piece is scored for six live female voices.  A live choir in the fifth episode and a continuosly running tape consisting of phonetic and semantic material of the five voices and a quotation of Nono’s earlier work non consumiamo Marx.  The texts include work by Carlos Franqui, a Cuban revolutionary; Ernesto “Che” Guevara’s last letter to Castro (1965); and his message to the Tricontinental (1967). 

 

Nono describes the five episodes (or sections) of the work as:

 

1.         Mythological allegory: “The horse as a magic force” (in Cuba the horse is the main symbol for the forces of energy which man ascribes to himself)

2.         Prerequisite for revolution: “The wall used for executions”.

3.         General sorrow at the disappearance of the legendary Camilio Cienfuegos while flying during a storm: “Camilo in the air”, “Camilo in the water”.

4.         Nature’s spells at night: “The sound in the night”.

 

The fifth episode, “The Battle”, with which the work closes, consists of the text of the message to the Tricontinental (choir) sung simultaneously with sentences from “Che’s” last letter to Fidel (on tape, various superimpositions with Fidel’s own voice) and three quotations from “non consumiamo Marx” (all on tape; material recorded on the streets during demonstrations).

 

More info on Luigi Nono is best found at the Archivio Luigi Nono website.

 

9.         The Cradle Will Rock – Marc Blitzstein Howard Da Silva, director; Gershon Kingsley, musical director from the CRI LP The Cradle Will Rock  (1964)

 

Marc Blitzstein was one of the most revolutionary composers in America, especially during the middle of the twentieth century.  A student of Schoenberg and Boulanger, Blitzstein has been forgotten in America in large part due to his socialist leanings.   During the Second World War, he was musical director of the American broadcasting station in London.  Blitzstein was close to Bernstein who was sympathetic with his musical style (and also with his politics).  Blitzstein died in 1964 when he sexually advanced on three Portuguese sailors and they beat him up.  There is more about this at the Marc Blitzstein website.

The Cradle Will Rock was composed in 1936.  Influenced by Bertolt Brecht as well as the intolerable conditions of America in the great depression it is a socialist work that promotes unionised labour.  During its production, labour strife was occurring throughout the U.S.  This website looks at some of the circumstances.  Tim Robbins’ film Cradle Will Rock used the play as a starting point for pre-McCarthy anti-communist activity.

 

 

 

10.       The Steel Foundry - Alexander Mossolov (1900-1973) from the Folkway Recordings LP Sounds of New Music            

 

Alexander Mossolov’s Iron Foundry is a fairly well known work.  Ed Wood claimed that it was the title track of Plan 9 from Outer Space, this was not true.  Mossolov (or Mosolov) was one of the founders of the futurist movement in the early Soviet Union.  After Stalin came to power, these composers were no longer encouraged, Mosolov probably the most.  He was declared in 1929 an enemy of the people and in 1936 was expelled from the Soviet Composers Union and left Moscow to travel in Central Asia.  In 1948 he was declared an enemy by then secretary Khrennikov despite having composed his 1947 oratorio Glory to the Red Army.   After Stalin died, like all composers, Mosolov was granted more freedom and returned to Moscow where he died in 1973.   There is a good timeline here.  As well, the Syracuse Symphony has an excellent biography.

 

OTHER STUFF

 

There is a lot of mention of Tichon Khrennikov.  He was the secretary of the Soviet Composer’s Union and denounced many composers.  Most famous were his denunciations of Shostakovich and Prokofiev, but he also attacked lesser composers with more results.  In many cases these composers were sent to camps in Siberia where they would die.  Here is a picture of him joined by Shostakovich (on the left) and Kodaly (on the right).

 

Onno Van Rijen has a site that lists information on numerous Soviet composers, including Khrennikov.   There is also a lot of information (though extremely forgetful of history) at the Voice of Russia.

 

 

 

This site purports to summarize the entire century of music in Russia.  Way to go!  On the other hand, it seems extremely friendly and forgiving to the former Soviet Union.