The Siege of Leningrad: An Analysis of D. Shostakovich and the Seventh Symphony



The article investigates the power of music and its ability to influence people, shape people’s identity and encourage nations to fight against all forms of oppression. The main focus is on the Seventh Symphony of D. Shostakovich, written and performed during the Siege of Leningrad. It is placed in the historical context of a struggle of Soviet people against the threat of fascism and the importance of music for victory.

Keywords: Shostakovich, Siege of Leningrad, Great Patriotic war, Seventh Symphony.

“Written in Leningrad, it has grown to the size of great world art, understandable at all latitudes and meridians, because it tells the truth about man in an unprecedented time of his misfortunes and trials. The symphony is transparent in its enormous complexity, it is both stern and masculinely lyrical, and all flies into the future, revealing itself beyond the victory of man over the beast” — Aleksei Tolstoi [6].

Shostakovich’s Seventh Symphony is also known as the symphony that brought victory. It is an official hymn of the victory of life over death and freedom over oppression. Even more than a half-century later, the symphony is performed twice a year in Saint Petersburg to commemorate the victims of WWII.

On September 8 of 1941, the Nazis cut the last land connecting Leningrad with the centre of the country, eventually blocking off the population of Leningrad from any income of food, water, basic necessities, marking the start of the Siege of Leningrad. Shostakovich started his Seventh Symphony in December of 1941, and through his music, mirrored the historical events happening at the time, but also gave an insight of the emotional hardships the people of Leningrad were dealing with. The piece also encouraged the people of Leningrad to stay hopeful and stand against the opposing powers. With the power of the population that stood together, the music brought victory to the city.

Shostakovich had faced many political epochs and challenges. There were changes in political powers through revolutions, and the quickly rising deaths from World War II made the war very personal to this composer. He believed in Leningrad and continued to write his music even as he struggled with life and death in the besieged city.In this article, I will focus on the key aspects of his Seventh Symphony and how this music moved so many people and got them through times of death. To understand its deep meaning we need to delve into historical context first to be able to listen and hear what the composer communicated to us.

The Siege of Leningrad was a period during WWII when Leningrad was placed under lockdown as the city was surrounded by threats of fascism. The period tested Russia’s power as a nation and resistance to Hitler’s attempt at invasion. The Soviet Union joined WW2 in June 22, 1941 and it is traditionally referred to in Russia as “The Great Patriotic War”, showing how the people were willing to stand for their motherland. Due to the enormous amount of reparations that were placed on Germany by the Treaty of Versailles, the country’s economy was quickly declining. Hitler, like the majority of the German population, developed a burning hate for the Treaty and was motivated by revenge to rebuild Germany into a strong nation once again. Hitler’s strive for one ideal German nation, ‘The Aryan race’, became threatening to ‘unwanted people’ — minority groups like Jews, LGTBQ+ members, criminals, physically and mentally handicapped people and Slavs. Hitler planned to get rid of these people to spread his territory- living space, “Lebensraum”. He exiled Jews into lands where he had power, but it soon became too large of a population so came up with the «final solution»- concentration camps where the victims were exterminated. In this process, Slavic people and gypsies were also moved there and killed in gas chambers.

During 872 days of the blockade, famine was a huge factor, which often led to people eating their pets or even accounts of cannibalism being made. Before the war, the population of Leningrad was 3 million, however by the end of the blockade, the population had drastically dropped to 500,000. 3 % died from bombing, and the majority, 97 %, died from starvation. Other cities that were also threatened by the quick spread of fascism tried to resist however did not last long for the protection of its civilians. In the Netherlands, people resisted for 6 days, Belgium for 8 days, and France for 43 days. There was a difference in political views and hence different priorities- liberal countries like the Netherlands, Belgium and France wanted to protect their civilians. In contrast, countries like the Soviet Union found it more valuable for the people to protect Leningrad as a nation. It is difficult to ask who is to blame. The extreme consequences of the Treaty of Versailles left Hitler and millions of Germans to be motivated by revenge from the sheer humiliation they felt post-WW1. Hitler challenged each treaty by violating its policies and succeeded which led him to gain control of the entire world and impose an extreme threat of fascism to the rest of the world.

To feel and be able to empathize with the horrors of the siege of Leningrad, we must understand that it was not the war of military forces, but the struggle of civilians for their survival, dignity and their Motherland. It is the story of single acts of individual heroism and devotion that I consider important to share on this pages with the reader.

The city struggled on different inner fronts. During the siege, all museums and arts that were valuable were moved out of Leningrad. Civilians who were influential to society such as artists, scientists and academic scholars were moved out of the city along with children for safety. Regardless of the state of the city, factories continued to work, producing weapons and bombs. In November of 1941, the famine became serious with the shortage of food. Ration cards started being used, and food was being made out of inedible substances, such as jelly from wood glue, cutlets from papier-mâché, and coffee from soil. Thus, the people of Leningrad showed their resistance in numerous ways.

Children were in charge of guarding wooden roofs, and putting out bombs if they had been launched at the houses. (Most of the buildings in Leningrad were made out of stone, and it was the wooden rafters of the houses that enemy aircraft targeted). The children worked and studied normally and were later awarded medals “For the Defence of Leningrad”.

In Leningrad when the first bombing happened and most people were dying or starving to death, Evdokia Dashkina bought 40 buckets of water to the Leningrad Zoo for the hippo that remained and washed her to save her from blood poisoning. Travelling a long distance every day to provide that many buckets of water, even though people had tried suggesting eating the animal as a means of food source, she refused, protecting the hippo and allowing it to live even after the blockade, protecting the zoo.

Additionally, in the Institute of Plant Growing, the scientists protected potatoes and grains from frost, dampness, rats and starving people. A.G Shchukin, who was a keeper of oilseeds, died of starvation and when they found him, there was a bag of almonds clasped in his fist, showing his strong will against his hunger if it meant for the long-term protection of his people. After the war and the blockade, the people planted the seeds and it helped feed the entire population.

The Diary of Tanya Savicheva is an iconic symbol of one of many lives affected by the siege. Tanya was a young girl who had a diary that kept count of each family member’s death. There were 9 pages, and each stated the date and death of a family member. On the last page, she writes “The Savichevs have died, everyone died, There’s only Tanya left”. For her mother, she could not write the word “died” perhaps showing her vulnerability and refusal to accept her mother’s passing.

Shostakovich was an avid supporter of peace like the majority of the population, stating “I am going to defend my country and am prepared, sparing neither life nor strength, to carry out any mission I am assigned.” [2, 123] As a music composer, he felt inclined to write his Symphony no. 7 as his role that could show the horrors of the war but also bring light to the peaceful pre-war life of Russia, encouraging people to stay hopeful. “I couldn’t do anything differently and not write it. I just wanted to capture the image of our country, which is fighting so desperately, in my own music,” [2, 124] he would say later.

The first parts of the symphony were written in the besieged city, on the roofs of the conservatory, where Shostakovich served as a member of the fire-fighting brigade. Later on the composer and his family were evacuated to Kuibushev where he continued working on the symphony. On August 9th, 1942, the premiere of his 7th Symphony, also known as the “Leningrad” Symphony was performed in the besieged city. The score was secretly delivered by military planes as a strategically important material. Even when bread could not be brought into the city, this piece of music was, showing the importance of his music to comfort people. When the Seventh Symphony premiered and became famous, Shostakovich appeared on the cover of the American Times magazine in the image of a fireman, a symbol of the fight against the flames of fascism that engulfed the world. Although famine was spreading faster and resources were becoming more and more limited- out of 90 musicians 15 were left as they all died from starvation- this did not stop the musicians from gathering to rehearse together. There were accounts of musicians fainting from hunger and some musicians even ate beans that were used inside a drum, performing the Symphony. Even the drummer was quite literally saved from the morgue as he had fainted from hunger and was discovered before being sent away. But they did not stop and continued rehearsing.

Along with the verbal and formal explanation of the historical context and descriptions of the horrors of war in the besieged Leningrad, it is important to also focus on the melodies, tones and sounds that could tell us about those hard times. The importance of music in understanding the historical past is hard to underestimate. It happens because music gives us holistic and emotional knowledge that words might lack. It appeals to all our senses at once, providing the feeling of unity and harmony, swiping off bridges between the epochs, and penetrating the very heart of human sufferings.

Shostakovich’s Symphony No. 7 (also known as the Leningrad Symphony) was composed in 1942 during the Second World War, and he clearly shows elements of struggle by focusing on the more peaceful aspects contrasted by the brutality of the war, in hopes of encouraging people to remain hopeful. In the Seventh Symphony, there are two main themes, the peaceful theme and the “invasive” theme that follows which “culminates into a roar of fury” [3].

The first movement of the Seventh Symphony, according to Shostakovich, referred to the first theme as the “peaceful life of pre-war Russia”. The key of the piece is in C major, which has connotations of peace and serenity. The first theme evokes an image of the “peace-loving Soviet folk” [1]. The strength, freedom and individuality of the strings represent the Soviet people, pitted against the brutal, machine-like rhythms of the trumpets and timpani — their enemies [7]. “War was all around. I had to be together with the people, I wanted to create the image of our embattled country, to engrave it in music” [2, 124] Shostakovich says.

The snare drum begins the march theme, with its repetitive rhythm. It is painful, perhaps hinting at the realities suffered by people under tyranny [7]. It begins softly, non-threateningly, seemingly in the distance, with the violins playing the new theme in a quiet dynamic and in pizzicato, adding a new, softer timbre in the development section. It becomes increasingly ominous and terrifying as it gains in volume and proximity with the cello and double bass entering. The march theme is one of the most remarkable passages in Shostakovich’s symphonic output; at its climax — distorted, tremendous, horrific — the composer brings back the opening theme, a gesture of defiance and heroism in the face of the invasion. Shostakovich called the second theme the “invasion theme,” and, initially, it was interpreted to represent the German invasion of Russia.

But Shostakovich was clear about its double meaning — “I was thinking of other enemies of humanity when I composed the theme” [4]. Then, a flute solo invites us into a dreamlike atmosphere of total serenity, peace and calm. The solo flute is answered by strings, then a duet begins between the flute and piccolo. Flutes (and woodwinds) are often related to countryside music (like Beethoven’s Pastoral Symphony and Copland’s Appalachian Spring.) A bassoon solo seems to describe a mother searching for her dead son on the battlefield. The body is believingly found and the horns and tuba are able to intone what might be a short ‘Réquiem ætérnam’ (directly translating to “eternal rest”, a Western hymn asking God to let the souls rest in peace and love) [4]. Near the end the march theme returns with heavy downbeats of the brass, and the muted trumpet repeats the second theme again. The first 3 parts of the symphony were composed in Leningrad when the city was subjected to artillery shelling and bombing from the air. Grandiose in scale the symphony is hot, full of revelation, anger and faith in the triumph of reason, the response of the Soviet artist — a patriotic servant — to the terrible events of the war. This music shoes extraordinary strength and generality. The composer wrote: “The seventh symphony is a poem about our struggle, about our coming victory». And further: “Working on the symphony, I thought about the greatness of our people, about their heroism, about the best ideals of humanity, about the beautiful human qualities, about our beautiful nature, about humanism, about beauty” [5].

The contrast between the main and secondary parties is not con-conflictual in nature. They complement each other, before voicing different sides, different images of that harmonious private, deeply meaningful life that was disrupted by an invasion of a terrible, soulless power. At the moment when in the high sounds of the solo violin when the exposition music fades out, suddenly an evil prophetic drums roll. This technique “decomposes” the topic, seems to expose its mechanical nature and, together with the specific, somewhat nasal timbre of the oboe, and bassoon, sharply enhances the eerie nature of the music. In further huge increase in the initial “marionette” appearance of the theme turns into an “animal” one. The accompanying voices are impressive, calling numerous associations. In one of the latest themes, it’s as if lamentations can be heard in the voices of victims. The steady movement of a mechanical monster sweeps away everything… Variational repetition of the theme goes into precise development in the same rhythm as the “invasion theme”.

Shostakovich titled the second movement ‘Memories’. According to Wigglesworth, the second movement is about “sad memories … The central section is an anger of bitterness” [7]. The only dancing that occurs now is a forced and unnatural dance macabre. The emptiness that follows is perfectly orchestrated. “The harps, making their first appearance after at least half an hour, attempt to console. But the rhythms of the flutes are unaffected and the bass clarinet is left to sing the melody bleakly, staring out into the nihilistic future” [7]. In the Adagio, the “poignant, semplice flute solo suggests the loneliness of silence. Of not being allowed to sing” [7]. It is followed by the entire viola section singing espressivo the flautist’s earlier private tune. It is as if Shostakovich is saying that if we stick together we can survive. If we all sing, we can’t be beaten. In this Symphony, it is clear that Shostakovich wanted peace. The tragedy of this piece is that there will always be tyrants, and there will always be suffering. What the piece offers is the hope that despite that, the human spirit will never be broken. Evil will always be present, but so will humanity’s constant ability to be able to resist it.

When the Symphony premiered, the German raids were guarded above by soviet airforces in case it would disrupt the performance. It was not only the Soviet Union that heard this music but it was also heard by the German troops on the front line. It was at this moment that they realised they could not win this war. In times of life or death, the people of Leningrad gathered together to enjoy music. For them, music was there at the line between life and death. Music was the only thing they had at the time. From a modern perspective, Shostakovich’s 7th Symphony was something that brought the entire population as one that was able to fight against all forms of tyranny like fascism, Stalinism, and crime against humanity. But at that moment, music was hope and motivation for the future of the people. Music saved lives and made them stay hopeful during bleak times.

In the winter of 1941 to 1943, The Road of Life began its operation. It was a road on Lake Ladoga that connected the mainland to the city, making it possible to transport food and basic supplies to the city. This road gave tangible aid and hope to the people who were evacuated from the city. It was the beginning of the break of the siege.

On January 27 ^th 1943, a special order was issued along the front, with German troops being driven back from the city, announcing the final lifting of the blockade of Leningrad. Since then, trees have been planted as a symbol of hope and victory and there are 900 birch trees to symbolise the 900 days of the siege. On the birch trees, there are red scarves, representing the youth organisation of pioneers and the sacrifice of young children. Many decades after this event that tested the willpower of the Leningrad population, Shostakovich’s music remains the same. Shostakovich stood by his people through times of hardship and his symphony proves the power of music to bring an entire group of people together, shaping the feeling of unity and belonging, and giving hope and freedom to oppose all forms of oppression.

“The war we are fighting against Hitler is an eminently just war. We are defending the freedom, honour, and independence of our Motherland. We are struggling for the highest human ideals in history. We are battling for our culture, for science, for art, for everything we have created and built. And the Soviet artist will never stand aside from that historical confrontation now taking place between reason and obscurantism, between culture and barbarity, between light and darkness.... I dedicate my Seventh Symphony to our struggle with fascism, to our coming victory over the enemy, and to my native city, Leningrad.” [2, 131] This music echoes with another hymn of this power of resistance, that is verbally expressed in the lines of Anna Akhmatova: “We know what is now on History’s scales, / What is, in the world, going now. / The hour of courage shewed our clock’s hands. / Our courage will not bend its brow.” (Translated by Yevgeny Bonver)

Even though we cannot know for sure the real inspiration behind this Symphony, it is clear that Shostakovich wanted peace and wanted to encourage people to never stop hoping for a better future, especially in the bleak times of the siege of Leningrad. The tragedy of this piece is that there will always be tyrants, and there will always be suffering. What the piece offers is the hope that despite that, the human spirit will never be broken. Evil will always be present, but so will humanity’s constant ability to be able to resist it. [7] Music, shown evidently through the Seventh Symphony, brings hope to people and tests the strength of a nation.

References:

1. Fanning, David. “Shostakovich: ‘The Present-Day Master of the C Major Key.’” Acta Musicologica, vol. 73, no. 2, 2001, pp. 101–40. JSTOR, https://doi.org/10.2307/932894.
2. Fay, Laurel E. Shostakovich: A Life. Oxford UP, USA, 2005.
3. Gow, David. “Shostakovich’s ‘War’ Symphonies.” The Musical Times, vol. 105, no. 1453, 1964, pp. 191–93. JSTOR, https://doi.org/10.2307/950602.
4. Mangum, John. «Symphony No. 7, «Leningrad», Dmitri Shostakovich». LA Phil, www.laphil.com/musicdb/pieces/4045/symphony-no-7-leningrad.
5. Shostakovich D., 7 Symphony. Pravda, March 29, 1942.
6. Tolstoi, Aleksei. Русский Путь: Pro Et Contra, russianway.rhga.ru/upload/main/11) %20 %D0 %90 %D0 %BB %D0 %B5 %D0 %BA %D1 %81 %D0 %B5 %D0 %B9 %20 %D0 %A2 %D0 %BE %D0 %BB %D1 %81 %D1 %82 %D0 %BE %D0 %B9.pdf.
7. Wigglesworth, Mark. «Mark's Notes on Shostakovich Symphony No. 7». Mark Wigglesworth, 11 May 2019, www.markwigglesworth.com/notes/marks-notes-on-shostakovich-symphony-no-7/.