Shostakovich and the Battle for Babi Yar
How a holocaust massacre in Ukraine and an unflinching poem inspired one of the greatest choral works of the 20th century â Shostakovichâs 'Babi Yar' Symphony.
Dmitri Shostakovichâs Thirteenth Symphony was inspired by an unflinching poem about the âHolocaust of Bulletsâ at Babi Yar in Ukraine, one of the biggest massacres of World War Two. Lucy Ash pieces together the events leading up to the controversial first performance by speaking to people who witnessed it in a Moscow concert hall 60 years ago: the composerâs son Maxim Shostakovich, the poetâs sister, Elena Yevtushenko and the music critic Iosif Raiskin.
One March day in 1962, the young Russian poet Yevgeny Yevtushenko got an unexpected phone call. Dmitri Shostakovich was on the line asking if he had permission to set one of his verses to music. The poem, Babi Yar, denounces the massacre of 34,000 Jews in a ravine near the Ukrainian capital, Kyiv. It condemned not only Nazi atrocities, but also the Soviet Unionâs state-sanctioned anti-Semitism. Officials responded by launching a vicious campaign against the poet and banning readings or new publications of his work.
So, Yevtushenko was delighted by the famous composerâs moral and artistic support. According to his sister Elena, he felt the music had âmade the poem ten times strongerâ. But, as Maxim Shostakovich explains, the Soviet authorities tried to prevent the symphony from ever reaching an audience. The composerâs son recalls how his father was consumed with anxiety ahead of the premiere, still haunted by his narrow escape, decades earlier, from Stalinâs secret police.
Pauline Fairclough, author of a recent Shostakovich biography, says that, despite all the pressures, the composer never stopped experimenting with musical forms. Concert pianist Benjamin Goodman describes Shostakovichâs âword paintingâ technique and the ways in which he conveys Yevtushenkoâs verse in music to create a sombre, chilling, but ultimately consoling choral symphony. At the Babyn Yar Memorial site in Kyiv, Lucy is shown fragments of a Russian rocket which hit a nearby apartment building last spring. In the midst of a new, 21st-century war, she reflects on the nature of artistic and political courage and parallels between the Khrushchev era and Russia under Putin today.
Producer Tatyana Movshevich
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- Sun 11 Dec 2022 18:45±«Óătv Radio 3
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