For Dmitri Shostakovich, reaching the heights of the Soviet musical establishment proved easier than staying there. He triumphed with his Fifth Symphony of 1937, which marked the composer's return to official favour after the denunciation of his second opera and third ballet. Following that success, Shostakovich faced the problem of the sequel: whether or not, in the Sixth Symphony, to repeat, refute, or re-inscribe. I propose Shostakovich first thought about going big with his new project, composing a grand text-based score about Lenin, and then considered going small, grounding the first movement in folk fare and mixing light genres in the others. But in the end, he chose a more experimental approach. The Sixth Symphony collapses boundaries, both semantic and syntactic, pulling them back from a fixed state into a play of possibilities.

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接下来是什么？肖斯塔科维奇的第六交响曲作为续集和前传

对于德米特里·肖斯塔科维奇来说，达到苏联音乐界的顶峰比呆在那里更容易。他在 1937 年的《第五交响曲》中大获全胜，这标志着这位作曲家在他的第二部歌剧和第三部芭蕾舞剧遭到谴责后重新获得了官方的青睐。在那次成功之后，肖斯塔科维奇面临续集的问题：是否在第六交响曲中重复、反驳或重新谱写。我建议肖斯塔科维奇首先考虑在他的新项目中做大，创作一个关于列宁的基于文本的宏大乐谱，然后考虑做小，将第一乐章植根于民谣，并在其他乐章中混合轻音乐流派。但最终，他选择了一种更具实验性的方法。第六交响曲打破了语义和句法的界限，将它们从固定状态拉回了可能性的游戏。