Shostakovich is the author of fifteen symphonies. This genre has a very great importance. If for Prokofiev, although all his creative aspirations were varied, the most important, perhaps, was Musical Theatre, And his instrumental music is very closely connected with his ballet and opera images, then for Shostakovich, on the contrary, the defining and characteristic genre is a symphony. And the opera "Katerina Izmailova", and many quartets, and his vocal loops- they are all symphonic, that is, imbued with the continuous intense development of musical thought. Shostakovich is a true master of the orchestra, who thinks orchestrally. He uses combinations of instruments and instrumental timbres in many new ways and with amazing precision as living participants in symphonic dramas.

One of the most significant works Shostakovich's seventh symphony, "Leningrad", written by him in 1941. The composer composed most of it, as already mentioned, in besieged Leningrad. Here is just one of the episodes that would give an idea of ​​the conditions in which the music was written.

On September 16, 1941, in the morning, Dmitry Dmitrievich Shostakovich spoke on Leningrad radio. Fascist planes bombed the city, and the composer spoke amid the explosions of bombs and the roar of anti-aircraft guns:

“An hour ago I finished the score of two movements of a large symphonic work. If I manage to write this work well, if I manage to finish the third and fourth parts, then it will be possible to call this work the Seventh Symphony.

Why am I reporting this? - asked the composer, - ... so that the radio listeners who are listening to me now know that life in our city is going normally. We are all currently on our combat watch... Soviet musicians, my dear and numerous comrades in arms, my friends! Remember that our art is in great danger. Let us protect our music, let us work honestly and selflessly...” No less remarkable is the history of the first performances of this symphony, both in the USSR and abroad. Among them there is this amazing fact- The premiere in Leningrad took place in August 1942. People in the besieged city found the strength to perform the symphony. To do this, we had to solve several problems. For example, there were only fifteen people left in the Radio Committee orchestra, but the symphony needed to be performed by at least a hundred! Then they decided to convene all the musicians who were in the city, and even those who played in the naval and army front-line orchestras near Leningrad. Shostakovich's Seventh Symphony was played on August 9 in the Philharmonic Hall under the baton of Karl Ilyich Eliasberg. “These people were worthy to perform the symphony of their city, and the music was worthy of them...” - Georgy Makogonenko and Olga Berggolts responded then in Komsomolskaya Pravda.

Shostakovich's Seventh Symphony is often compared to documentary works about the war, called a “document”, a “chronicle”, because it conveys the spirit of events with unusual precision. But at the same time, this music amazes with the depth of thought, and not just with the immediacy of impressions. Shostakovich reveals the struggle of the people with fascism as a struggle of two poles:

the world of reason, creativity, creation and - the world of cruelty and destruction; a real Man and a civilized barbarian; good and evil.

To the question of what wins as a result of this battle in the symphony, Alexey Tolstoy said very well: “To the threat of fascism - to dehumanize man - he (i.e. Shostakovich) responded with a symphony about the victorious triumph of everything high and beautiful created by humanitarian culture. .."

The four movements of the symphony reveal in different ways the idea of ​​the triumph of Man and his struggle. Let us take a close look at the first part, which depicts the direct “military” collision of two worlds.

Shostakovich wrote the first movement (Allegretto) in sonata form. Her exhibition contains images Soviet people, country, person. “Working on the symphony,” said the composer, “I thought about the greatness of our people, about their heroism, about the best ideals of humanity, about the wonderful qualities of man...”. The first theme of this exhibition is the theme main party- majestic and heroic. It is voiced in the key of C major by string instruments:

Let us list some of the features of this topic that give it modern dynamism and poignancy. This is, first of all, an energetic marching rhythm, characteristic of many mass Soviet songs and bold, wide melodic moves. In addition, this is the tension and richness of the mode: C major, exuding in the third bar into a higher degree (the sound F-sharp), and then the minor third - E-flat - is used in the development of the theme.

The main part of the composer’s seventh symphony is similar to the “heroic” Russian themes in its heavy unisons and swinging, sweeping intonations.

Immediately after the main part, a lyrical side part plays (in the key of G major):

Quiet and somewhat shy in expressing emotions, the music is very sincere. The instrumental colors are pure, the presentation is transparent. The melody is led by violins, and the background is a swaying figure of cellos and violas. Towards the end of the side part there are solos from a muted violin and a piccolo flute. The melody seems to dissolve in silence, flowing. This is how the exhibition ends, revealing a reasonable and active, lyrical and courageous world.

Then follows the famous episode of the fascist attack, a grandiose picture of the invasion of the force of destruction.

The last “peaceful” chord of the exposition continues to sound when the beat of a military drum can be heard from a distance. Against its background, it develops strange topic- symmetrical (a move up a fifth corresponds to a move down a fourth), abrupt, neat. Like clowns twitching:

Alexey Tolstoy allegorically called this melody “The dance of learned rats to the tune of the rat catcher.” The specific associations that arise in the minds of different listeners may be different, but there is no doubt that there is something of an ominous caricature in the theme of the fascist invasion. Shostakovich exposed and satirically sharpened his features automatic discipline, stupid narrow-mindedness and pedantry, brought up among the soldiers of Hitler’s troops. After all, they should not have reasoned, but blindly obeyed the Fuhrer. In the theme of the fascist invasion, the primitiveness of intonations is combined with the “square” rhythm of the march: at first this theme seems not so much formidable as stupid and vulgar. But in its development, a terrible essence is revealed over time. Obedient to the rat catcher, the learned rats enter the battle. The march of the puppets transforms into the stride of a mechanical monster that tramples all living things in its path.

The invasion episode is built in the form of variations on one theme (in the key of E-flat major), melodically unchanged. The drumbeat remains constant, constantly intensifying. From variation to variation, orchestral registers, timbres, dynamics, density of texture change, and more polyphonic voices are added. All these means rob the character of the topic.

There are eleven variations in total. In the first two, the deadness and coldness of the sound are emphasized by the timbre of the flute in a low register (first variation), as well as the combination of this instrument with a piccolo flute at a distance of one and a half octaves (second variation).

In the third variation, the automaticity stands out more strongly: the bassoon copies each phrase from the oboe an octave lower. A new figure, dully beating out a rhythm, enters the bass.

The militant nature of the music intensifies from the fourth to the seventh variations. Copper comes into play wind instruments(trumpet, trombone with mute in the fourth variation). The theme is heard for the first time, it is presented parallel triads(sixth variation).

In the eighth variation the theme begins to sound terrifyingly fortissimo. It is played in the lower register, in unison with eight horns, string instruments and woodwinds. The automatic figure from the third variation now rises, tapped by the xylophone in combination with other instruments.

The iron sound of the theme in the ninth variation is joined by the motive of a groan (for trombones and trumpets in the upper register). And finally, in the last two variations the theme takes on a triumphant character. It seems that an iron monster is crawling heavily towards the listener with a deafening clang. And then something happens that no one expects.

The tone changes dramatically. Another group of trombones, horns and trumpets enters. To the triple composition of wind instruments in the orchestra of the seventh symphony, 3 more trombones, 4 horns and 3 trumpets were added. A dramatic motif called the resistance motif is played. In an excellent article dedicated to the seventh symphony, Evgeniy Petrov wrote about the theme of invasion: “It is overgrown with iron and blood. She shakes the hall. She shakes the world. Something, something iron is walking along human bones, and you hear them crunching. You clench your fists. You want to shoot at this monster with a zinc muzzle, which inexorably and methodically walks towards you, - once, two, one, two. And so, when, it would seem, nothing can save you, when the limit of the metal power of this monster, incapable of thinking and feeling, has been reached... a musical miracle occurs, which I know of no equal in the world symphonic literature. A few notes in the score - and at full gallop (so to speak), at the utmost tension of the orchestra, simple and intricate, buffoonish and scary topic war is replaced by the all-destructive music of resistance":

The symphonic battle begins with terrible tension. Variation development flows into development. The iron motives of the invasion are attacked by powerful volitional efforts. Moans, pain, and screams are heard in heartbreaking, piercing dissonances. Together, all this merges into a huge requiem - a lament for the dead.

This is how they begin an unusual reprise. It contains both side and main topic the expositions become noticeably changed - just like the people who entered the flames of war, were filled with anger, experienced suffering and horror.

Shostakovich's talent had such a rare property: the composer was able to convey in music great sorrow, welded with the enormous power of protest against evil. This is how the main part sounds in the reprise:

Now she floats in a minor key, the marching rhythm has turned into a mournful one. This is indeed a funeral procession, but the music has acquired the features of a passionate recitative. Shostakovich addresses this speech to all people.

Similar melodies - full of passionate, angry, inviting oratorical intonations, widely presented by the entire orchestra - are found more than once in the composer's music.

Previously lyrical and bright, the side part in the reprise by the bassoon sounds mournful and dull, in a low register. She sounds special minor scale, often used by Shostakovich in tragic music (minor with 2 lower degrees - II and IV; in this case, in F-sharp minor - G-becar and B-flat). A quick change of time signatures (3/4, 4/4, then 3/2) brings the melody closer to the living breath of human speech. This contrasts quite strongly with the automatic rhythm of the invasion theme.

The theme of the main part appears again at the end of the first part - the coda. She has returned to her original major appearance, but now the violins sound melodiously and quietly, like a dream of the world, a memory of it. The end is unsettling. From afar, the theme of the invasion and the drum roll sounds. The war is still going on.

Shostakovich, without embellishment, with cruel truthfulness, painted true pictures of war and peace in the first movement of the symphony. He captured in music the heroism and greatness of his people, depicted the dangerous power of the enemy and all the tension of a life-and-death battle.

In the two subsequent parts, Shostakovich contrasted the destructive and cruel power of fascism with a spiritually rich man, the strength of his will and the depth of his thought. The powerful finale - the fourth part - is full of anticipation of victory and offensive energy. In order to fairly evaluate it, we should once again remember that the composer composed the finale of the seventh symphony at the beginning of the Great Patriotic War.

Many years have passed since the first performance of the Leningrad Symphony. Since then, it has been heard throughout the world many times: on the radio, in concert halls, even in cinema: a film was made about the seventh symphony. Her performance again and again resurrects the indelible pages of history before the audience, pouring pride and courage into their hearts. Shostakovich’s seventh symphony could well be called “ Heroic Symphony" twentieth century.

Soviet historians argued that Dmitry Shostakovich began writing his famous Leningrad Symphony in the summer of 1941 under the impression of the outbreak of war. However, there is reliable evidence that the first part of this musical work was written even before the outbreak of military events.

A premonition of war or something else?

It is now known for sure that Shostakovich wrote the main fragments of the first movement of his seventh symphony approximately in 1940. He did not publish them anywhere, but showed them to some of his colleagues and students. Moreover, the composer did not explain his plan to anyone.

Somewhat later knowledgeable people They will call this music a premonition of an invasion. There was something alarming about her, turning into absolute aggression and suppression. Considering the time of writing these fragments of the symphony, it can be assumed that the author did not create the image of a military invasion, but had in mind the all-suppressive Stalinist repressive machine. There is even an opinion that the theme of the invasion is based on the rhythmicity of the Lezginka, highly revered by Stalin.

Dmitry Dmitrievich himself wrote in his memoirs: “When writing the theme of the invasion, I was thinking about a completely different enemy of humanity. Of course, I hated fascism. But not only German - all fascism.”

Seventh Leningradskaya

One way or another, immediately after the start of the war, Shostakovich intensively continued to work on this work. At the beginning of September, the first two parts of the work were ready. And after a while little time Already in besieged Leningrad, the third score was written.

In early October, the composer and his family were evacuated to Kuibyshev, where he began work on the finale. According to Shostakovich's idea, it was supposed to be life-affirming. But it was precisely at this time that the country was experiencing its most severe trials war. It was very difficult for Shostakovich to write optimistic music in a situation where the enemy was at the gates of Moscow. These days, he himself more than once admitted to those around him that nothing was working out for him with the finale of the seventh symphony.

It was only in December 1941, after the Soviet counter-offensive near Moscow, that work on the finale began to go smoothly. On New Year's Eve 1942 it was successfully completed.

After the premieres of the seventh symphony in Kuibyshev and Moscow in August 1942, main premiere- Leningradskaya. The besieged city was then experiencing the most difficult situation during the entire siege. The hungry, exhausted Leningraders no longer seemed to believe in anything or hope for anything.

But on August 9, 1942 concert hall For the first time since the beginning of the war, the Mariinsky Palace began to play music again. The Leningrad Symphony Orchestra performed Shostakovich's 7th Symphony. Hundreds of speakers that usually announced air raids now broadcast this concert to the entire besieged city. According to the recollections of the residents and defenders of Leningrad, it was then that they developed a firm belief in victory

Annotation. The article is devoted to the brilliant work of music of the twentieth century - the Seventh Symphony of D. Shostakovich. This work became one of the brightest examples of art, which reflected the events of the Great Patriotic War. The author of the article made an attempt to consider the means musical expressiveness and reveal the unique power of influence of D. Shostakovich’s symphony on people of different generations and ages.
Keywords: The Great Patriotic War, Dmitry Dmitrievich Shostakovich, Seventh Symphony (“Leningrad”), patriotism

“This symphony is a reminder to the world that the horror of the siege and bombing of Leningrad must not be repeated...”

(V.A. Gergiev)

This year the whole country is celebrating the 70th anniversary of the victory over fascism in the Great Patriotic War.

In such a significant year for our homeland, every person must honor the memory of the heroes and do everything necessary so that the feat of the Soviet people is not forgotten. All cities of Russia celebrated the holiday on May 9 - Victory Day. Krasnoyarsk region was no exception. Throughout the spring, events dedicated to the celebration of the 70th anniversary of Victory in the Great Patriotic War were held in Krasnoyarsk and the region.

Studying in the nursery music school, I am with our creative team- ensemble folk instruments“Yenisei Quintet” - performed at various venues in the city and took part in congratulatory concerts for veterans. It was very interesting and educational. Especially when you consider that in secondary school, I am a member of the military-patriotic club “Guard”. I strive to learn something new about the war and tell my friends, parents, and acquaintances about wartime. I am also interested in how the people who were living witnesses of those times survived the hard times of war. terrible events, what works of art and literature they remember, what impact music born during the war had on them.

Personally, I was most impressed by Symphony No. 7 “Leningrad” by D.D. Shostakovich, which I heard in class musical literature. I was interested in learning as much as possible about this symphony, about the history of its creation, about the composer and how the author’s contemporaries responded to it.

D.D. Shostakovich Symphony No. 7 “Leningrad”
History of creation

1. 70 years ago, Dmitry Shostakovich’s 7th Symphony was performed for the first time in Kuibyshev (2012). - URL: http://nashenasledie.livejournal.com/1360764.html
2. Shostakovich's Seventh Symphony. Leningradskaya (2012). - URL: http://www.liveinternet.ru/users/4696724/post209661591
3. Nikiforova N.M. " Famous Leningrad woman"(history of the creation and performance of D. D. Shostakovich's "Leningrad" Symphony). - URL: http://festival.1september.ru/articles/649127/
4. The theme of Hitler's invasion in D. Shostakovich's Seventh Symphony is marked by the “number of the beast,” says the St. Petersburg composer (2010). - URL: http://rusk.ru/newsdata.php?idar=415772
5. Shostakovich D. About time and about myself. - M., 1980, p. 114.

Annex 1

Composition of the classical triple symphony orchestra	Composition of the symphony orchestra of Symphony No. 7 by D.D. Shostakovich
Woodwinds 3 Flutes (the second and third are duplicated by piccolo flutes) 3 oboes (the third is doubled by cor anglais) 3 Clarinets (the third is doubled as a small clarinet) 3 Bassoon (the third is doubled as a contrabassoon)	Woodwinds 4 flutes 5 clarinets
Brass 4 Horn 3 Trombones	Brass 8 horns 6 trombones
Drums Big drum Snare drum Triangle Xylophone	Timpani, bass drum, snare drum, triangle, cymbals, tambourine, gong, xylophone... Keyboards piano Stringed instruments:
Strings First and second violins Cellos Double basses	Strings First and second violins Cellos Double basses

70 years ago, on August 9, 1942, in besieged Leningrad, Dmitry Shostakovich’s Seventh Symphony in C major, which later received the name “Leningrad”, was performed.

“With pain and pride I looked at my beloved city. And it stood, scorched by fires, battle-hardened, having experienced the deep suffering of a fighter, and was even more beautiful in its stern grandeur. How could one not love this city, built by Peter, one cannot tell everything the world about its glory, about the courage of its defenders... My weapon was music", the composer later wrote.

In May 1942, the score was delivered to the besieged city by plane. At a concert at the Leningrad Philharmonic, Symphony No. 7 was performed by the Bolshoi Symphony Orchestra Leningrad Radio Committee under the direction of conductor Carl Eliasberg. Some of the orchestra members died of hunger and were replaced by musicians recalled from the front.

"The circumstances under which the Seventh was created were publicized throughout the world: the first three movements were written in about a month in Leningrad, under the fire of the Germans who reached that city in September 1941. The symphony was thus considered a direct reflection of the events of the first days of the war. No one took into account the composer's style of work. Shostakovich wrote very quickly, but only after the music was fully formed in his mind as a reflection of the pre-war fate of both the composer and Leningrad."

From the book "Testimony"

“The first listeners did not connect the famous “march” from the first part of the Seventh with the German invasion; this is the result of later propaganda. Conductor Evgeny Mravinsky, a friend of the composer of those years (the Eighth Symphony is dedicated to him), recalled that after hearing the march from the Seventh on the radio in March 1942, he thought that the composer had created a comprehensive picture of stupidity and stupid vulgarity.

The popularity of the march episode was hidden obvious fact that the first part - and in fact, the work as a whole - is full of sorrow in the style of a requiem. Shostakovich emphasized at every opportunity that for him the central place in this music is occupied by the intonation of the requiem. But the composer's words were deliberately ignored. The pre-war years, in reality full of hunger, fear and massacres of innocent people during the period of Stalin's terror, were now portrayed in official propaganda as a bright and carefree idyll. So why not present the symphony as a “symbol of the fight” against the Germans?”

From the book "Testimony. Memoirs of Dmitry Shostakovich,
recorded and edited by Solomon Volkov."

RIA News. Boris Kudoyarov

Residents besieged Leningrad leaving the bomb shelter after the all-clear

Shocked by Shostakovich's music, Alexey Nikolaevich Tolstoy wrote about this work:

"...The seventh symphony is dedicated to the triumph of the human in man.<…>

The Seventh Symphony arose from the conscience of the Russian people, who without hesitation accepted mortal combat with the black forces. 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.<…>

The theme of war arises remotely and at first looks like some kind of simple and eerie dance, like learned rats dancing to the tune of the pied piper. Like a rising wind, this theme begins to sway the orchestra, it takes possession of it, grows, and becomes stronger. The rat catcher with his iron rats rises from behind the hill... This is a war moving. She triumphs in the timpani and drums, the violins answer with a cry of pain and despair. And it seems to you, squeezing the oak railings with your fingers: is it really, really, everything has already been crushed and torn to pieces? There is confusion and chaos in the orchestra.<…>

No, man is stronger than the elements. Stringed instruments start to fight. The harmony of violins and human voices of bassoons is more powerful than the roar of a donkey skin stretched over drums. With the desperate beating of your heart you help the triumph of harmony. And the violins harmonize the chaos of war, silence its cavernous roar.

The damned rat catcher is no more, he is carried away into the black abyss of time. The bows are lowered, and many of the violinists have tears in their eyes. Only the thoughtful and stern human voice of the bassoon can be heard - after so many losses and disasters. There is no return to stormless happiness. Before the gaze of a person, wise in suffering, is the path traveled, where he seeks justification for life."

The concert in besieged Leningrad became a kind of symbol of the resistance of the city and its inhabitants, but the music itself inspired everyone who heard it. This is how I wrote it poetess about one of the first performances of Shostakovich’s work:

"And so on March 29, 1942, the united orchestra Bolshoi Theater and the All-Union Radio Committee performed the Seventh Symphony, which the composer dedicated to Leningrad and called Leningradskaya.

IN Hall of Columns Famous pilots, writers, and Stakhanovites came to the House of the Unions. There were many front-line soldiers here - with Western Front, from the South, from the North - they came to Moscow on business, for a few days, in order to go to the battlefields again tomorrow, and still found time to come listen to the Seventh - Leningrad - Symphony. They put on all their orders, granted to them by the Republic, and everyone was in their best dresses, festive, beautiful, elegant. And in the Hall of Columns it was very warm, everyone was without coats, the electricity was on, and there was even a smell of perfume.

RIA News. Boris Kudoyarov

Leningrad during the siege during the Great Patriotic War. Air defense fighters early in the morning on one of the city streets

The first sounds of the Seventh Symphony are pure and joyful. You listen to them greedily and in surprise - this is how we once lived, before the war, how happy we were, how free, how much space and silence there was around. I want to listen to this wise, sweet music of the world endlessly. But suddenly and very quietly a dry crackling sound is heard, the dry beat of a drum - the whisper of a drum. It’s still a whisper, but it’s becoming more and more persistent, more and more intrusive. In a short musical phrase - sad, monotonous and at the same time somehow defiantly cheerful - the instruments of the orchestra begin to echo each other. The dry beat of the drum is louder. War. The drums are already thundering. A short, monotonous and alarming musical phrase takes over the entire orchestra and becomes scary. The music is so loud it's hard to breathe. There is no escape from it... This is the enemy advancing on Leningrad. He threatens death, the trumpets growl and whistle. Death? Well, we are not afraid, we will not retreat, we will not surrender ourselves to the enemy. The music rages furiously... Comrades, this is about us, this is about the September days of Leningrad, full of anger and challenge. The orchestra thunders furiously - the fanfare rings in the same monotonous phrase and uncontrollably carries the soul towards mortal combat... And when you can no longer breathe from the thunder and roar of the orchestra, suddenly everything breaks off, and the theme of war turns into a majestic requiem. A lonely bassoon, covering the raging orchestra, raises its low, tragic voice skyward. And then he sings alone, alone in the ensuing silence...

“I don’t know how to characterize this music,” says the composer himself, “maybe it contains the tears of a mother, or even the feeling when the grief is so great that there are no more tears left.”

Comrades, this is about us, this is our great tearless grief for our relatives and friends - the defenders of Leningrad, who died in battles on the outskirts of the city, who fell on its streets, who died in its half-blind houses...

We haven’t cried for a long time, because our grief is greater than tears. But, having killed the tears that eased the soul, grief did not kill the life in us. And the Seventh Symphony talks about this. Its second and third parts, also written in Leningrad, are transparent, joyful music, full of rapture for life and admiration for nature. And this is also about us, about people who have learned to love and appreciate life in a new way! And it is clear why the third part merges with the fourth: in the fourth part, the theme of war, excitedly and defiantly repeated, bravely moves into the theme of the coming victory, and the music rages freely again, and its solemn, menacing, almost cruel rejoicing reaches unimaginable power, physically shaking the vaults building.

We will defeat the Germans.

Comrades, we will definitely defeat them!

We are ready for all the trials that still await us, ready for the triumph of life. This celebration is evidenced by " Leningrad Symphony", a work of global resonance, created in our besieged, starving city, deprived of light and warmth - in a city fighting for the happiness and freedom of all mankind.

And the people who came to listen to the “Leningrad Symphony” stood up and stood and applauded the composer, son and defender of Leningrad. And I looked at him, small, fragile, in big glasses, and thought: “This man is stronger than Hitler...”

The material was prepared based on information from open sources

Preparations for the concert took place under the most difficult conditions. The city had been under siege for almost a year, professional musicians there is very little left in it. Many died or died of starvation, some went to the front or were evacuated. The rest were busy in activities to protect and defend Leningrad; their health left much to be desired. The conductor's baton was entrusted to Carl Eliasberg.

Conductor Carl Eliasberg

“They announced on the radio that all musicians were invited. It was hard to walk. I had scurvy and my legs hurt a lot. At first there were nine of us, but then more came. The conductor Eliasberg was brought in on a sleigh because he was completely weak from hunger. Men were even called from the front line. Instead of weapons, they had to pick up musical instruments“- recalled flutist Galina Lelyukhina, a participant in the siege concert.

An anti-aircraft gunner played the horn, and a machine gunner played the trombone. Eliasberg saved drummer Zhaudat Aidarov from the dead, noticing that his fingers were still moving. The musicians were given additional rations and began rehearsing.

Symphony in besieged Leningrad

Collage: Channel Five

The 355th day of the blockade was marked by a concert. The premiere of Dmitri Shostakovich's 7th symphony was scheduled for August 9. Actually, on this day the Germans planned to capture the city, but it turned out differently. Shortly before this, the Leningrad Front was headed by Leonid Govorov, the future marshal. He ordered continuous massive fire on enemy batteries throughout the concert. Fascist shells should not have prevented Leningraders from listening to music.

Marshal Leonid Govorov

The Philharmonic hall was overcrowded, but not only those who had a ticket heard the concert. Thanks to radio broadcasts, loudspeakers and loudspeakers, all residents of the city, its defenders and even Germans behind the front line could enjoy the music. After the war, Eliasberg met with the war participants who were on the other side of the barricades. One of them admitted that it was then that he realized that the fight was lost.

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The first sketches included in the seventh symphony appeared before the war, but focused work on a new piece of music Dmitri Shostakovich began already in the summer of 1941. After the blockade began, the musician finished writing the second part and began the third. They managed to finish the symphony in evacuation, and then the plane broke through to Leningrad and delivered the score. The music reflected the feelings of the residents: anxiety, pain, but at the same time faith in future victory, which filled them with strength in the most difficult moments of life under siege.

Composer Dmitry Shostakovich

In honor of the 75th anniversary of the concert, commemorative events were held in St. Petersburg. At night the seventh symphony accompanied the breeding Palace Bridge. Hundreds of citizens and tourists gathered on the banks of the Neva.

And during the day Palace Square exhibition opened military equipment during the war.

Another exhibition began at the Presidential Library - “Blockade through the eyes of contemporary artists" And there is still a gala concert ahead on the main square of the city and a car and motorcycle rally along Nevsky Prospekt.

The Seventh Symphony united Leningraders and, at the most difficult moment, showed that the city continues to live. So the whole world saw that great music, written in blood, has crushing power. And the residents and defenders of besieged Leningrad received a monument that cannot be destroyed. Even in Poland and the Baltic states, where monuments to Soviet soldiers are now being destroyed, Shestakovich’s symphony sounds as decisive and powerful as it did 75 years ago.