Composition Shostakovich had attempted, or at least announced his intent, to compose a symphony depicting Lenin as far back as the latter 1930s, elaborating on the subject in more than half a dozen interviews over two and a half years. He had planned this symphony as a biographical drama, tracing Lenin from his youth to the new Soviet society he had created and using text by such writers as
Vladimir Mayakovsky. In December 1940 Shostakovich admitted that he had overreached and failed to write a Lenin cantata based on Mayakovsky's text. But reports of a Lenin symphony continued well into 1941, dissipating only with the
German invasion that June. By the summer of 1959, Shostakovich again mentioned that he had a major work commemorating Lenin underway. "What form my idea will take, whether it will be an
oratorio, a
cantata, a symphony, or a
symphonic poem, I don't want to predict. One thing is clear: the effort to embody the mighty image of the greatest man of our most complex epoch will demand the exertion of all creative resources." Though Shostakovich expressed the desire to have the work ready for the 90th anniversary of Lenin's birth in April 1960, the date came and went without its completion. Progress was slowed further when the composer fell and broke his left leg at his son
Maxim's wedding in October 1960. He completed the work the following year.
Analysis Like the
Eleventh Symphony, the Twelfth is
programmatic. Programmatic rather than musical considerations dictate its form, the subtitle and movement titles commemorating the
Russian Revolution. But while, like the Eleventh, it has four movements played without break, the Twelfth does not recapture the sense of
newsreel commentary that characterized the Eleventh. Instead, the movements become a series of reflections, as though one is watching a series of tableaux. (For this reason, the Twelfth was called a "folk heroic epic", as opposed to the Eleventh, a "folk music drama".) The Twelfth is also unlike its other direct ancestor, the experimental
Second Symphony, in being extremely traditional, with the fast opening movement laid out along academically correct lines such as
Myaskovsky and his teacher
Glazunov followed.
Political considerations ,
Petrograd in April, 1917 That some critics, especially in the West, consider the Twelfth among the least satisfying musically of Shostakovich's symphonies cannot be attributed to a creative slump, given that he had recently written the
First Cello Concerto for Rostropovich and the
Eighth String Quartet. Shostakovich had become a Party member in 1960 and may have felt compelled to write a Party line symphony to protect himself. That the composer would have felt compelled to do so in the midst of the
Khrushchev Thaw could be questioned, and the government at this point in his career may have found it more politically expedient to exploit Shostakovich than to harass him. Still, the 1948
Zhdanov Doctrine had been rescinded only in 1958, and Shostakovich had not forgotten his 1936 denunciation. Nor was he totally free to express what he wished, as the political controversy over his Thirteenth Symphony would soon prove. Because of these circumstances, some critics have suggested that the Twelfth represents an unwelcome infiltration of officialdom into Shostakovich's main compositional oeuvre, aside from his patriotic film scores and other commissioned works. It has also been surmised that the naiveté of the Twelfth's program, structure and thematic invention indicate that Shostakovich wrote it quickly after abandoning an earlier, possibly rashly satirical draft. It was compared unfavourably with the
Fourth Symphony, which received its first performance outside of Russia just three days later. The critical success of the Fourth juxtaposed with the critical disdain for the Twelfth led to speculation that Shostakovich's creative powers were on the wane. Western listeners became more receptive after the
Cold War but the Twelfth remains among the least popular of Shostakovich's symphonies due to its workmanlike nature. == See also ==