Letters, writings and transcripts from courtroom hearings from the period of Dimitrov's trial in fascist Germany Versus Göbbels Georgi Dimitrov (March 1933 - February 1934) Leon Trotsky on the Rise of German FascismĪ complete collection of Trotsky's writings on Germany covering the years 1930 through 1940. Special Collection: The Partisan Resistance ⊙ Before the War Over 20,000,000 Soviet citizens and soldiers died in the struggle to liberate the Motherland from the fascist aggressors.
The war ended in complete defeat for Nazi Germany less than four years later with the fall of Berlin on May 9, 1945. The live recording of that concert, now released on CD by BR-KLASSIK, offers an exemplary interpretation of one of the most important symphonic works of the 20th century.The Nazi invasion of the USSR in June 1941 heralded the beginning of the most titanic battle in the history of humanity. Under Jansons’ baton, the musicians of the Symphonieorchester des Bayerischen Rundfunks interpret Shostakovich’s Tenth Symphony as a work of confession: a settling of accounts with the dictator Stalin and with the terror regime under which Shostakovich had also suffered. The concert recording of the Tenth Symphony was made on Main the Herkulessaal of the Munich Residenz. The performance of the Thirteenth Symphony was awarded a Grammy in the “Best Orchestral Performance” category. In 2006 the cycle was completed in time for the centenary of the composer’s birth. Six of the performances were with the Symphonieorchester des Bayerischen Rundfunks. Over a period of seventeen years, Mariss Jansons has recorded all the Shostakovich symphonies, on each occasion together with the orchestra he was artistically associated with at the time. He sees their music as bearing shattering testimony to a traumatic era of political darkness, while remaining a timeless expression of existential human feeling and experience. Mariss Jansons considers Dmitri Shostakovich to be one of the most serious and sincere composers ever, and finds the fifteen symphonies in particular to be deeply moving and captivating. It was the first symphonic work he had composed since 1945. His Tenth Symphony – composed between July and October 1953 – was premiered on Decemby the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky. Immediately after Stalin’s death on March 5, 1953, he was able to bring forth a significant number of serious works that he had shelved and that were all awaiting either premieres or rehabilitation. After suffering humiliation in the course of the “anti-Formalist” purges of 1948, during which he was relieved of his teaching posts, Shostakovich withdrew from public life. He had also failed to produce the triumphant music expected of him following the victory over Nazi Germany: his grotesque Ninth Symphony was far removed from this and also contained hidden but sharply critical references to Stalin. He had been accused of formalism since 1936, and had had to withdraw his Fourth Symphony as a result. Dmitri Shostakovich also suffered from the repression during Stalin’s reign of terror. Shostakovich’s 10th Symphony subsumes the composer’s confrontation with Stalin and the Stalin years, even if experts disagree on how it should be interpreted.Įven after 1945 – despite, or perhaps because of, the war that had been won – life in the Soviet Union became no easier.
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