Overcoming my feelings of love I observed in worship Old women, residents Students and locksmiths136
As the German armies crossed the Soviet border, on 22 June 1941, Vyacheslav Molotov, the Foreign Minister, gave a radio address in which he spoke of the impending 'patriotic war for homeland, honour and freedom'.137 The next day the main Soviet army newspaper, Kras-naia zvezda, referred to it as a 'holy war'.138 Communism was conspicuously absent from Soviet propaganda in the war. It was fought in the name of Russia, of the 'family of peoples' in the Soviet Union, of Pan-Slav brotherhood, or in the name of Stalin, but never in the name of the communist system. To mobilize support, the Stalinist regime even embraced the Russian Church, whose patriotic message was more likely to persuade a rural population that was still recovering from the disastrous effects of collectivization. In 1943, a patriarch was elected for the first time since 1917; a theological academy and several seminaries were re-opened; and after years of persecution the parish churches were allowed to restore something of their spiritual life.139 The regime glorified the military heroes of Russian history - Alexander Nevsky, Dmitry Donskoi, Kuzma Minin and Dmitry Pozharsky, Alexander Suvorov and Mikhail Kutuzov - all of whom were summoned as an inspiration for the nation's self-defence. Films were made about their lives, military orders were created in their names. History became the story of great leaders rather than the charting of the class struggle.
Russia's artists enjoyed a new freedom and responsibility in the war years. Poets who had been regarded with disfavour or banned from publication by the Soviet regime suddenly began to receive letters from the soldiers at the front. Throughout the years of the Terror they had never been forgotten by their readers; nor, it would seem, had they ever really lost their spiritual authority. In 1945, Isaiah Berlin, on a visit to Russia, was told that
the poetry of Blok, Bryusov, Sologub, Esenin, Tsvetaeva, Mayakovsky, was widely read, learnt by heart and quoted by soldiers and officers and even political commissars. Akhmatova and Pasternak, who had for a long time lived in a kind of internal exile, received an amazingly large number of letters from the front, quoting from both published and unpublished poems, for the most part circulated privately in manuscript copies; there were requests for autographs, for confirmation of the authenticity of texts, for expressions of the author's attitude to this or that problem.140
Zoshchenko received about 6,000 letters in one year. Many of them came from readers who said they often thought of suicide and looked to him for spiritual help.141 In the end the moral value of such writers could not fail to impress itself on the Party's bureaucrats, and conditions for these artists gradually improved. Akhmatova was allowed to publish a collection of her early lyrics, From Six Books. Huge queues formed to buy it on the day when it appeared, in a small edition of just 10,000 copies, in the summer of 1940, whereupon the Leningrad authorities took fright and, on the orders of Party Secretary Andrei Zhdanov, had the book withdrawn from circulation.142
In her patriotic poem 'Courage' (published in the Soviet press in February 1942) Akhmatova presented the war as a defence of the 'Russian word' - and the poem gave courage to the millions of soldiers who went into battle with its words on their lips:
We know what lies in balance at this moment, And what is happening right now. The hour for courage strikes upon our clocks, And courage will not desert us. We're not frightened by a hail of lead, We're not bitter without a roof overhead -And we will preserve you, Russian speech, Mighty Russian word! We will transmit you to our grandchildren Free and pure and rescued from captivity Forever!143
In the first months of the war Akhmatova joined the Civil Defence in Leningrad. 'I remember her near the old iron railings of the House on the Fontanka', wrote the poet Olga Berggolts. 'Her face severe and angry, a gas mask strapped over her shoulder, she took her turn on the fire watch like a regular soldier.'144 As the German armies circled in on Leningrad, Berggolts's husband, the literary critic Georgy Makogonenko, turned to Akhmatova to raise the spirits of the city by talking to its people in a radio broadcast. For years her poetry had been forbidden by the Soviet authorities. Yet, as the critic explained later, the very name Akhmatova was so synonymous with the spirit of the city that even Zhdanov was
prepared to bow to it in this hour of need. Akhmatova was sick, so it was agreed to record her speech in the Fountain House. Akhmatova's address was proud and courageous. She appealed to the city's entire legacy - not just to Lenin but to Peter the Great, Pushkin, Dostoevsky and Blok, too. She ended with a stirring tribute to the women of the old capital:
Our descendants will honour every mother who lived at the time of the war, but their gaze will be caught and held fast by the image of the Leningrad woman standing during an air raid on the roof of a house, with a boat-hook and fire-tongs in her hand, protecting the city from fire; the Leningrad girl volunteer giving aid to the wounded among the still smoking ruins of a building… No, a city which has bred women like these cannot be conquered.145
Shostakovich also took part in the radio broadcast. He and Akhmatova had never met, even though they loved each other's work and felt a spiritual affinity. * Both felt profoundly the suffering of their city, and expressed that suffering in their own ways. Like Akhmatova, Shostakovich had joined the Civil Defence, as a fireman. Only his bad eyesight had prevented him from joining up with the Red Army in the first days of the war. He turned down the chance to leave the besieged city in July, when the musicians of the Conservatory were evacuated to Tashkent in Uzbekistan. In between the fire fighting, he began composing marches for the front-line troops, and in the first two weeks of September, as the bombs began to fall on Leningrad, he worked by candlelight, in a city now deprived of electricity, to finish what would be his Seventh Symphony. As one might expect from his Terror-induced caution and St Petersburg reserve, Shostakovich was rather circumspect in his radio address. He simply told the city that he was about to complete a new symphony. Normal life was going on.146
* Akhmatova rarely missed a Shostakovich premiere. After the first performance of his Eleventh Symphony ('The Year 1905') in 1957, she compared its hopeful revolutionary songs, which the critics had dismissed as devoid of interest (this was the time of the Khrushchev thaw), to 'white birds flying against a terrible black sky'. The next year she dedicated the Soviet edition of her Poems: 'To Dmitry Dmitrievich Shostakovich, in whose epoch 1 lived on earth'. The two eventually met in 1961. 'We sat in silence for twenty minutes. It was wonderful,' recalled Akhmatova (E. Wilson, Shostakovich: A Life Rtemembered (London, [994), pp, 319, 321).
Later that same day, 16 September 1941, the Germans broke through to the gates of Leningrad. For 900 days they cut the city off from virtually all its food and fuel supplies; perhaps a million people, or one third of the pre-war population, died by disease or starvation, before the siege of Leningrad was at last broken in January 1944. Akhmatova was evacuated to Tashkent soon after the German invasion; Shostakovich to the Volga city of Kuibyshev (now known by its pre-revolutionary name of Samara), where he completed the final movement of the Seventh Symphony on a battered upright piano in his two-room apartment. At the top of the first page he scribbled in red ink: 'To the city of Leningrad'. On 5 March 1942. the symphony received its premiere in Kuibyshev. It was performed by the orchestra of the Bolshoi Theatre, which had also been evacuated to the Volga town. Broadcast by radio throughout the land, it transmitted, in the words of the violinist David Oistrakh, who was listening in Moscow, 'the prophetic affirmation… of our faith in the eventual triumph of humanity and light'.147 The Moscow premiere later that month was broadcast globally, its drama only highlighted by an air raid in the middle of the performance. Soon the symphony was being performed throughout the Allied world, a symbol of the spirit of endurance and survival, not just of Leningrad but of all countries united against the fascist threat, with sixty-two performances in the USA alone during 1942.148
The symphony was resonant with themes of Petersburg: its lyrical beauty and classicism
, evoked nostalgically in the moderato movement (originally entitled 'Memories'); its progressive spirit and modernity, signalled by the harsh Stravinskian wind chords of the opening adagio; and its own history of violence and war (for the Bolero-like march of the first movement is not just the sound of the approaching German armies, it comes from within). Since the Stalinist assault against his music in 1936, Shostakovich had developed a sort of double-speak in his musical language, using one idiom to please his masters in the Kremlin and another to satisfy his own moral conscience as an artist and a citizen. Outwardly he spoke in a triumphant voice. Yet beneath the ritual sounds of Soviet rejoicing there was a softer, more melancholic voice - the carefully concealed voice of satire and dissent only audible to those who had felt the suffering his music expressed. These two voices are clearly audible in Shostakovich's Fifth Symphony (the
composer's 'Socialist Realist' rejoinder to those who had attacked Lady Macbeth), which received a half-hour ovation of electrifying force when it was first performed in the Great Hall of the Leningrad Philharmonia in November 1937.149 Beneath the endless fanfares trumpeting the triumph of the Soviet state in the finale, the audience had heard a distant echo of the funeral march from Mahler's First Symphony and, whether they recognized the march or not, they must have felt its sadness - for nearly everyone in that audience would have lost someone in the Terror of 1937 - and they responded to the music as a spiritual release.150 The Seventh Symphony had the same overwhelming emotional effect.
For it to achieve its symbolic goal, it was vital for that symphony to be performed in Leningrad - a city which both Hitler and Stalin loathed. The Leningrad Philharmonic had been evacuated and the Radio Orchestra was the only remaining ensemble in the city. The first winter of the siege had reduced it to a mere fifteen players, so extra musicians had to be brought out of retirement or borrowed from the army defending Leningrad. The quality of playing was not high, but that hardly mattered when the symphony was finally performed in the bombed-out Great Hall of the Philharmonia on 9 August 1942. - the very day when Hitler had once planned to celebrate the fall of Leningrad with a lavish banquet at the Astoria Hotel. As the people of the city congregated in the hall, or gathered around loudspeakers to listen to the concert in the street, a turning point was reached. Ordinary citizens were brought together by music; they felt united by a sense of their city's spiritual strength, by a conviction that their city would be saved. The writer Alexander Rozen, who was present at the premiere, describes it as a kind of national catharsis:
Many people cried at the concert. Some people cried because that was the only way they could show their joy; others because they had lived through what the music was expressing with such force; others cried from grief for the people they had lost; or just because they were overcome with the emotion of being still alive.151
The war was a period of productivity and relative creative liberty for Russia's composers. Inspired by the struggle against Hitler's armies,
or perhaps relieved by the temporary relaxation of the Stalinist Terror, they responded to the crisis with a flood of new music. Symphonies and songs with upbeat martial tunes for the soldiers to march to were the genres in demand. There was a production line of music of this sort. The composer Aram Khachaturian recalled that in the first few days after the invasion by the German troops a sort of 'song headquarters' was set up at the Union of Composers in Moscow.152 But even serious composers felt compelled to respond to the call.
Prokofiev was particularly eager to prove his commitment to the national cause. After eighteen years of living in the West, he had returned to the Soviet Union at the height of the Great Terror, in 1936, when any foreign connections were regarded as a sign of potential treachery. Prokofiev appeared a foreigner. He had lived in New York, Paris, Hollywood, and had become comparatively wealthy from his compositions for the Ballets Russes, the theatre and the cinema. With his colourful and fashionable clothes, Prokofiev cut a shocking figure in the grey atmosphere of Moscow at that time. The pianist Sviatoslav Richter, then a student at the Conservatory, recalled him wearing 'checkered trousers with bright yellow shoes and a reddish-orange tie'.153 Prokofiev's Spanish wife, Lina, whom he had brought to Moscow and had then abandoned for a student at the Literary Institute, was arrested as a foreigner in 1941, after she had refused to follow him and his new mistress when they left Moscow for the Caucasus.* Prokofiev was attacked as a 'formalist', and much of his more experimental music, like his score for Meyerhold's 1937 production of Pushkin's Boris Godunov, remained unperformed. What saved him, however, was his amazing talent for composing tunes. His Fifth Symphony (1944) was filled with expansive and heroic themes that perfectly expressed the spirit of the Soviet war effort. The huge scale of its register, with its thick bass colours and Borodin-esque harmonies, summoned up the grandeur of the Russian land. This same epic quality was to be found in War and Peace - an opera whose theme was obviously suggested by the striking parallels between Russia's war
* Sentenced to twenty years' hard labour in Siberia, Lina Prokofiev was released in 1 957. After many years of struggling for her rights as a widow she was finally allowed to return to the West in 1972. She died in London in 1989.
against Napoleon and the war against Hitler. The first version of the opera, composed in the autumn of 1941, paid as much attention to intimate love scenes as it did to battle scenes. But following criticism from the Soviet Arts Committee in 1942, Prokofiev was forced to compose several revised versions where, in direct contravention of Tolstoy's intentions, the heroic leadership and military genius of (the Stalin-like) Kutuzov was highlighted as the key to Russia's victory, and the heroic spirit of its peasant soldiers was emphasized in large choral set pieces with Russian folk motifs.154
As he was working on the score of War and Peace Prokofiev was asked by Eisenstein to compose the music for his film Ivan the Terrible, released in 1944. Cinema was the perfect medium for Prokofiev. His ability to compose tunes to order and deliver them on time was phenomenal. For Prokofiev the cinema became a sort of Soviet version of the operatic tradition in which he had been schooled under Rimsky Korsakov at the Conservatory. It gave new inspiration to his classical symphonism, allowing him free rein once again to write big tunes for grand mises-en-scene. Prokofiev's collaboration with Eisenstein had begun in 1938, when, after the disaster of Bezbin Meadow, the film director was given one more chance to please Stalin with an epic history film, Alexander Nevsky (1938), about the prince of Novgorod who had defended Russia from the Teutonic knights in the thirteenth century. Prokofiev was asked by Eisenstein to write the score for his first film in sound. Under the influence of Meyerhold, the two were moving at this time toward the idea of a synthesis of images and sound - an essentially Wagnerian conception which they would apply to opera as well as to film.*
This theatrical ideal lies at the heart of their conception of Alexander Nevsky and Ivan the Terrible. These two epic film dramas are essen-tially cinematic versions of the great nineteenth-century history operas. In Ivan, especially, the scenes are structured like an opera, and Proko-fiev's brilliant score would not be out of place in any opera house. The
* The two men worked together with Meyerhold on the production of Prokofiev's opera Setnyon Kotko in 1939. The next year, following the signing of the Nazi-Soviet pact, Eisenstein produced Die Walkure at the Bolshoi in Moscow. See further R. Bartlet, Wagner and Russia (Cambridge, 1995), pp. 271-81.
film opens with an overture whose stormy leitmotif is clearly borrowed from Wagner's Die Walkure. There are orchestrated arias and choral songs; liturgical chants; even, quite incongruously, a polonaise; and symphonic leitmotifs, or the sound of bells, which carry the emotions of the 'music drama', as Eisenstein describes it in a note outlining his new Wagnerian cinema. In the final colour scenes, where music, dance and drama are combined, there is even an attempt to reach a complete harmony of sound and colour, as Wagner had once dreamed.155
For Eisenstein these films represented a volte-face in
artistic principles: the avant-garde of the 1920s had tried to take the theatre out of cinema, and now here he was putting it back in. Montage was abandoned for a clear sequential exposition of the theme through the combined effect of images and sound. In Alexander Nevsky, for example, the central idea of the film, the emotive clash between the peaceful Russians and the Teutonic invaders, is conveyed by the programmatic music as much as by the visual imagery. Eisenstein re-cut the film to synchronize the visual with the tonal images. In the famous battle scene on ice he even shot the film to match the score.156 Stalin was delighted with Alexander Nevsky. Its emotional power was perfectly harnessed to the propaganda message of heroic leadership and patriotic unity which the Soviet regime needed to boost national morale on the outbreak of war. Indeed, the subject of the film had such an obvious parallel with the Nazi threat that its screening was postponed following the signing of the Nazi-Soviet pact in 1939.
Stalin saw Ivan the Terrible as a medieval prototype of his own statesmanship. In 1941, as Soviet Russia went to war, it seemed a good moment to remind the nation of the lessons Stalin drew from Ivan's reign: that force, even cruelty, were needed to unite the state and drive the foreigners and traitors from the land. The official cult of Ivan took off in the wake of the Great Terror (as if to justify it) in 1939. 'Our benefactor thinks that we have been too sentimental', Pasternak wrote to Olga Freidenberg in February 1941. 'Peter the Great is no longer an appropriate model. The new passion, openly confessed, is for Ivan the Terrible, the oprichnina, and cruelty. This is the subject for new operas, plays and films.'157 One month earlier, Zhdanov had commissioned Eisenstein to make his film. But Eisenstein's conception of Ivan the Terrible was far removed from the official one. The first part
of the film to emerge in his imagination was the confession scene (planned for the third and final part of the film), in which Ivan kneels beneath the fresco of the Last Judgement in the Cathedral of the Assumption and offers his repentance for the evils of his reign while a monk reads out an endless list of people executed on the Tsar's command.158
NATASHA Page 57
