Two : On the Plane
The story provides a glimpse into the inner turmoil and external experiences of a Soviet delegate on a flight back from America. The protagonist grapples with fear, shame, and the desire to forget the recent events. The narrative delves into his expectations of America, his encounters with American journalists, and the cultural differences he observes.
Despite some positive experiences, such as meeting American artists and attending musical performances, the protagonist feels a sense of humiliation and self-disgust due to his prominent role in the Soviet delegation. The text also touches upon the impact of tyranny, war, and political manipulation on individuals, highlighting the complex dynamics at play during this period. Ultimately, the protagonist’s journey reflects a mix of personal struggles, political pressures, and cultural clashes that shape his perceptions and experiences.
Then there is a description of the complex relationship between Wagner, the Molotov-Ribbentrop Pact, and Hitler’s invasion of Russia. Wagner’s reputation as a composer fluctuated depending on the political climate of the time. These part explores the idea that genius and evil are incompatible, using Wagner as an example. It argues that Wagner’s anti-Semitism and racial attitudes make him evil and therefore not a true genius.
Then it provides insight into Shostakovich’s personal life, including his anxieties, his role as a father, and his interests outside of music. It highlights the tension between Russian pessimism and Soviet optimism, suggesting that the Soviet regime’s attempts to engineer a new society were ultimately futile. Shostakovich’s also experience during the war, including his exile in Kuibyshev and his involvement in sports and physical activities. It discusses the consequences of Shostakovich’s past sins, particularly his composition of “Lady Macbeth of Mtsensk,” and how he was constantly reminded of his mistakes by the Soviet regime.
The Soviet regime attempts to direct and control Shostakovich’s music, particularly in the realm of film music, as they believed it had more value and usefulness to the people than opera. It suggests that if Shostakovich continued to follow the regime’s direction, he would receive more honors and rewards for his work.
The political and artistic climate in the Soviet Union during the time of Stalin’s rule is described. It mentions Vano Muradeli’s opera, “The Great Friendship,” which celebrated the thirtieth anniversary of the October Revolution. However, Muradeli’s portrayal of the Georgians and Ossetians rising up against the Red Army conflicted with Stalin’s understanding of history. Muradeli’s inclusion of a lezghinka dance, albeit in his own style, further displeased Stalin.
The conference called by Zhdanov was to discuss the influence of formalism in music. Composers such as Shostakovich, Prokofiev, Khachaturian, Myaskovsky, and Shebalin were criticized for their music, which was compared to a “musical gas chamber.” The congress of composers targeted Shostakovich’s Eighth Symphony and Prokofiev’s Sixth Symphony, criticizing their war themes and perceived pessimism.
Shostakovich, feeling pressured to save his career, attended the congress and made a public recantation, promising to follow Party directives and write melodic music for the people. Despite his efforts, he was dismissed from his professorships and faced disgrace. To maintain his sanity, he decided to write preludes and fugues, which were initially condemned for not aligning with the surrounding reality.
After a year of disgrace, Shostakovich had a conversation with Stalin, who assured him that his works were not forbidden and that the banning order was a mistake. Shostakovich then attended the Cultural and Scientific Congress for World Peace in New York, despite his concerns about his music being played in the Soviet Union. Lenin also criticised Stalin’s rudeness and Shostakovich’s dislike of conductors being described as dictators.
Stalin and his entourage attended Vano Muradeli’s opera, “The Great Friendship,” which celebrated the thirtieth anniversary of the October Revolution. Muradeli’s portrayal of historical events did not align with Stalin’s knowledge, leading to criticism and accusations of formalism. Composers like Shostakovich, Prokofiev, and Khachaturian were targeted for their music’s alleged formalist nature. Shostakovich faced public recantation and dismissal from professorships, leading to a period of disgrace and self-reflection.
Despite initial condemnation, Shostakovich’s works were eventually allowed to be played again after Stalin intervened. The conversation between Stalin and Shostakovich highlighted the power dynamics and fear prevalent in the artistic community under Stalin’s rule. Shostakovich’s reluctance to attend events due to fear of repercussions and censorship of his works reflected the oppressive environment of the time.
The author’s negative opinion of the conductor Toscanini and his frustration with the conductor’s style and approach to music. The author also reflects on the behavior of conductors in general, describing them as harsh and demanding, often mistreating orchestras. The author draws parallels between the behavior of conductors and the oppressive nature of the Soviet regime, highlighting the irony and disguise used to express dissent in a dangerous environment.
The author has an upcoming trip to America and the potential consequences of expressing his true thoughts in a letter to the Great Leader. The author contemplates the role of irony in protecting what he values, including music, family, and love, in a tyrannical society. There is metaphorical reflection on the destructive nature of tyranny and the fear that love may be lost in such an environment.
There is a description of love for Shakespeare and music, as well as the challenges faced by artists under Soviet power. Shakespeare’s profound understanding of the human soul and the human condition is highlighted, with references to his works like King Lear and Hamlet. The audience’s reaction to Shakespeare’s Sonnet 66 is described, emphasizing the defiance against authority.
The tyrants’ hated poetry, theatre, and music, as they feared the reflection of their actions in art. The struggles of artists under Soviet power, the demand for optimism in art, and the role of political skills in survival are explored. The power dynamics within the artistic community, exemplified by Tikhon Nikolayevich Khrennikov, are discussed, showcasing the manipulation of talent and suppression of creativity. The concept of art belonging to the people and the circular nature of defining art is examined, emphasizing the universal appeal of true art. There is reflection on the value of all professions and the importance of recognizing talent and dedication in any field.
Stalin loved Beethoven because he saw him as a true revolutionary and admired his exalted nature. Stalin believed that the Red Beethoven, a composer who embodied the ideals of the Soviet Union, should exist. Alexander Davidenko was initially considered a potential Red Beethoven due to his popular song celebrating the Red Army’s victory. However, Davidenko’s lack of further success prevented him from being crowned the Red Beethoven.
The search for the Red Beethoven was taken seriously and any failure to find him was attributed to sabotage by formalist musicologists. The protagonist, Shostakovich, faced humiliation and moral shame during a visit to New York for a congress. He contemplated suicide but realized that it would only allow those in power to control his story. The presence of Nicolas Nabokov, a Russian exile, further added to Shostakovich’s discomfort and nervousness.
The composer was given speeches to deliver but did not prepare them, leading to awkward and unconvincing deliveries. The composer criticized American militarism and praised the Soviet music system, while also admitting his own faults in straying from the Soviet composer’s path. He faced tough questions about his views on Western music and composers, ultimately succumbing to pressure and agreeing with the Soviet regime’s stance.
The story of Zhdanov’s music lesson, though likely fictional, highlights the oppressive atmosphere for composers in the Soviet Union. The composer’s internal struggle and eventual capitulation to authority underscore the challenges faced by artists under totalitarian regimes. The text serves as a cautionary tale about the dangers of artistic censorship and political interference in creative expression.
There are also struggles faced by the composer in the Soviet Union, particularly under Stalin’s regime. It emphasizes the challenges of creating music in a politically oppressive environment, where individual freedom is severely restricted. The composer’s interactions with Western humanitarians who fail to grasp the true nature of the situation are also discussed.
There are some complexities of being an artist under such circumstances, where even basic supplies like manuscript paper are controlled by the state. The composer’s reluctance to become a martyr for the cause and the unrealistic expectations of his supporters are also explored. The narrative sheds light on the harsh realities of artistic expression in a totalitarian regime, where creativity is stifled and dissent is met with severe consequences.
The protagonist had worn garlic amulets during the war to survive, and now he needed them as protection against power, enemies, hypocrites, and even well-meaning friends. He admired those who spoke truth to power and envied their bravery and moral integrity, but also envied their death as an escape from the agony of living.
The deaths of these heroes and martyrs often resulted in the destruction of those around them, making the situation complex. Saving oneself could also mean saving loved ones, leading to moral corruption and betrayal. The protagonist felt he had betrayed Stravinsky and music by his actions.
During a trip to Iceland, the protagonist’s plane broke down and they had to wait for a replacement, leading to an unexpected visit to Stockholm where he received records by local composers. After returning to Moscow, an article appeared under his name in a magazine, discussing the success of a congress and the State Department’s decision to cut short the Soviet delegation’s stay. The protagonist reflects on the fear of truth by the rulers of Washington and quotes lines from Pasternak’s poem about Hamlet, expressing a sense of loneliness and falsehood in life.
The Noise of Time Part Three Summary
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