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Шостакович на конференции в защиту мира
Mar. 1st, 2016 02:45 pmТут будет много текста, в основном хорошо известного. И одна фотография, мало кому знакомая. Собственно, этот текст написан, чтобы как-то пояснить происходящее на фотографии, снятой в Нью Йорке 25 марта 1949 года.
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Но на фоне такой восторженной встречи, на конференции надо было выступать с докладом. Вот описание доклада Шостаковича (вспоминает Николай Набоков):
When, after several trying and ludicrous speeches, his turn came to speak he began to read his prepared talk in a nervous and shaky voice. After a few sentences he broke off, and the speech was continued in English by a suave baritone. In all the equivocation of that conference, Shostakovich's speech was the least direct. Written in the style of the Agitprop speeches, it was quite obviously prepared by the 'party organs' in charge of the Waldorf-Astoria conference, on the Soviet side of the picture. In it these 'organs', through their mouthpiece Shostakovich, condemned most Western music as decadent and bourgeois, painted the glories of the rising Soviet music culture, attacked the demon Stravinsky as the corrupter of Western art (with a dig at Prokofiev) and urged upon the 'progressive Americans' of the conference the necessity of fighting against the reactionaries and warmongers of America and . . . and admitted that the 'mouthpiece' (Mr Shostakovich) had itself often erred and sinned against the decrees of the Party.
I sat in my seat petrified by this spectacle of human misery and degradation. It was crystal clear to me that what I had suspected from the day that I heard that Shostakovich was going to be among the delegates representing the Soviet government was true: this speech of his, this whole peace-making mission was part of a punishment, part of a ritual redemption he had to go through before he could be pardoned again. He was to tell, in person, to all the dupes in the Waldorf conference and to the whole decadent bourgeois world that loved him so much that he, Shostakovich, the famous Russian composer, is not a free man, but an obedient tool of his government. He told in effect that every time the Party found flaws in his art, the Party was right, and every time the Party put him on ice, he was grateful to the Party, because it helped him to recognize the flaws and mistakes.
После доклада Набоков задал Шостаковичу вопрос. Согласен ли он (не как представитель советской делегации, а лично Шостакович) с обвинениями в адрес западной музыки, в частности в адрес Стравинского, Шёнберга и Хиндемита, опубликованными в советской прессе. Шостакович ответил, что он полностью солидарен со взглядами, изложенными в советских газетах. Так вот, недавно я наткнулся на фотографию Шостаковича, сидящего в президиуме. Нью Йорк, 25 марта. Тот случай, когда одна картинка лучше тысячи слов
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( Read more... )
Но на фоне такой восторженной встречи, на конференции надо было выступать с докладом. Вот описание доклада Шостаковича (вспоминает Николай Набоков):
When, after several trying and ludicrous speeches, his turn came to speak he began to read his prepared talk in a nervous and shaky voice. After a few sentences he broke off, and the speech was continued in English by a suave baritone. In all the equivocation of that conference, Shostakovich's speech was the least direct. Written in the style of the Agitprop speeches, it was quite obviously prepared by the 'party organs' in charge of the Waldorf-Astoria conference, on the Soviet side of the picture. In it these 'organs', through their mouthpiece Shostakovich, condemned most Western music as decadent and bourgeois, painted the glories of the rising Soviet music culture, attacked the demon Stravinsky as the corrupter of Western art (with a dig at Prokofiev) and urged upon the 'progressive Americans' of the conference the necessity of fighting against the reactionaries and warmongers of America and . . . and admitted that the 'mouthpiece' (Mr Shostakovich) had itself often erred and sinned against the decrees of the Party.
I sat in my seat petrified by this spectacle of human misery and degradation. It was crystal clear to me that what I had suspected from the day that I heard that Shostakovich was going to be among the delegates representing the Soviet government was true: this speech of his, this whole peace-making mission was part of a punishment, part of a ritual redemption he had to go through before he could be pardoned again. He was to tell, in person, to all the dupes in the Waldorf conference and to the whole decadent bourgeois world that loved him so much that he, Shostakovich, the famous Russian composer, is not a free man, but an obedient tool of his government. He told in effect that every time the Party found flaws in his art, the Party was right, and every time the Party put him on ice, he was grateful to the Party, because it helped him to recognize the flaws and mistakes.
После доклада Набоков задал Шостаковичу вопрос. Согласен ли он (не как представитель советской делегации, а лично Шостакович) с обвинениями в адрес западной музыки, в частности в адрес Стравинского, Шёнберга и Хиндемита, опубликованными в советской прессе. Шостакович ответил, что он полностью солидарен со взглядами, изложенными в советских газетах. Так вот, недавно я наткнулся на фотографию Шостаковича, сидящего в президиуме. Нью Йорк, 25 марта. Тот случай, когда одна картинка лучше тысячи слов
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