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Adriano The conductor- Adriano was born in Switzerland and lives in Zürich. As a musician he is mostly self-taught. In the late 1970s he established himself as a specialist on Ottorino Respighi and he has conducted many recordings of obscure or neglected symphonic repertoire. On Marco Polo/Naxos he has also initiated and recorded a series of fifteen CDs mainly of European film music , and has created and directed a series of classical music videos. All of Adriano’s 36 recording projects for various labels (including in most cases year-long research and elaborate score preparation or editing) have found wide recognition and his commitment is known to be fanatical and uncompromising. In his opinion, music history should be revised to show that it is not just the story of the so-called great composers, and that it should not be neatly classified into traditions and categories. Much more good music has been written than certain musicologists and critics would care to admit. Adriano has composed songs, orchestral, chamber and incidental pieces. His most recent works are a Concertino for Celesta and Strings, Concertino for Piano, Strings and Percussion and an Abysmal Saraband for organ, timpani and strings. His instrumental adaptations include song-cycles or songs by Johannes Brahms, Modest Mussorgsky (four cycles), Hugo Wolf, Ottorino Respighi, Othmar Schoeck, Jacques Ibert and Johann Strauss II. Moscow Symphony Orchestra The Moscow Symphony Orchestra, the first independent orchestra in modern Russia, was established through private resources, free of state support, in 1989. Four years later the distinguished French conductor Antonio de Almeida was invited to become musical director and chief conductor, positions he held until his sudden and much lamented death in February 1997. From the beginning the orchestra has been an active participant in the musical life of Moscow, appearing with famous Russian and foreign conductors and in collaboration with soloists of great international distinction. In addition to its extensive concert schedule the Moscow Symphony Orchestra has also won acclaim for its recordings, which include the complete symphonies of Scriabin, many of the orchestral compositions of Glazunov and Rimsky- Korsakov, sixteen symphonies by the twentieth century Italian composer Malipiero, an anthology of Flemish music and a series dedicated to famous overtures. The orchestra has participated in a number of international festivals and has undertaken concert tours throughout Europe, the United States and the Far East. Ellena Alekseyeva Ellena Alekseyeva was born in 1965 in Smolensk. She graduated at the Gnesin Music Academy under Valentina Zvereva. Since 1989 she has been an accompanist at the Gnesin Academy. Successful in a number of national and international competitions, since 1995 she has worked with the charitable ‘New Names’ of the Moscow Cultural Foundation. Ellena Alekseyeva teaches in the Annual International Master-classes in Moscow and Suzdal presented by the Moscow Cultural Foundation. In collaboration with the Union of Russian Composers she is a regular participant in the Moscow Autumn Festival of Chamber Music. She has appeared in concert in Russia, Germany and Italy, and has recorded the music of young Russian composers.

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Dmitry Shostakovich (1906–1975) (and not “formalistic craftmen”), able to bring into their in its right place again. Shibayev’s romance with Katya works conflict, comedy and satire, could the flat pathos of serves as the usual dramatic counterpoint to the patriotic “historic documentaries” be avoided. After Stalin’s death subject of this film. That for commercial reasons a war The Fall of Berlin in 1953, a new chapter of Soviet cinema opened, and new film has always to be coupled with a love story is the very Complete Film Score, Op. 82, 1949 Edited 1996 by Adriano (première recording) directors, or others, whose projects had been previously best way of promoting or criticising humanity’s most cruel rejected, were encouraged to bring fresh life into this and absurd invention. Touching love stories always sell The Unforgettable Year 1919 popular medium. Michail Kalatozov’s The Cranes are well, even in the case of political propaganda. flying (a film that won the Cannes Award in 1958, with The exciting concert suite of The Unforgettable Year Suite, Op. 89a, 1951 Edited 1954 by Levon Atovmyan (first complete recording) music by Mieczyslav/Moysey Weinberg) and Sergey 1919 contains a mini-piano concerto, in the style of, but Jutkevic’s adaptation of Shakespeare’s Othello (1956, with even more Hollywood-like than, Addinsell’s Warsaw Shostakovich’s Film Music works. Some forty years of film music composing within music by Aram Khachaturian) can be considered as typical Concerto of 1941, as if Shostakovich drew amusement Dmitry Shostakovich (DSCH) composed about 35 film- 56 turbulent years as a composer of symphonies, string products of the cultural thaw in Soviet art. from it. Within the suite, and probably the whole score scores. This is quite remarkable, out of a total quantity of quartets, operas and song cycles which have all become The Unforgettable Year 1919 won an award at the too, this piece sounds out of place, and in the film it should 147 numbered works. These were written between 1929 world famous, may have taken second place. Considering 1952 Karlsbad Film Festival. Once more, its script (based accompany the assault on a fort. In Russia this piece, and and 1970, which means about one a year. A dozen have his film scores as a whole, it may be seen that his earlier on a play by Vsevolod Vishnyevsky) shows a personally the sixth movement, were unfortunately missing from been extracted or arranged as concert suites and were works reflect more pleasure in the experimental than his attractive (and taller) heroic Stalin, showing himself on Alexander Gauk’s passionate Melodiya recording of 1956. already recorded on LPs during the mono and stereo eras later ones do, and this not only in comparison with the the battlefield more than he ever had in reality. The plot The present recording is, therefore, the first complete one. of Melodiya, and were occasionally licensed on American greatly inferior musical level of his fellow composers from reconstructs Petrograd’s historical Civil War days of The fierce introduction has some impressive and well- and European labels. Suites or fragments of Zoya (1944), contemporary Hollywood. Particularly notable is the fact October 1919, during which Stalin had purged the army written fanfares, to the delight of excellent brass groups, Michurin (1948), The Gadfly (1955) and Hamlet (1963) that Shostakovich had found a way to integrate his and the fleet of traitors, after foreign intervention had and the Tarantella of the Scherzo is a whirlwind virtuoso had also become known in international concert repertoire, straightforward lyricism and sardonic language with film threatened. He had also opposed directives to evacuate piece for the whole orchestra. The second movement is together with his symphonies, concertos and chamber music, whether in scoring such simple pieces as a waltz, Petersburg and eliminate the fleet, by recruiting an atmospheric and lyrical and contains beautiful solos for music. His score for Leonid Trauberg’s silent masterpiece a polka, a galop, a song or a short interlude. In other words, ensemble of bolsheviks and peasants to defend Fort clarinet and cello. The percussion players have their fling New Babylon (1929) was relaunched in in a his complete personality is omnipresent in his film music Krasnaya Gorka, a particularly strategic point. The in the third, sixth and seventh movements, while in the performance with a live orchestra in 1975, conducted by as well, making it a valuable inheritance of Russia’s Communists are eventually arrested and Shibayev, a sailor, Intermezzo, fingerwork for the string section must not be Marius Constant, on a date which can be considered a culture, besides the achievements by other composers such after he has been helped to escape from imprisonment by underestimated. All in all, some exciting and spontaneous memorable one in the history of silent film music. For a as Sergey Prokofiev, Aram Khachaturian, Mieczyslaw a Russian intellectual, participates in the mass raids on music for an unconventional concert with an excellent young man of 23, this mordant score was already a Weinberg and Dimitry Kabalevsky, who also worked for Petrograd’s bourgeois districts, clearing up and repressing ensemble, this as a final argument against those who turn significant achievement, but by then he had already written the film industry with excellent results. counter-revolutionary conspiracies. The Red Army and their noses up at this kind of incidental music. his first three symphonies, a chamber opera (The Nose) the Sailors conquer Krasnaya Gorka, whose occupants, The instrumentation is practically the same as in The and over ten chamber and piano works. He had started as The Fall of Berlin – The film the White Guards, are supported by an English squadron, Fall of Berlin, except that it also requires glockenspiel and a young and underpaid pianist in a Leningrad silent The Fall of Berlin (Padeniye Berlina) is a monumental and Shibayev is there at the right time to become a hero, xylophone, besides one more extra trumpet, and a concert cinema, which was actually the ideal ambiance to learn two-part Mosfilm colour production of 1949 and 1950, after having unmasked an English spy and prevented the grand piano. how to write for the movies. Silent cinema’s purely directed by Michail Chiaureli and based on a script by destruction of the Fort. Finally, the Red Flag can be hoisted improvisatory or last-minute way of scoring/arranging Chiaureli and Pyotr Andreyevich Pavlenko (1899-1951), Notes by Adriano technique was the best training for a musician’s intuition a famous writer who had also collaborated with Sergey edited by Keith Anderson or sense of drama. It is well-known that many of Shosta- Eisenstein on his script for Alexander Nevsky. Together kovich’s film scores were not well received by Russian with Battle of Stalingrad (1949, with music by Aram cultural apparatchiks, but to him it was much more Khachaturian), it belongs to the genre of Soviet film from difficult to overcome harsh criticism of his more important the Stalin period known as “artistic documentaries”, Cover image: Original poster for The Fall of Berlin (Mosfilm Studio Archives, Moscow) 8.570238 2 7 8.570238 570238bk Berlin 17/5/06 5:53 PM Page 6

The score preparation Alyosha’s friend Kostya intended to impress and instruct the masses like written to declare his love and marry her. Unfortunately, during This first declared original and complete version of • Mendelssohn’s Wedding March (A Midsummer history and, as was usual, to present a historical truth in an their first meeting in a cornfield, the two lovers are Shostakovich’s ‘Stalinist’ score par excellence was based Night’s Dream, Opp. 21 & 61) often forged or re-invented form, for propaganda purposes. interrupted by the first attack of the Germans and on the composer’s full autograph, preserved at the Moscow • Various Marches from the contemporary Russian A particularly hilarious example in Chiaureli’s film is its separated. Eventually, Natasha ends up in a concentration Glinka Museum. The following printed editions were Army repertoire pompous finale, in which Stalin is seen arriving at Berlin camp. Alyosha and his two friends Kostya and Yussuf helpful in comparing the music and preparing the • Various Russian choral folk-songs and dances with airport to congratulate his troops and the Allies, to deliver fight in Moscow and Stalingrad and, finally, in Berlin. It orchestral material: accordion accompaniment a speech to thousands of people, not from a tribune, but is the mortally wounded Yussuf who tries first to hoist his • The symphonic Suite (“Fragments” Op. 82A), It is also to be noted that a few cues are heard in the film from the ground, and this without even a microphone – bloodstained handkerchief on the roof of the Reichstag, arranged by Lev Atovmyan, full score issued by in truncated, or badly edited form. Hitler’s reception (in Stalin who had always categorically refused to travel to before the official Red Flag. It is well-known that this Muzgiz in 1951 this scene, he receives a delegation from the Vatican and Germany during the War. The dictator, in any case, had historical scene, celebrated by press photos at the time, • Five “Fragments” (our tracks 1, 2, 5, 6, and 13), issued tells them that they would be looking better dressed in total control over the films he approved and, as was revealed afterwards as faked, since it had been by Muzgiz in 1987, Complete edition of Shosta- Nazi uniforms) is heard but in a few bars, and the Seelov Shostakovich points out in his memoirs, “he had his own necessary to restage it afterwards under better visibility kovich’s works, Vol. 42 music is also badly truncated in further sequences where projection room at the Kremlin, and he watched films at conditions. The omnipresent Stalin, played by M. • Vocalise for Chorus a cappella (our track 4), issued it is re-used. Short excerpts of track 8 recur also more than night. That was work for him and he worked, like all Gelovani, is seen in the film as an amateur gardener and by Muzgiz in 1985, Complete edition of Shosta- once. criminals, at night”. the owner of a huge park (the cue title modestly calls it a kovich’s works, Vol. 34 In the Moscow Cinematography Orchestra Museum, A typical contemporary pamphlet says of this film “garden”) and, as often, as leaning over maps before giving that “it is a moving picture in which great feelings of orders, or brainstorming with his staff. This is also the Extra video transfers of excellent prints of both parts I was also able to examine sketches of two further patriotism are assembled in an epic of the people’s case with Hitler, played by Vladimir Savelyev, whose of the original feature film were made on this occasion by incidental pieces by Shostakovich, one of which is entitled common struggle for freedom, independence and for the hysterical fits create some chaplinesque episodes. During Mosfilm Studios and in the same Studio’s archives, I was Toast and which was presumably intended to accompany happiness … through realistic and faithful pictures, in his last Bunker days, the Führer marries Eva Braun and the personally allowed to view and choose photographic stills the glass-clinking in the Yalta Conference sequence. I was which Soviet Man is shown in his unfailing union with ceremony is accompanied by Mendelssohn’s Wedding and contemporary pamphlets, and also for The Unfor- not allowed to photocopy these, because of the intervention the great Leader of the People”. March, shortly after he has given orders to flood Berlin’s gettable Year 1919. Last but not least, these videos allowed of a conductor, for personal reasons. Shostakovich’s cue The historical subject of the script is enriched by a underground stations filled with people sheltering from the identification of the remaining source music pieces of titles are not all in the original autograph. The retitling of The Fall of Berlin, which, of course, had nothing to do conventional and dramatic love story, in order to interest the bombing. Goehring, who owns a decadent villa filled our tracks is based on some of Atovmyan’s suite titles, or the viewer. From its technical aspect, its incredible luxury from top to bottom with stolen works of art, and Goebbels, with Shostakovich’s autograph, but which are listed here new ones were assigned, according to the action on the for exact information: of effects and well-staged mass-scenes, this picture can Roosevelt and Churchill are other dramatis personae, screen. The score preparation and orchestral material compete with many contemporary Hollywood prod- besides, of course, Russian historical personalities such • Excerpts from Symphony No. 7 “Leningrad”, Op.60 extraction of all hitherto unpublished tracks was carried uctions, leaving aside the still difficult times in which it as Marshal Zhukov and Malenkov, Stalin’s secretary, and (section 39-43 from the first movement in a first cue, out, as usual with the help of computer software. was produced. Like Hitler, Stalin had found in cinema the others. The storming of the Reichstag, during which and section 37-39 and 39-41 in a second one) best propaganda mass-media, and therefore provided that Alyosha’s two friends are killed, has an immediate • A March to the Treasurer (a hitherto unidentifiable The Unforgettable Year 1919 Mosfilm Studios were not to suffer under any budget consequence in general dancing and music-making of the March by Shostakovich?), apparently arranged by I. While The Fall of Berlin was produced at the height of limitations. As was the case in Berlin’s Babelsberg studios, Russians and the Allies in Berlin’s streets, preceding V. Petrov) Stalin’s power, The Unforgettable Year 1919 (Nyie- particular care had to be taken that in scenes dealing with Stalin’s triumphal arrival from the skies. Now it is also • Scriabin’s Etude Op. 2 No. 1, played in the concert- sabyuvajemyi 1919 God), released in 1951, and also banquets or meals, plates were to be filled with fake food. the right time for Alyosha and Natasha to find each other hall scene by the concert pianist who infatuated directed by Chiaureli, was to be the last picture in which June 1941: Alyosha, a young steel-founder, is in love again. The first part of the film, lasting seventy minutes, Natasha the Dictator is unrestrainedly glorified. At that time with Natasha, a school-teacher. Too shy, he does not show ends with Stalin meeting Roosevelt and Churchill at the • Tchaikovsky’s song Night, Op. 60 No. 9, first heard already, audiences, critics and even political leaders had her his feelings, thinking she is in love with a more Yalta Conference. during the above-mentioned concert sequence and recognised that Soviet art, if it continued as totally attractive concert pianist. At a personal meeting with Stalin The second part is 75 minutes long and is, from the later during the battlefield scene preceding attacca- controlled as this, would no longer interest or excite the in the latter’s garden, after having been congratulated for filmic point of view, much more valuable and interesting, like the music of track 10, both times sung by masses. Only through the collaboration of genuine artists his good work, Alyosha is encouraged by Stalin himself since not only does it contain some excellent battle and 8.570238 6 3 8.570238 570238bk Berlin 17/5/06 5:53 PM Page 4

bombing sequences, but it has some valuable and well- in its Finale, and its most effective music was only in the Shostakovich’s skill in creating pathos, without falling The Concert Suite staged episodes, connected with Hitler’s last days. A first Merry Widow-March sequences in which Nazis were into the clichés of Socialist Realism, and even a perfectly Composer Levon Tadevosovich Atovmyan (1901-1973) episode shows the Führer and his staff leaving their palace portrayed. Shostakovich waited until 1943 to deliver orchestrated short band music piece like Hitler’s reception was a close friend of Shostakovich, holding various to take refuge in the Bunker during an air raid, in which another war-inspired symphony, his Eighth, a work which becomes a caricature-like musical jewel. The most administrative posts in Russia’s cultural bureaux. Later he the protagonists are seen running away in a distant shot has also been called the Stalingrad Symphony. In short, questionable pieces are, of course, both bombastic final was appointed director of Muzford, the Union office in from above, while thousands of sheets of paper flutter Shostakovich was more than an expert composer of war- cues, in which the mixed chorus has to scream Slava charge of commissions and disbursements. Shostakovich’s around in the room. A second episode is Hitler’s ghastly inspired film music, since he had experienced war himself, Stalinu, and whose remaining lyrics there is no need to large correspondence with Atovmyan make up an import- marriage and his suicide, counterpointed with images of both as an active soldier and as a deeply committed translate here, but they also show intelligent realisation ant documentation on intrigues and dramas in Russian a mass of innocents drowning in an overflowing under- composer. He may too have been moved again, while and , nearer in achievement to the choral musical life of that time. Besides this, Atovmyan worked ground station. In the meantime two messengers arrive to checking with his stopwatch, the preview sequences of finale of his Symphony No. 3 (The First of May) than to the regularly as a vocal score extractor, arranger and editor of tell the Bunker’s superintendent that Berlin has now The Fall of Berlin which were to be set to music eight less tonal one of Symphony No. 2 (October) and The Song Shostakovich’s film music and ballet suites. surrendered and they ask to speak to the Führer, but are years later. The music speaks for itself: it contains a lot of of the Forest, Op.81, composed in the same year as The The eight-part concert suite of The Fall of Berlin told that he is not available at the moment because he is valuable elements, definitely far above the usual superficial Fall of Berlin. In the children’s song Beautiful Day, an includes arranged versions of the cues corresponding to the celebrating his marriage, all this causing hysterical pathos or caricatures one could expect from such a picture. accompaniment to Natasha’s visit to a steel foundry with present tracks Nos. 3, 4, 6, 8, 11, 12, 15 and 16, with a laughter. Incidentally, Eva Braun and Hitler’s secretary Shostakovich’s score is based on a simple leitmotif of her class, Yevgeny Dolmatovsky’s words are rather too mixed chorus in the first and last movements of the suite and are portrayed in the film as sympathetic characters, heroic character, first heard in Main Title I, gradually optimistic, compared to the huge industrial complex in in The Garden (our Stalin’s Garden, track 4). Atovmyan violently reacting against the Dictator’s last mass- developing itself through subsequent episodes and re- the background, belching apocalyptic billows of smoke. uses of track 15 as a Prelude and track 16 as murderous decision. The staging and lightning of some appearing as a trimphant choral hymn in the Finale. Main In her excellent book Soviet Film Music (1997), a Finale. His most questionable is perhaps the dramatic shots draw inevitable inspiration from Sergey Title II contains a new motif, strongly similar to the theme Tatyana Egorova condemns Shostakovich’s Fall of Berlin rewriting of the beautiful chorus vocalise as an orchestra Eisenstein and other earlier Russian film-makers. of Borodin’s Symphony No. 2 in B minor, written 73 years as “distressing” and “sounding stiff and monotonous”, piece with chorus, although the result sounds very attractive. earlier, symbolizing the Russian people’s consciousness of since “the possibilities of development of the glorification Most of the suite’s pieces have been revised, occasionally The original score and will for victory. theme were limited”. Although not agreeing here, I accept, retouched in their instrumentation, and also either shortened Shostakovich composed most of his Symphony No. 7 Purely orchestral sequences like Alyosha by the river with Egorova, that two additional quotations from the or lengthened. The two piano parts of the Seelov sequence “Leningrad” in 1941, at a time when he was himself (he thinks about his secret love for Natasha) and In the “Leningrad” Symphony to this soundtrack (not included (the longest in Shostakovich’s soundtrack) have been re- active as an army fireman during the siege of this city. devastated village (Alyosha visits Natasha’s village and on this disc) are inadequate, but it may be possible that integrated by Atovmyan with the wind and string sections The première of this work, on 5th March, 1942, at which her destroyed home) and the choral Stalin’s garden (later these sequences, partially edited in a rather primitive way of the orchestra. In his new Prelude and Finale and in our the composer delivered an introductory talk, obviously published separately as Op.82C, and as the children’s song as if taken from already existing tapes, were last-minute track 8 (his number 3, entitled Attack), Atovmyan has also left a tremendous impression. Subsequent performances Beautiful Day, published as Op.82B) are the most lyrical additions. Following some happy, Sibelius-like love rewritten the percussion parts completely. On the were soon broadcast in the United Kingdom and the of the score and create sensitive atmospheres through music, the “Nazi machinery” episode of track 5 (Attack) soundtrack, the tempo of Alyosha by the river (By the river United States and Shostakovich’s C Major became delicate . No matter that the composer may is definitely inspired by the first movement of Symphony in the suite) appears to be a semibreve of MM 54, which is immediately one of the most discussed symphonies of the not have been of one opinion with the director’s or the No. 7. almost the double of the Adagio (without metronome time, its artistic value largely overshadowed by the protagonist’s rather commonplace feelings and dramatic The original soundtrack of The Fall of Berlin was indication) in both the original and the suite, if played by emotional circumstances of its composition and per- situations, he succeeded in transporting the activities on the played by the Ministry of Cinematography Orchestra, counting crotchets, but I have adopted the film’s tempo, formance. Western critics had, in any case, condemned it screen to a higher level, as only a good film music under the baton of Alexander Gauk. The orchestra requires even though not all tempi on this recording are a result of a as a bombastic and second-rate composition, but its initial composer can do, making his own feelings chime with a normal symphonic formation, except in tracks 14 and 15, blind matching of those on the soundtrack. successful reception in Russia was to last even less than a those of the viewers. Even in more extravert episodes, like where two and three trumpets, respectively, and trombones Avtovmyan’s movements 1, 4, 5, 6 and 8 were first couple of years before the usual group of envious fellow- The flooding of the underground station and Yussuf’s are needed, and track 11, which calls for two pianos. Harp, recorded by Melodiya in 1952, in an exciting performance composer apparatchiks renewed their opposition to Death, we are faced with skilful contrapuntal musical cues, celesta and an extensive percussion section are also by the State Radio Orchestra and Chorus of the USSR Shostakovich once more, accusing him of being a crypto- avoiding special effects or platitudes, perfectly fitting the required. conducted by Alexander Gauk, a recording that came into Fascist, since the symphony was not convincing enough action on the screen. Battle sequences also display my collection about 25 years ago. 8.570238 4 5 8.570238 570238bk Berlin 17/5/06 5:53 PM Page 4

bombing sequences, but it has some valuable and well- in its Finale, and its most effective music was only in the Shostakovich’s skill in creating pathos, without falling The Concert Suite staged episodes, connected with Hitler’s last days. A first Merry Widow-March sequences in which Nazis were into the clichés of Socialist Realism, and even a perfectly Composer Levon Tadevosovich Atovmyan (1901-1973) episode shows the Führer and his staff leaving their palace portrayed. Shostakovich waited until 1943 to deliver orchestrated short band music piece like Hitler’s reception was a close friend of Shostakovich, holding various to take refuge in the Bunker during an air raid, in which another war-inspired symphony, his Eighth, a work which becomes a caricature-like musical jewel. The most administrative posts in Russia’s cultural bureaux. Later he the protagonists are seen running away in a distant shot has also been called the Stalingrad Symphony. In short, questionable pieces are, of course, both bombastic final was appointed director of Muzford, the Union office in from above, while thousands of sheets of paper flutter Shostakovich was more than an expert composer of war- cues, in which the mixed chorus has to scream Slava charge of commissions and disbursements. Shostakovich’s around in the room. A second episode is Hitler’s ghastly inspired film music, since he had experienced war himself, Stalinu, and whose remaining lyrics there is no need to large correspondence with Atovmyan make up an import- marriage and his suicide, counterpointed with images of both as an active soldier and as a deeply committed translate here, but they also show intelligent realisation ant documentation on intrigues and dramas in Russian a mass of innocents drowning in an overflowing under- composer. He may too have been moved again, while and orchestration, nearer in achievement to the choral musical life of that time. Besides this, Atovmyan worked ground station. In the meantime two messengers arrive to checking with his stopwatch, the preview sequences of finale of his Symphony No. 3 (The First of May) than to the regularly as a vocal score extractor, arranger and editor of tell the Bunker’s superintendent that Berlin has now The Fall of Berlin which were to be set to music eight less tonal one of Symphony No. 2 (October) and The Song Shostakovich’s film music and ballet suites. surrendered and they ask to speak to the Führer, but are years later. The music speaks for itself: it contains a lot of of the Forest, Op.81, composed in the same year as The The eight-part concert suite of The Fall of Berlin told that he is not available at the moment because he is valuable elements, definitely far above the usual superficial Fall of Berlin. In the children’s song Beautiful Day, an includes arranged versions of the cues corresponding to the celebrating his marriage, all this causing hysterical pathos or caricatures one could expect from such a picture. accompaniment to Natasha’s visit to a steel foundry with present tracks Nos. 3, 4, 6, 8, 11, 12, 15 and 16, with a laughter. Incidentally, Eva Braun and Hitler’s secretary Shostakovich’s score is based on a simple leitmotif of her class, Yevgeny Dolmatovsky’s words are rather too mixed chorus in the first and last movements of the suite and are portrayed in the film as sympathetic characters, heroic character, first heard in Main Title I, gradually optimistic, compared to the huge industrial complex in in The Garden (our Stalin’s Garden, track 4). Atovmyan violently reacting against the Dictator’s last mass- developing itself through subsequent episodes and re- the background, belching apocalyptic billows of smoke. uses arrangements of track 15 as a Prelude and track 16 as murderous decision. The staging and lightning of some appearing as a trimphant choral hymn in the Finale. Main In her excellent book Soviet Film Music (1997), a Finale. His most questionable arrangement is perhaps the dramatic shots draw inevitable inspiration from Sergey Title II contains a new motif, strongly similar to the theme Tatyana Egorova condemns Shostakovich’s Fall of Berlin rewriting of the beautiful chorus vocalise as an orchestra Eisenstein and other earlier Russian film-makers. of Borodin’s Symphony No. 2 in B minor, written 73 years as “distressing” and “sounding stiff and monotonous”, piece with chorus, although the result sounds very attractive. earlier, symbolizing the Russian people’s consciousness of since “the possibilities of development of the glorification Most of the suite’s pieces have been revised, occasionally The original score and will for victory. theme were limited”. Although not agreeing here, I accept, retouched in their instrumentation, and also either shortened Shostakovich composed most of his Symphony No. 7 Purely orchestral sequences like Alyosha by the river with Egorova, that two additional quotations from the or lengthened. The two piano parts of the Seelov sequence “Leningrad” in 1941, at a time when he was himself (he thinks about his secret love for Natasha) and In the “Leningrad” Symphony to this soundtrack (not included (the longest in Shostakovich’s soundtrack) have been re- active as an army fireman during the siege of this city. devastated village (Alyosha visits Natasha’s village and on this disc) are inadequate, but it may be possible that integrated by Atovmyan with the wind and string sections The première of this work, on 5th March, 1942, at which her destroyed home) and the choral Stalin’s garden (later these sequences, partially edited in a rather primitive way of the orchestra. In his new Prelude and Finale and in our the composer delivered an introductory talk, obviously published separately as Op.82C, and as the children’s song as if taken from already existing tapes, were last-minute track 8 (his number 3, entitled Attack), Atovmyan has also left a tremendous impression. Subsequent performances Beautiful Day, published as Op.82B) are the most lyrical additions. Following some happy, Sibelius-like love rewritten the percussion parts completely. On the were soon broadcast in the United Kingdom and the of the score and create sensitive atmospheres through music, the “Nazi machinery” episode of track 5 (Attack) soundtrack, the tempo of Alyosha by the river (By the river United States and Shostakovich’s C Major became delicate orchestrations. No matter that the composer may is definitely inspired by the first movement of Symphony in the suite) appears to be a semibreve of MM 54, which is immediately one of the most discussed symphonies of the not have been of one opinion with the director’s or the No. 7. almost the double of the Adagio (without metronome time, its artistic value largely overshadowed by the protagonist’s rather commonplace feelings and dramatic The original soundtrack of The Fall of Berlin was indication) in both the original and the suite, if played by emotional circumstances of its composition and per- situations, he succeeded in transporting the activities on the played by the Ministry of Cinematography Orchestra, counting crotchets, but I have adopted the film’s tempo, formance. Western critics had, in any case, condemned it screen to a higher level, as only a good film music under the baton of Alexander Gauk. The orchestra requires even though not all tempi on this recording are a result of a as a bombastic and second-rate composition, but its initial composer can do, making his own feelings chime with a normal symphonic formation, except in tracks 14 and 15, blind matching of those on the soundtrack. successful reception in Russia was to last even less than a those of the viewers. Even in more extravert episodes, like where two and three trumpets, respectively, and trombones Avtovmyan’s movements 1, 4, 5, 6 and 8 were first couple of years before the usual group of envious fellow- The flooding of the underground station and Yussuf’s are needed, and track 11, which calls for two pianos. Harp, recorded by Melodiya in 1952, in an exciting performance composer apparatchiks renewed their opposition to Death, we are faced with skilful contrapuntal musical cues, celesta and an extensive percussion section are also by the State Radio Orchestra and Chorus of the USSR Shostakovich once more, accusing him of being a crypto- avoiding special effects or platitudes, perfectly fitting the required. conducted by Alexander Gauk, a recording that came into Fascist, since the symphony was not convincing enough action on the screen. Battle sequences also display my collection about 25 years ago. 8.570238 4 5 8.570238 570238bk Berlin 17/5/06 5:53 PM Page 6

The score preparation Alyosha’s friend Kostya intended to impress and instruct the masses like written to declare his love and marry her. Unfortunately, during This first declared original and complete version of • Mendelssohn’s Wedding March (A Midsummer history and, as was usual, to present a historical truth in an their first meeting in a cornfield, the two lovers are Shostakovich’s ‘Stalinist’ score par excellence was based Night’s Dream, Opp. 21 & 61) often forged or re-invented form, for propaganda purposes. interrupted by the first attack of the Germans and on the composer’s full autograph, preserved at the Moscow • Various Marches from the contemporary Russian A particularly hilarious example in Chiaureli’s film is its separated. Eventually, Natasha ends up in a concentration Glinka Museum. The following printed editions were Army repertoire pompous finale, in which Stalin is seen arriving at Berlin camp. Alyosha and his two friends Kostya and Yussuf helpful in comparing the music and preparing the • Various Russian choral folk-songs and dances with airport to congratulate his troops and the Allies, to deliver fight in Moscow and Stalingrad and, finally, in Berlin. It orchestral material: accordion accompaniment a speech to thousands of people, not from a tribune, but is the mortally wounded Yussuf who tries first to hoist his • The symphonic Suite (“Fragments” Op. 82A), It is also to be noted that a few cues are heard in the film from the ground, and this without even a microphone – bloodstained handkerchief on the roof of the Reichstag, arranged by Lev Atovmyan, full score issued by in truncated, or badly edited form. Hitler’s reception (in Stalin who had always categorically refused to travel to before the official Red Flag. It is well-known that this Muzgiz in 1951 this scene, he receives a delegation from the Vatican and Germany during the War. The dictator, in any case, had historical scene, celebrated by press photos at the time, • Five “Fragments” (our tracks 1, 2, 5, 6, and 13), issued tells them that they would be looking better dressed in total control over the films he approved and, as was revealed afterwards as faked, since it had been by Muzgiz in 1987, Complete edition of Shosta- Nazi uniforms) is heard but in a few bars, and the Seelov Shostakovich points out in his memoirs, “he had his own necessary to restage it afterwards under better visibility kovich’s works, Vol. 42 music is also badly truncated in further sequences where projection room at the Kremlin, and he watched films at conditions. The omnipresent Stalin, played by M. • Vocalise for Chorus a cappella (our track 4), issued it is re-used. Short excerpts of track 8 recur also more than night. That was work for him and he worked, like all Gelovani, is seen in the film as an amateur gardener and by Muzgiz in 1985, Complete edition of Shosta- once. criminals, at night”. the owner of a huge park (the cue title modestly calls it a kovich’s works, Vol. 34 In the Moscow Cinematography Orchestra Museum, A typical contemporary pamphlet says of this film “garden”) and, as often, as leaning over maps before giving that “it is a moving picture in which great feelings of orders, or brainstorming with his staff. This is also the Extra video transfers of excellent prints of both parts I was also able to examine sketches of two further patriotism are assembled in an epic of the people’s case with Hitler, played by Vladimir Savelyev, whose of the original feature film were made on this occasion by incidental pieces by Shostakovich, one of which is entitled common struggle for freedom, independence and for the hysterical fits create some chaplinesque episodes. During Mosfilm Studios and in the same Studio’s archives, I was Toast and which was presumably intended to accompany happiness … through realistic and faithful pictures, in his last Bunker days, the Führer marries Eva Braun and the personally allowed to view and choose photographic stills the glass-clinking in the Yalta Conference sequence. I was which Soviet Man is shown in his unfailing union with ceremony is accompanied by Mendelssohn’s Wedding and contemporary pamphlets, and also for The Unfor- not allowed to photocopy these, because of the intervention the great Leader of the People”. March, shortly after he has given orders to flood Berlin’s gettable Year 1919. Last but not least, these videos allowed of a conductor, for personal reasons. Shostakovich’s cue The historical subject of the script is enriched by a underground stations filled with people sheltering from the identification of the remaining source music pieces of titles are not all in the original autograph. The retitling of The Fall of Berlin, which, of course, had nothing to do conventional and dramatic love story, in order to interest the bombing. Goehring, who owns a decadent villa filled our tracks is based on some of Atovmyan’s suite titles, or the viewer. From its technical aspect, its incredible luxury from top to bottom with stolen works of art, and Goebbels, with Shostakovich’s autograph, but which are listed here new ones were assigned, according to the action on the for exact information: of effects and well-staged mass-scenes, this picture can Roosevelt and Churchill are other dramatis personae, screen. The score preparation and orchestral material compete with many contemporary Hollywood prod- besides, of course, Russian historical personalities such • Excerpts from Symphony No. 7 “Leningrad”, Op.60 extraction of all hitherto unpublished tracks was carried uctions, leaving aside the still difficult times in which it as Marshal Zhukov and Malenkov, Stalin’s secretary, and (section 39-43 from the first movement in a first cue, out, as usual with the help of computer software. was produced. Like Hitler, Stalin had found in cinema the others. The storming of the Reichstag, during which and section 37-39 and 39-41 in a second one) best propaganda mass-media, and therefore provided that Alyosha’s two friends are killed, has an immediate • A March to the Treasurer (a hitherto unidentifiable The Unforgettable Year 1919 Mosfilm Studios were not to suffer under any budget consequence in general dancing and music-making of the March by Shostakovich?), apparently arranged by I. While The Fall of Berlin was produced at the height of limitations. As was the case in Berlin’s Babelsberg studios, Russians and the Allies in Berlin’s streets, preceding V. Petrov) Stalin’s power, The Unforgettable Year 1919 (Nyie- particular care had to be taken that in scenes dealing with Stalin’s triumphal arrival from the skies. Now it is also • Scriabin’s Etude Op. 2 No. 1, played in the concert- sabyuvajemyi 1919 God), released in 1951, and also banquets or meals, plates were to be filled with fake food. the right time for Alyosha and Natasha to find each other hall scene by the concert pianist who infatuated directed by Chiaureli, was to be the last picture in which June 1941: Alyosha, a young steel-founder, is in love again. The first part of the film, lasting seventy minutes, Natasha the Dictator is unrestrainedly glorified. At that time with Natasha, a school-teacher. Too shy, he does not show ends with Stalin meeting Roosevelt and Churchill at the • Tchaikovsky’s song Night, Op. 60 No. 9, first heard already, audiences, critics and even political leaders had her his feelings, thinking she is in love with a more Yalta Conference. during the above-mentioned concert sequence and recognised that Soviet art, if it continued as totally attractive concert pianist. At a personal meeting with Stalin The second part is 75 minutes long and is, from the later during the battlefield scene preceding attacca- controlled as this, would no longer interest or excite the in the latter’s garden, after having been congratulated for filmic point of view, much more valuable and interesting, like the music of track 10, both times sung by masses. Only through the collaboration of genuine artists his good work, Alyosha is encouraged by Stalin himself since not only does it contain some excellent battle and 8.570238 6 3 8.570238 570238bk Berlin 17/5/06 5:53 PM Page 2

Dmitry Shostakovich (1906–1975) (and not “formalistic craftmen”), able to bring into their in its right place again. Shibayev’s romance with Katya works conflict, comedy and satire, could the flat pathos of serves as the usual dramatic counterpoint to the patriotic “historic documentaries” be avoided. After Stalin’s death subject of this film. That for commercial reasons a war The Fall of Berlin in 1953, a new chapter of Soviet cinema opened, and new film has always to be coupled with a love story is the very Complete Film Score, Op. 82, 1949 Edited 1996 by Adriano (première recording) directors, or others, whose projects had been previously best way of promoting or criticising humanity’s most cruel rejected, were encouraged to bring fresh life into this and absurd invention. Touching love stories always sell The Unforgettable Year 1919 popular medium. Michail Kalatozov’s The Cranes are well, even in the case of political propaganda. flying (a film that won the Cannes Award in 1958, with The exciting concert suite of The Unforgettable Year Suite, Op. 89a, 1951 Edited 1954 by Levon Atovmyan (first complete recording) music by Mieczyslav/Moysey Weinberg) and Sergey 1919 contains a mini-piano concerto, in the style of, but Jutkevic’s adaptation of Shakespeare’s Othello (1956, with even more Hollywood-like than, Addinsell’s Warsaw Shostakovich’s Film Music works. Some forty years of film music composing within music by Aram Khachaturian) can be considered as typical Concerto of 1941, as if Shostakovich drew amusement Dmitry Shostakovich (DSCH) composed about 35 film- 56 turbulent years as a composer of symphonies, string products of the cultural thaw in Soviet art. from it. Within the suite, and probably the whole score scores. This is quite remarkable, out of a total quantity of quartets, operas and song cycles which have all become The Unforgettable Year 1919 won an award at the too, this piece sounds out of place, and in the film it should 147 numbered works. These were written between 1929 world famous, may have taken second place. Considering 1952 Karlsbad Film Festival. Once more, its script (based accompany the assault on a fort. In Russia this piece, and and 1970, which means about one a year. A dozen have his film scores as a whole, it may be seen that his earlier on a play by Vsevolod Vishnyevsky) shows a personally the sixth movement, were unfortunately missing from been extracted or arranged as concert suites and were works reflect more pleasure in the experimental than his attractive (and taller) heroic Stalin, showing himself on Alexander Gauk’s passionate Melodiya recording of 1956. already recorded on LPs during the mono and stereo eras later ones do, and this not only in comparison with the the battlefield more than he ever had in reality. The plot The present recording is, therefore, the first complete one. of Melodiya, and were occasionally licensed on American greatly inferior musical level of his fellow composers from reconstructs Petrograd’s historical Civil War days of The fierce introduction has some impressive and well- and European labels. Suites or fragments of Zoya (1944), contemporary Hollywood. Particularly notable is the fact October 1919, during which Stalin had purged the army written fanfares, to the delight of excellent brass groups, Michurin (1948), The Gadfly (1955) and Hamlet (1963) that Shostakovich had found a way to integrate his and the fleet of traitors, after foreign intervention had and the Tarantella of the Scherzo is a whirlwind virtuoso had also become known in international concert repertoire, straightforward lyricism and sardonic language with film threatened. He had also opposed directives to evacuate piece for the whole orchestra. The second movement is together with his symphonies, concertos and chamber music, whether in scoring such simple pieces as a waltz, Petersburg and eliminate the fleet, by recruiting an atmospheric and lyrical and contains beautiful solos for music. His score for Leonid Trauberg’s silent masterpiece a polka, a galop, a song or a short interlude. In other words, ensemble of bolsheviks and peasants to defend Fort clarinet and cello. The percussion players have their fling New Babylon (1929) was relaunched in Paris in a his complete personality is omnipresent in his film music Krasnaya Gorka, a particularly strategic point. The in the third, sixth and seventh movements, while in the performance with a live orchestra in 1975, conducted by as well, making it a valuable inheritance of Russia’s Communists are eventually arrested and Shibayev, a sailor, Intermezzo, fingerwork for the string section must not be Marius Constant, on a date which can be considered a culture, besides the achievements by other composers such after he has been helped to escape from imprisonment by underestimated. All in all, some exciting and spontaneous memorable one in the history of silent film music. For a as Sergey Prokofiev, Aram Khachaturian, Mieczyslaw a Russian intellectual, participates in the mass raids on music for an unconventional concert with an excellent young man of 23, this mordant score was already a Weinberg and Dimitry Kabalevsky, who also worked for Petrograd’s bourgeois districts, clearing up and repressing ensemble, this as a final argument against those who turn significant achievement, but by then he had already written the film industry with excellent results. counter-revolutionary conspiracies. The Red Army and their noses up at this kind of incidental music. his first three symphonies, a chamber opera (The Nose) the Sailors conquer Krasnaya Gorka, whose occupants, The instrumentation is practically the same as in The and over ten chamber and piano works. He had started as The Fall of Berlin – The film the White Guards, are supported by an English squadron, Fall of Berlin, except that it also requires glockenspiel and a young and underpaid pianist in a Leningrad silent The Fall of Berlin (Padeniye Berlina) is a monumental and Shibayev is there at the right time to become a hero, xylophone, besides one more extra trumpet, and a concert cinema, which was actually the ideal ambiance to learn two-part Mosfilm colour production of 1949 and 1950, after having unmasked an English spy and prevented the grand piano. how to write for the movies. Silent cinema’s purely directed by Michail Chiaureli and based on a script by destruction of the Fort. Finally, the Red Flag can be hoisted improvisatory or last-minute way of scoring/arranging Chiaureli and Pyotr Andreyevich Pavlenko (1899-1951), Notes by Adriano technique was the best training for a musician’s intuition a famous writer who had also collaborated with Sergey edited by Keith Anderson or sense of drama. It is well-known that many of Shosta- Eisenstein on his script for Alexander Nevsky. Together kovich’s film scores were not well received by Russian with Battle of Stalingrad (1949, with music by Aram cultural apparatchiks, but to him it was much more Khachaturian), it belongs to the genre of Soviet film from difficult to overcome harsh criticism of his more important the Stalin period known as “artistic documentaries”, Cover image: Original poster for The Fall of Berlin (Mosfilm Studio Archives, Moscow) 8.570238 2 7 8.570238 570238bk Berlin 17/5/06 5:53 PM Page 8

Adriano The conductor-composer Adriano was born in Switzerland and lives in Zürich. As a musician he is mostly self-taught. In the late 1970s he established himself as a specialist on Ottorino Respighi and he has conducted many recordings of obscure or neglected symphonic repertoire. On Marco Polo/Naxos he has also initiated and recorded a series of fifteen CDs mainly of European film music composers, and has created and directed a series of classical music videos. All of Adriano’s 36 recording projects for various labels (including in most cases year-long research and elaborate score preparation or editing) have found wide recognition and his commitment is known to be fanatical and uncompromising. In his opinion, music history should be revised to show that it is not just the story of the so-called great composers, and that it should not be neatly classified into traditions and categories. Much more good music has been written than certain musicologists and critics would care to admit. Adriano has composed songs, orchestral, chamber and incidental pieces. His most recent works are a Concertino for Celesta and Strings, Concertino for Piano, Strings and Percussion and an Abysmal Saraband for organ, timpani and strings. His instrumental adaptations include song-cycles or songs by Johannes Brahms, Modest Mussorgsky (four cycles), Hugo Wolf, Ottorino Respighi, Othmar Schoeck, Jacques Ibert and Johann Strauss II. Moscow Symphony Orchestra The Moscow Symphony Orchestra, the first independent orchestra in modern Russia, was established through private resources, free of state support, in 1989. Four years later the distinguished French conductor Antonio de Almeida was invited to become musical director and chief conductor, positions he held until his sudden and much lamented death in February 1997. From the beginning the orchestra has been an active participant in the musical life of Moscow, appearing with famous Russian and foreign conductors and in collaboration with soloists of great international distinction. In addition to its extensive concert schedule the Moscow Symphony Orchestra has also won acclaim for its recordings, which include the complete symphonies of Scriabin, many of the orchestral compositions of Glazunov and Rimsky- Korsakov, sixteen symphonies by the twentieth century Italian composer Malipiero, an anthology of Flemish music and a series dedicated to famous overtures. The orchestra has participated in a number of international festivals and has undertaken concert tours throughout Europe, the United States and the Far East. Ellena Alekseyeva Ellena Alekseyeva was born in 1965 in Smolensk. She graduated at the Gnesin Music Academy under Valentina Zvereva. Since 1989 she has been an accompanist at the Gnesin Academy. Successful in a number of national and international competitions, since 1995 she has worked with the charitable ‘New Names’ of the Moscow Cultural Foundation. Ellena Alekseyeva teaches in the Annual International Master-classes in Moscow and Suzdal presented by the Moscow Cultural Foundation. In collaboration with the Union of Russian Composers she is a regular participant in the Moscow Autumn Festival of Chamber Music. She has appeared in concert in Russia, Germany and Italy, and has recorded the music of young Russian composers.

8.570238 8 Playing Time

8.570238 FILM MUSIC CLASSICS 75:30 8.570238 DDD DMITRY SHOSTAKOVICH (1906-1975) www.naxos.com Made in Canada h HSAOIH The Fall of Berlin SHOSTAKOVICH: 2002 & The Fall of Berlin 1949 Complete Score, Op. 82 – Edited 1996 by Adriano (Première Recording) g

2006 Naxos Rights International Ltd. 2006 Naxos Rights International The Unforgettable Year 1919 1951 Suite, Op. 89a – Edited 1954 by Levon Atovmyan (First Complete Recording) Moscow Symphony Orchestra • Adriano, Conductor Moscow Capella & Youth Chorus (Sergey Krivobokov, Chorusmaster)* Ellena Alekseyeva, Piano** The Fall of Berlin 45:34 # The final battle for the Reichstag— 1 Main Title Part 1 2:44 Kostya’s death 4:06 2 Beautiful day* 2:15 $ Yussuf’s death—The Red Banner 3:41 3 Alyosha by the river 1:39 % Stalin at Berlin airport* 4:28 4 Stalin’s Garden* 2:02 ^ Finale: Stalin’s speech—Alyosha 5 Alyosha and Natalia in the fields— and Natasha reunited* 2:44 Attack 3:53 The Unforgettable Year 1919 30:35 6 Hitler’s reception 1:32 & Introduction 2:04 7 In the devastated village 2:40 * Romance (Meeting of Shibayev 8 Forward! 0:58 with Katya) 4:52 SHOSTAKOVICH: of Berlin The Fall 9 Main Title Part 2 2:06 ( Scene from the Sea Battle 2:19 0 The roll call—Attack at night 3:01 ) Scherzo 2:25 ! Storming Seelov Heights ¡ The Assault on the Red Hill** 7:00 (Zielona Gora) 6:26 ™ Intermezzo 5:03

@ The flooding of the underground £ Finale 6:06 8.570238 station 1:11 Recorded at Mosfilm Studios, Moscow, Russia, in March 2000 Producer: Betta, Inc. • Editor: Vitaly Ivanov • Engineers: Edvard Shaknazarian, Vitaly Ivanov Notes: Adriano (special thanks to Tatyana Kukawka & Rustem Gainanov) • Design: Ron Hoares