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Great Response: Shostakovich Days Defy the Heat

Great Response: Shostakovich Days Defy the Heat
The International Shostakovich Days in Gohrisch (Saxon Switzerland) were very well received despite the tropical temperatures. / Photo: Jörg Schurig/dpa
From: DieSachsen News
The “Shostakovich Fan” was intended to provide a little relief and sold like hotcakes. Inside the concert barn, the temperature was over 30 degrees Celsius. But everyone involved kept their cool.

The Gohrisch International Shostakovich Days defied the heat and enjoyed a great response. According to festival director Tobias Niederschlag, there were only a few cancellations from visitors who had booked tickets in advance. However, dozens of tickets were still sold at the box office. The festival, honoring composer Dmitri Shostakovich (1906–1975), has been attracting music lovers from near and far since Thursday. Exact attendance figures were not yet available on Thursday afternoon, as the closing concert was still underway.

Shostakovich is considered one of the most important composers of the 20th century. He left behind a diverse body of work comprising 15 symphonies, instrumental concertos, operas, film scores, vocal works, and chamber music. His works are an integral part of the global concert scene. He stayed in Gohrisch twice, where a guest house belonging to the GDR government was located. In 1960, he composed his 8th String Quartet here—a very personal work considered to be his personal reckoning with Stalin. Since 2010, the Shostakovich Days in Gohrisch have been held in cooperation with the Staatskapelle Dresden.

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Classical music in temperatures exceeding 30 degrees Celsius

Given the heat, a great deal has been demanded of both musicians and audiences in Gohrisch since last Thursday. The organizers had asked visitors to be mindful of the heat, wear summer clothing, and stay well-hydrated. Inside the barn, where the concerts take place in this idyllically situated village in Saxon Switzerland, temperatures usually exceeded 30 degrees Celsius. Open barn doors provided some relief from the heat. Many guests had purchased a “Shostakovich fan” at the merchandise stand, which provided some relief.

Finale with a German premiere

The final day began with a concert by the Sächsische Staatskapelle Dresden, conducted by Ingo Metzmacher. In addition to the piece “Cantus in Memory of Benjamin Britten for String Orchestra and a Bell,” the program featured Mieczysław Weinberg’s Sinfonietta No. 2 (1919–1996), as well as the German premiere of the Sonata for Violin and Orchestra in an arrangement by Krzysztof Meyer, who was also present. The audience applauded enthusiastically—including for the soloist Vadim Gluzman.

According to the organizers, Shostakovich’s work is intended to remain a unifying element between Russia and music lovers abroad, even in politically difficult times. “His music, with its deep emotions and often cryptic messages, is now understood all over the world. It is a universal cultural heritage that bears witness to the horrors of the Soviet era, but also reflects the events of today’s world,” Niederschlag had said shortly before the festival began.

The influence of Jewish music on Shostakovich takes center stage

The festival began on Wednesday evening with a concert by the Sächsische Staatskapelle at the Kulturpalast in Dresden and then continued in Gohrisch. Renowned performers added luster to the festival. Gidon Kremer kicked things off with his Kremerata Baltica. The Quatuor Danel string quartet performed with pianist Elisabeth Leonskaja, who received this year’s festival award. 

The Shostakovich Days, which have long attracted international attention, shed light on the composer and his milieu from a different perspective each year. This year’s focus was on the influences of Jewish music on Shostakovich. With the World Cup in mind, another side theme might also have been possible. After all, the composer was a passionate soccer fan and even held a referee’s license.

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