Musical Sunday

There have been quite a number of tyrannies in the Kremlin, in the tsarist empire as well as in the Soviet Union. Russian artists, including composers, therefore often found themselves forced to take a middle course between adaptation and self-assertion.
Perhaps the most striking example of this comes from Dmitri Shostakovich: Symphony No. 5, written under the pressure of a defamation campaign during the years of the Great Terror. Hardly ever does the talk of the ambiguity of music prove as true as it does here.

Marcus Imbsweiler and Timo Jouko Herrmann give an overview of the multitude of musical means used and trace further peculiarities of this work.
Here, two enthusiasts have their say who have their very own linguistic approach to music. Imbsweiler has previously published novels and short stories about composers from Haydn to Shostakovich. Herrmann is guest conductor of the Heidelberg Symphony; his rediscovery of the song of joy Per la ricuperata salute di Ofelia, composed by Salieri, Mozart, and Cornetti, made him known worldwide.

The event will take place at the DAI Heidelberg and in parallel on the dai HOME Livestream.
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