“Belle survived the war thanks to her caretaker, Yevdokia Dashina. In 1941 water was turned off throughout the city and Belle’s pool was empty, so her skin began to dry out and crack. Every day, Dashina would drag a 40-liter barrel of water from the Neva river and rub the suffering hippo with camphor oil. Eventually, Belle’s skin healed and she was able to hide underwater through the air raids.” (Source)
*In this case, none of the zoo animals were eaten, but some, like Betty the elephant, died during the air strikes (sad picture warning!) Most of the cats and rats were indeed eaten, unfortunately.
*An adult hippo night should receive from 36 to 40 kg of feed. But during the blockade she ate 4-6 kg of a mixture of herbs, vegetables and press cake, adding there 30 kg filings, just to fill her stomach. (The zoo workers also shared their rations with the animals.) If you see this picture of Belle from 1935 you can tell that she lost a lot of weight. So she probably didn’t have “enough to eat”, but enough not to starve to death.
It was completed December 27, 1941 and was written as a heroic symbol of resistance to Nazi totalitarianism invading Russia. It’s been criticized for its often simplistic and bombastic sounds but others argue that was Shostakovich’s way of criticizing Stalin and the totalitarianism in the Soviet Union – simple, childlike, often obnoxious, over the top, and monstrous underneath. (It was also performed in the city during the siege of Leningrad. They shelled the German lines and then broadcast the symphony live across the wire. )
Dimitry Shostakovich as a volunteer firefighter, Leningrad 1941
Life and times
Dmitri Dmitriyevich Shostakovich (Дмитрий Дмитриевич Шостакович, 1906-1975) is probably more popularly associated with Soviet Russia than any other composer. He was a child prodigy, but his adult career flourished during Joseph Stalin’s reign of terror, and this influenced his art very directly. In 1936, Comrade Stalin attended a performance of Shostakovich’s opera Lady Macbeth of the Mtsensk District; although the opera had previously been praised by the Soviet press for its ideological correctness, Stalin quite visibly did not enjoy it. Two days later, an editorial in Pravdacalled the opera “Muddle Instead of Music” and suggested that things “may end very badly” for Shostakovich. In this first prototype of the Communist regime’s new mechanism of cultural control, critics who had previously praised Shostakovich’s work publicly revised their opinions; he lost most of his commissions and performance engagements, and several of his friends and family were soon imprisoned or executed.
Shostakovich’s response was the Fifth Symphony, which he advertised as an apology for Lady Macbeth: “an artist’s creative response to just criticism”. Thus began a series of apparently patriotic compositions to gradually restore his official favor with Stalin and the musical authorities. Most of this work is ignored today, with some exceptions like the wartime Seventh Symphony (“Leningrad”). Meanwhile, Shostakovich wrote his most personal feelings into “desk drawer” compositions, mainly piano solos and especially chamber music, not meant for public performance.
Of course the biggest event in restoring Shostakovich’s public reputation was Stalin’s death in 1953, the same day as Sergei Prokofiev’s. Shostakovich ostensibly commemorated Stalin with his Tenth Symphony, and many of his earlier works were finally premiered. In fact, he regained so much favor with the Khrushchev regime (fortunately, Khrushchev had no ear for music that he joined the Communist Party to become General Secretary of the Composer’s Union; by this point, younger composers were happily studying forbidden musical concepts like serialism, and Shostakovich suddenly seemed like an icon of conformity. It’s not clear what was going through Shostakovich’s head, even from his own conflicting accounts, but soon he wrote the Eighth String Quartet – some previous works had been dedicated to friends and family who perished under Stalin, but this one was privately dedicated to himself, a musical suicide note.
Though the quartet trailed off in a signature morendo, Shostakovich survived, turning inward to psychological pessimism and dread for his late period. Despite his conservatism, he influenced a school of younger successors, including Alfred Schnittke.
Even when Shostakovich seemed to be at his most patriotic, did he really mean it? Or did the apparently simple-minded themes sit on a layer of irony, concealing deep commentary on Soviet repression? And were these messages meant to be recognized by audiences while eluding official critics? These allegations are made in a supposed memoir, but historians question its authenticity.
At any rate, Shostakovich’s music is structurally conservative and old-fashioned for the time, official Soviet policy on “formalism” notwithstanding. Nearly all his work is quite clearly and accessibly tonal, with some extensions or tidbits of chromaticism. With fifteen string quartets and fifteen symphonies, often with roughly traditional movement orders, he was certainly one of the most prolific composers of these backward-looking genres in the twentieth century. And backward he did look: he was fond of quoting melodies from other composers or himself, and channeled Bach in his own preludes and fugues. Even his most personal chamber music generally follows the same formal and tonal idioms as his symphonies meant for public consumption.
From Mahler, he took not just orchestration but the concept of the symphony as psychodrama (Boulez: “the second, or even third pressing of Mahler”). His late string quartets show an affinity with Beethoven’s, in much the same respect. He was influenced by many Russian composers, including contemporaries like Prokofiev and Stravinsky as well as the old greats like Tchaikovsky and especially Mussorgsky. Though it’s not immediately apparent to the ear, he counted the Second Viennese School among his strongest inspirations.
Symphony No. 5, especially the finale, and the 2nd movement (in that order)
Symphony No. 10, 2nd movement (fantastic 4-minute portrait of Stalin, with the three-note motif reminding one of “KGB”)
String Quartet No. 8, 2nd movement (tumultuous “whole note = 120” piece with amazingly big sound with lots of DSCH and dissonance and crunchy double stops sprinkled all around, dedicated to ostensibly the victims of fascism, but really himself and his fellow countrymen)
Symphony no. 7 “Leningrad” (quoted as the longest orchestral crescendo, topping even Bolero, used to evoke the oncoming Nazi army into Leningrad)
But, people seem to never talk about Symphony No. 4, which is my personal favorite.
Scored for a Mahlerian orchestra and stuffed with the most jarring dissonances, it begins with a shocker and closes with a triumph that subsides into a slow death. Indeed, I believe that the ending of Symphony No. 4 is THE MOST CHILLING ending of all time. Nothing tops this… a heartbeat in the timpani + sustained floating c minor chord in the violins + undulating celeste figure that all fades away.
Tatiana Savicheva (January 25, 1930 – July 1, 1944) was a Russian child diarist who died during the Siege of Leningrad in the World War II. Her diary is one of the most tragic symbols of the Siege of 1941-1945.
Twelve-year old Tanya Savicheva started her diary just before Anne Frank. They were of almost the same age and wrote about the same things – about the horrors of fascism. And, again, both these girls died without seeing victory day – Tanya died in July of 1944 and Anne in March of 1945. “The Diary of Anne Frank” (which was a carefully kept journal over a period of two years) was published all over the world and she has become one of the most renowned and most discussed victims of the Holocaust. “The Diary of Tanya Savicheva” was not published at all – it contains only seven scary notes about the deaths of her family members in Leningrad at the time of the blockade.
Leningrad (modern-day St Petersburg) was in the midst of a devastating 900-day blockade that lasted from September 1941 until January 1944. The German army had laid siege to the city, bombarded it and cut off all supplies in its attempt to ‘wipe it off the map’, as Hitler had ordered.
The Savicheva family had all answered the call to help bolster the city’s defences. Tanya, only 11 years old, helped dig anti-tank trenches. On 12 September 1941, the largest food warehouse, the Badayev, was destroyed, bombed with German incendiaries. Three thousand tonnes of flour burned, thousands of tons of grain went up in smoke, meat frazzled, butter melted, sugar turned molten and seeped into the cellars. ‘The streets that night ran with melted chocolate,’ said one witness, ‘and the air was rich and sticky with the smell of burning sugar.’ The situation, already severe, became critical.
Road of Life
As winter approached, Lake Ladoga, to the east of the city, froze. From December 1941, supplies of foodstuffs, fuel and medicine came through by convoys of trucks, a hazardous journey over thin ice and through enemy bombardment. What was brought in on this ‘Road of Life’, although vital, was only ever a fraction of what was needed.
Within the city, as that first winter progressed, whatever could be eaten had been consumed – pets, livestock, birds, vermin. And whatever could be burnt had been used for firewood. Tanya had kept a thick diary but this, as with every other book in the household, had been used for fuel – except for a slim notebook.
The youngest of five children, Tanya Savicheva’s father had died when she was six. Tanya, her mother and her five siblings, in common with every citizen of Leningrad, suffered terribly from hunger and cold. One winter’s day, Tanya’s sister Nina, 12 years older, failed to return. The family assumed that like so many hundreds of others, she had succumbed and died. In fact, Nina had been evacuated out of the city across Lake Ladoga at a moment’s notice. She returned to the city only after the war.
One by one, the remaining members of Tanya’s family died, and it was recording of each death that constituted the notebook.
The first entry recorded the death of her sister, Zhenya, who died at midday on 28 December 1941. Others were to follow until the sixth and final death, that of Tanya’s mother, on 13 May 1942. A neighbour described the tragic figure of this young girl:
‘When Tanya lost everyone, she became deranged with grief. She would clutch at a small house plant, which had only a few withered leaves left, and was virtually dead. Somehow, it seemed to remind Tanya of her family. She would stand by her stove, swaying from side to side, holding it close to her, in a terrible trance. She was trying to bring it back to life.’
Tanya herself was eventually evacuated out of the city in August 1942, along with about 150 other children, to a village called Shatki. But whilst most of the others recovered and lived, Tanya, already too ill, died of tuberculosis on 1 July 1944.
Her notebook was presented as evidence of Nazi terror at the post-war Nuremberg Trials, and today is on display at the History Museum in St Petersburg.
The text of Tanya’s notebook reads as follows:
Zhenya died on Dec. 28th at 12:00 P.M. 1941
Grandma died on Jan. 25th 3:00 P.M. 1942
Leka died on March 5th at 5:00 A.M. 1942
Uncle Vasya died on Apr. 13th at 2:00 after midnight 1942
There are a ton of survivor testimonials on the siege of Leningrad on YouTube.
The siege of Leningrad lasted 872 days. Civilians in the city suffered from extreme starvation. 750 000 people died, which represented between quarter and a third of the city’s pre-siege population. It was the greatest loss of life experienced by a modern city.
I got 2 minutes into this one before I couldn’t take any more.