Overview
Introduction
The Symphony No. 13 in B-flat minor (Op. 113, subtitled Babi Yar) by Dmitri Shostakovich was completed on July 20, 1962 and first performed in Moscow on 18 December 1962 by the Moscow Philharmonic Orchestra and the basses of the Republican State and Gnessin Institute Choirs, under Kirill Kondrashin (after Yevgeny Mravinsky refused to conduct the work). The soloist was Vitali Gromadsky. This work has been variously called a song cycle and a choral symphony since the composer included settings of poems by Yevgeny Yevtushenko that concerned the World War II Babi Yar massacre and other topics. The five poems Shostakovich set to music (one poem per movement) are earthily vernacular and cover every aspect of Soviet life.
Movements
- Babi Yar: Adagio (15–18 minutes)
- In this movement, Shostakovich and Yevtushenko transform the mass murder by Nazis of Jews at Babi Yar, near Kiev, into a denunciation of anti-Semitism in all its forms. (Although the Soviet government did not erect a monument at Babi Yar, it still became a place of pilgrimage for Soviet Jews.) Shostakovich sets the poem as a series of theatrical episodes — the Dreyfus affair, the Białystok pogrom and the story of Anne Frank— as extended interludes to the main theme of the poem, lending the movement the dramatic structure and theatrical imagery of opera while resorting to graphic illustration and vivid word painting. For instance, the mocking of the imprisoned Dreyfus by poking umbrellas at him through the prison bars may be in an accentuated pair of quarter-notes in the brass, with the build-up of menace in the Anne Frank episode, culminating in the musical image of the breaking down of the door to the Franks' hiding place, which underlines the hunting down of that family.
- Humour: Allegretto (8–9 minutes)
- Shostakovich quotes his setting of the Robert Burns poem "MacPherson Before His Execution" to colour Yevtushenko's imagery of the spirit of mockery, endlessly murdered and endlessly resurrected, denouncing the vain attempts of tyrants to shackle wit. The movement is a Mahlerian gesture of mocking burlesque, not simply light or humorous but witty, satirical and parodistic. The irrepressible energy of the music illustrates that, just as with courage and folly, humor, even in the form of "laughing in the face of the gallows" is both irrepressible and eternal (a concept, incidentally, also present in the Burns poem). He also quotes a melody of the Sonata for Two Pianos and Percussion by Bartók ironically, as response for the criticism toward Symphony 7.
- In the Store: Adagio (10–13 minutes)
- This movement is about the hardship of Soviet women during World War II. It is also a tribute to patient endurance. This arouses Shostakovich's compassion no less than racial prejudice and gratuitous violence. Written in the form of a lament, the chorus departs from its unison line in the music's two concluding harmonized chords for the only time in the entire symphony, ending on an plagal cadence functioning much the same as a liturgical amen.
- Fears: Largo (11–13 minutes)
- This movement touches on the subject of suppression in the Soviet Union and is the most elaborate musically of the symphony's five movements, using a variety of musical ideas to stress its message, from an angry march to alternating soft and violent episodes. Notable here are the orchestral effects — the tuba, for instance, hearkening back to the "midnight arrest" section of the first movement of the Fourth Symphony — containing some of the composer's most adventurous instrumental touches since his Modernist period. It also foresees some of Shostakovich's later practices, such as an 11-note tone row played by the tuba as an opening motif. Harmonic ambiguity instills a deep sense of unease as the chorus intones the first lines of the poem: "Fears are dying-out in Russia." ("Умирают в России страхи.") Shostakovich breaks this mood only in response to Yevtushenko's agitprop lines, "We weren't afraid/of construction work in blizzards/or of going into battle under shell-fire," ("Не боялись мы строить в метели, / уходить под снарядами в бой,) parodying the Soviet marching song Smelo tovarishchi v nogu ("Bravely, comrades, march to step").
- Career: Allegretto (11–13 minutes)
- While this movement opens with a pastoral duet by flutes over a B flat pedal bass, giving the musical effect of sunshine after a storm, it is an ironic attack on bureaucrats, touching on cynical self-interest and robotic unanimity while also a tribute to genuine creativity. It follows in the vein of other satirical finales, especially the Eighth Symphony and the Fourth and Sixth String Quartets. The soloist comes onto equal terms with the chorus, with sarcastic commentary provided by the bassoon and other wind instruments, as well as rude squeaking from the trumpets. It also relies more than the other movements on purely orchestral passages as links between vocal statements.
Instrumentation
The symphony calls for a bass soloist, bass chorus, and an orchestra consisting of 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling cor anglais), 3 clarinets, (2nd doubling Eb clarinet, 3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, castanets, whip, woodblocks, tambourine, snare drum, bass drum, cymbals, bells, tam-tam, glockenspiel, xylophone, 2 harps (preferably doubled), celesta, piano, and strings.
Overview
Background
Shostakovich's interest in Jewish subjects dates from 1943, when he orchestrated the opera Rothschild's Violin by Jewish composer Venyamin Fleishman. This work contained characteristics which would become typical of Shostakovich's Jewish idiom — the Phrygian mode with an augmented third and the Dorian mode with an augmented fourth; the iambic prime (a series of two notes on the same pitch in an iambic rhythm, with the first note of each phrase on an upbeat); and the standard accompaniments to Jewish klezmer music. After completing the opera, Shostakovich used this Jewish idiom in his Second Piano Trio, including a macabre Jewish dance in its finale that is said to reflect his horror on hearing the news of the Holocaust then reaching Russia.
By 1948 Shostakovich had become familiar with an extensive collection of Jewish folk music located in Vilnius, Lithuania. This collection, despite being destroyed by the Germans during the war, had been preserved partially through I.L. Kagan's publication Jidiser folkor, which had appeared in Vilnius in 1938, and reconstructed by Moshe (Moisei) Beregovsky, who had access to recordings of Jewish folk songs made on field expeditions to the Ukraine in the 1920s and 1930s. Bergovensky presented these songs as part of his PhD thesis at the Moscow Conservatory in 1946. One of the examiners of Bergovensky's thesis was Shostakovich.
Shostakovich was drawn to the intonations of Jewish folk music, explaining, "The distinguishing feature of Jewish music is the ability to build a jolly melody on sad intonations. Why does a man strike up a jolly song? Because he is sad at heart."
Between 1948 and 1952 Shostakovich composed a series of works in which the Jewish idiom played a part. These works included the First Violin Concerto, the Fourth String Quartet, the song cycle From Jewish Folk Poetry, the 24 Preludes and Fugues and the Four Monologues on Texts by Pushkin. The composition of these works coincided roughly with the virulent state-sanctioned anti-Semitism prevalent in Russia in those years, as part of the anti-Western campaign of Zhdanovshchina. The Soviet people were told that the Jews had to be excluded from Soviet life because they had an innate tendency to glorify the West. Jewish intellectuals were persecuted and Jewish institutions were shut down. While Shostakovich's music on the whole was virtually banned during this period due to the Zhdanov decree, smaller works such as the Fourth String Quartet and From Jewish Folk Poetry became widely known to many of the composer's compatriots through play-throughs at musicians' homes.
Shostakovich returned to Jewish themes in 1959, including them in his First Cello Concerto, the Eighth String Quartet, the Thirteenth Symphony and the orchestral version of From Jewish Folk Poetry. In 1970, he also contributed to a collection of Jewish songs that was subsequently published. The link between the Jewish theme and protests against the Soviet regime was most pronounced in the Thirteenth Symphony. In this work, Shostakovich dispensed with the Jewish idiom, as the text was perfectly clear without it.
Shostakovich reportedly told fellow composer Edison Denisov that he had always loathed anti-Semitism. He is also reported to have told musicologist Solomon Volkov, regarding the Babi Yar massacre and the state of Jews in the Soviet Union,
...It would be good if Jews could live peacefully and happily in Russia, where they were born. But we must never forget about the dangers of anti-Semitism and keep reminding others of it, because the infection is still alive and who knows if it will ever disappear.
That's why I was overjoyed when I read Yevtushenko's "Babi Yar"; the poem astounded me. It astounded thousands of people. Many had heard about Babi Yar, but it took Yevtushenko's poem to make them aware of it. They tried to destroy the memory of Babi Yar, first the Germans and then the Ukrainian government. But after Yevtushenko's poem, it became clear that it would never be forgotten. That is the power of art.
People knew about Babi Yar before Yevtushenko's poem, but they were silent. And when they read the poem, the silence was broken. Art destroys silence.
Yevtushenko's poem Babi Yar appeared in the Literaturnaya Gazeta in September 1961 and, along with the publication of Alexander Solzhenitsyn's novel One Day in the Life of Ivan Denisovich in Novy Mir, happened during a surge of anti-Stalinist literature during the premiership of Nikita Khrushchev. Publishers began receiving more anti-Stalinist novels, short stories and memoirs. This fad soon faded.
Composition
The symphony was originally intended as a single-movement "vocal-symphonic poem." By the end of May, Shostakovich had found three additional poems by Yevtushenko, which caused him to expand the work into a multi-movement choral symphony by complementing Babi Yar's theme of Jewish suffering with Yevtushenko's verses about other Soviet abuses. Yevtushenko wrote the text for the 4th movement, "Fears," at the composer's request. The composer completed these four additional movements within six weeks, putting the final touches on the symphony on July 20, 1962, during a hospital stay. Discharged that day, he took the night train to Kiev to show the score to bass Boris Gmiyirya, an artist he especially admired and wanted to sing the solo part in the work. From there he went to Leningrad to give the score to conductor Yevgeny Mravinsky.
Yevtushenko remembered, on hearing the composer play and sing the complete symphony for him,
... I was stunned, and first and foremost by his choice of such apparently disparate poems. It had never occurred to me that they could be united like that. In my book [The Wave of a Hand] I didn't put them next to each other. But here the jolly, youthful, anti-bureaucratic "career" and the poem "Humor," full of jaunty lines, were linked with the melancholy and graphic poem about tired Russian women queueing in a shop. Then came "Fears Are Dying in Russia." Shostakovich interpreted it in his own way, giving it a depth and insight that the poem lacked before.... In connecting all these poems like that, Shostakovich completely changed me as a poet.
Yevtushenko added, about the composer's setting of Babi Yar that "if I were to able to write music I would have written it exactly the way Shostakovich did.... His music made the poem greater, more meaningful and powerful. In a word, it became a much better poem."
Growing controversy
By the time Shostakovich had completed the first movement on 27 March 1962, Yevtushenko was already being subjected to a campaign of criticism, as he was now considered a political liability. Khrushchev's agents engendered a campaign to discredit him, accusing the poet of placing the suffering of the Jewish people above that of the Russians. The intelligentsia called him a "boudoir poet" — in other words, a moralist. Shostakovich defended the poet in a letter dated 26 October 1965, to his pupil Boris Tishchenko:
As for what "moralising" poetry is, I didn't understand. Why, as you maintain, it isn't "among the best." Morality is the twin sister of conscience. And because Yevtoshenko writes about conscience, God grant him all the very best. Every morning, instead of morning prayers, I reread - well, recite from memory - two poems from Yevtushenko, "Boots" and "A Career." "Boots" is conscience. "A Career" is morality. One should not be deprived of conscience. To lose conscience is to lose everything.
For the Party, performing critical texts at a public concert with symphonic backing had a potentially much greater impact than simply reading the same texts at home privately. It should be no surprise, then, that Khrushchev criticized it before the premiere, and threatened to stop its performance, Shostakovich reportedly claimed in Testimony,
Khrushchev didn't give a damn about the music in this instance, he was angered by Yevtushenko's poetry. But some fighters on the musical front really perked up. There, you see, Shostakovich has proved himself untrustworthy once more. Let's get him! And a disgusting poison campaign began. They tried to scare off everyone from Yevtushenko and me.
By mid-August 1962, singer Boris Gmyrya had withdrawn from the premiere under pressure from the local Party Committee; writing the composer, he claimed that, in view of the dubious text, he declined to perform the work. Conductor Yevgeny Mravinsky soon followed suit, though he excused himself for other than political reasons. Shostakovich then asked Kyril Kondrashin to conduct the work. Two singers were engaged, Victor Nechipailo to sing the premiere, and Vitaly Gromadsky in case a substitute were needed. Nechipailo was forced to drop out at the last minute (to cover at the Bolshoi Theatre for a singer who had been ordered to "get sick" in a performance of Verdi's Don Carlo, according to Vishnevskaya's autobiography "Galina: A Russian Story", page 278). Kondrashin was also asked to withdraw but refused. He was then put under pressure to drop the first movement.
Premiere
Official interference continued throughout the day of the concert. Cameras originally slated to televise the piece were noisily dismantled. The entire choir threatened to walk out; a desperate speech by Yevtushenko was all that kept them from doing so. The premiere finally went ahead, the government box empty but the theatre otherwise packed. The symphony played to a tremendous ovation. Kondrashin remembered, "At the end of the first movement the audience started to applaud and shout hysterically. The atmosphere was tense enough as it was, and I waved at them to calm down. We started playing the second movement at once, so as not to put Shostakovich into an awkward position." Sculptor Ernst Neizvestny, who was present, said, "It was major! There was a sense of something incredible happening. The interesting part was that when the symphony ended, there was no applause at first, just an unusually long pause—so long that I even thought that it might be some sort of conspiracy. But then the audience burst into wild applause with shouts of 'Bravo!'"
Changed lines
Kondrashin gave two performances of the Thirteenth Symphony; a third was scheduled for 15 January 1963. However, at the beginning of 1963 Yevtushenko reportedly published a second, now politically correct version of Babi Yar twice the length of the original. The length of the new version can be explained not only by changes in content but also by a noticeable difference in writing style. It might be possible that Yevtushenko intentionally changed his style of narrative to make it clear that the modified version of the text is not something he initially intended. While Shostakovich biographer Laurel Fay maintains that such a volume has yet to surface, the fact remains that Yevtushenko wrote new lines for the eight most offensive ones questioned by the authorities. The rest of the poem is as strongly aimed at the Soviet political authorities as those lines that were changed so the reasons for these changes were more precise. Not wanting to set the new version to music, yet knowing the original version faced little chance of performance, the composer agreed to the performance of the new version yet did not add those lines to the manuscript of the symphony.
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Even with these changed lines, the symphony enjoyed relatively few performances — two with the revised text in Moscow in February 1963, one performance in Minsk (with the original text) shortly afterward, as well as Gorky, Leningrad and Novosibirsk. After these performances, the work was effectively banned in the Soviet bloc, the work's premiere in East Berlin occurring only because the local censor had forgotten to clear the performance with Moscow beforehand. Meanwhile, a copy of the score with the original text was smuggled to the West, where it was premiered and recorded by the Philadelphia Orchestra under Eugene Ormandy.
Second to the "Babi Yar" movement, "Fears" was the most viciously attacked of the movements by the bureaucrats. To keep the symphony in performance, seven lines of the poem were altered, replacing references to imprisonment without trial, to neglect of the poor and to the fear experienced by artists.
Choral symphony or symphonic cantata?
Scored for baritone, male chorus and orchestra, the symphony could be argued to be a symphonic cantata or orchestral song cycle rather than a choral symphony. The music, while having a life and logic of its own, remains closely welded to the texts. The chorus, used consistently in unison, often creates the impression of a choral recitation, while the solo baritone's passages create a similar impression of "speech-song." However, Shostakovich provides a solid symphonic framework for the work - a strongly dramatic opening movement, a scherzo, two slow movements and a finale; fully justifying it as a symphony.
Influence of Mussorgsky
was transferred to the Thirteenth Symphony."Khovanshchina Shostakovich is reported to have affirmed the older composer's influence, stating that "[w]orking with Mussorgsky clarifies something important for me in my own work.... Something from , with much tonal repetition and attention to natural declamation, can be said to have been taken directly from Mussorgsky.intervals and his method of writing for the voice in small Shostakovich wrote the greater part of his vocal music after his immersion in Mussorgsky's work, had an important bearing on the Thirteenth Symphony, as well as on Shostakovich's late work.Songs and Dances of Death and Khovanshchina, Boris Godunov's Modest MussorgskyShostakovich's orchestration of
Lyrics
肖斯塔科维奇《第十三交响曲（娘子谷）》歌词
【说明】俄罗斯作曲家肖斯塔科维奇（Dmitry Shostakovich 1906－75）的《第十三交响曲（娘子谷）（Symphony No.13（Bably Yar））》（Op.113），完成于1962年，演唱者为一位男低音歌手和男声（合唱队）。叶甫图申科（Y. A. Yevtushenko 1933－）的五首诗作于1956－62年。其中《娘子谷》激发了作曲家的创作灵感，《恐惧》则是作曲家特邀诗人为这部作品而写。译者参考了毛宇宽的译诗。此译文曾刊登于2005年第5期三联《爱乐》，并被收入邹仲之编译《欧洲声乐作品译文集（二）布兰诗歌——欧洲大型声乐作品名作选》（上海音乐学院出版社2011年出版）。
第一乐章 娘子谷
（合唱队）
在娘子谷没有纪念碑①，
悬崖峭壁犹如粗砺的墓碑。
我心生恐怖，
感觉自己
就像犹太民族一样古老。
（独唱）
我觉得现在自己是个犹太人。
在这里我跋涉于古埃及。
在这里我被钉死于十字架，
至今残留着钉子的痕迹。
我觉得我是德莱福斯②，
被市侩们告发、审判。
我被关入牢房，身陷罗网，
遭受迫害、蔑视和诽谤，
那些穿着褶边裙的贵妇人，
厉声喊着，用阳伞戳我的脸。
我觉得我是别洛斯托克的男孩③。
（合唱队）
鲜血淌满了地板。
那伙流氓在酒馆横行霸道，
浑身散发伏特加和大蒜的气味。
（独唱）
我被踢倒在地，无力反抗，
向打手们徒然哀求。
（合唱队）
他们哈哈狂笑：
“打死犹太佬！拯救俄罗斯！”
一个粮贩子殴打我的母亲。
（独唱）
啊，我的俄罗斯人民，我知道
你们本是国际主义者，
但那些双手污秽的人
盗用了你的美名。
我懂得我的善良的国土。
但反犹份子们卑鄙无耻，
竟然宣称自己是
（合唱队）
“俄罗斯人民同盟”④。
（独唱）
我觉得我是安娜·弗兰克⑤，
像四月的新芽一样柔弱，
我恋爱了，我们无需说话，
需要的是彼此目光的对视。
在黑暗的房间，
我们能看见、能嗅到的东西多么少！
树木和天空与我们隔绝，
但我们可以温柔拥抱！
（合唱队）
“有人来了！”
（独唱）
“不要害怕。
这是春天的声音，
春天来了，
来寻找我，
快吻我吧！”
（合唱队）
“他们在砸门！”
（独唱）
“不！是冰在化裂！”
（合唱队）
娘子谷野草鸣响瑟瑟，
树木像法官阴森逼人。
这里的一切无声啸叫，
我摘下帽子，
感觉头发寸寸变白。
（独唱）
我也成为一阵无声的长啸，
迴荡于万千荒冢之上，
我是每一个在这里被枪杀的老人，
我是每一个在这里被枪杀的儿童，
我的每一寸血肉永不会将此遗忘。
（合唱队）
当世上最后一个反犹份子
被最终埋葬，
让《国际歌》雷鸣唱响。
（独唱）
我的脉管中没有犹太血液，
但是我对反犹份子的深仇大恨，
无异于一个犹太人，
（合唱队）
因此我是一个真正的俄罗斯人！
第二乐章 幽默
（独唱）
沙皇们，国王们，皇帝们，
全世界的统治者们，
他们指挥过阅兵游行，
却不能指挥幽默。
他们在宫殿里，
饱食终日，高枕无忧，
流浪汉伊索来了⑥，
视他们为一群乞丐。
（合唱队）
流浪汉伊索来了，
视他们为一群乞丐。
（独唱）
在伪君子留下了
肮脏脚印的房间里，
纳斯列定毛拉用笑话横扫
一切浅薄，如吃光棋盘上的棋子⑦！
（合唱队）
纳斯列定毛拉用笑话横扫
一切浅薄，如吃光棋盘上的棋子！
（独唱）
他们企图收买幽默，
（合唱队）
可他刚巧不愿被收买！
（独唱）
他们谋划杀掉幽默，
（合唱队）
可幽默鄙夷地伸出一根手指。
（独唱）
跟他斗争，可是件天大的难事。
他们一次次给他施以死刑。
（合唱队）
他被砍下的头
挑在士兵的长矛尖上。
（独唱）
可是当小丑的笛子刚刚吹响，
他就尖叫：“我在这里！”
然后得意潇洒地跳舞。
他穿着破旧的短大衣，
低着头仿佛在忏悔，
他是当作政治犯被捕的，
他走向刑场。
他的外表那样顺从，
准备就此了结余生。
但突然间他的手
从大衣里挣脱出来，挥动着，
（合唱队）
说──再见！
（独唱）
他们把幽默关进地牢
──即使关进地狱他们也注定失败。
（合唱队）
他任意穿过
铁窗、石墙。
他是一支流行歌曲，
清一清伤风的嗓子，
像一名普通士兵
攥着来复枪
向冬宫挺进。
（独唱）
他惯于面对阴暗的脸孔，
不屑把他们放在心上，
幽默有时对自己
也投以滑稽的目光。
（独唱与合唱队）
幽默永世长存。
他巧妙机智，
历尽人世沧桑。
我们为幽默高呼：好哇！
他是条勇敢的汉子！
第三乐章 在商店里
（独唱）
妇女们悄悄来了，
戴着围巾，裹着披肩，
一个接一个走进商店，
像来工作，或奔赴什么崇高的事业。
（合唱队）
铁皮罐头嘭嘭响，
锅碗瓢盆叮叮当！
闻见了洋葱和酸黄瓜，
还有卡布尔牌调味酱。
（独唱）
排着大长队，冻得打哆嗦，
一寸一寸往前挪，只为去付钱，
妇女们呼出的温暖气息
弥漫了整个商店。
这些护卫家庭的天使，
静静等候，手里紧攥着
挣来的血汗钱。
这就是俄罗斯妇女，
我们的荣耀和良心。
她们搅拌水泥，
她们耕种、收割……
她们承受过一切，
她们将继续承受一切。
（合唱队）
她们承受过一切，
她们将继续承受一切。
（独唱）
世上的事情她们全能承担──
她们被赋予了伟大的力量！
（合唱队）
少给她们找钱实在可耻！
缺斤短两真是罪过！
（独唱）
我一边把布丁塞进我的袋子，
一边若无其事地盯着
那些拎着提包的
劳累而圣洁的手。
第四乐章 恐惧
（合唱队）
恐惧如同过往年代的幽灵
正在俄罗斯消亡；
只有在教堂门口
他们还像老太婆一样乞讨面包。
（独唱）
我记得
在谎言充斥的威风宫廷，
那时恐惧有权有势。
他们像影子到处游荡，
溜进了每一层楼房。
他们悄悄驯服了人民，
在每个人身上打下烙印。
在我们应当沉默时，
他们教我们呐喊，
在我们应当呐喊时，
他们要我们沉默。
在今天这仿佛已是遥远往事，
回想起来甚至觉得诧异。
对匿名告密，有神秘的恐惧，
对敲门的声音，有神秘的恐惧。
那么，害怕和外国人讲话？
岂止外国人？……甚至和自己的老婆！
在行军后被留下来，
孤独寂寞伴随无穷恐慌。
（合唱队）
我们不怕在暴风雪中劳动，
不怕在枪林弹雨中作战，
但是我们极其害怕
和我们自己交谈。
现在俄罗斯战胜了自己的恐惧，
我们没有被摧毁，没有堕落，
在我们的敌人心头
却产生了更大的恐惧。
（独唱）
如今我看到新的恐惧在出现：
害怕对祖国不忠诚，
害怕言不由衷，诋毁真理，
害怕自吹自擂，忘乎所以，
害怕人云亦云，鹦鹉学舌，
害怕疑神疑鬼，羞辱他人，
害怕刚愎自用，无以复加。
（合唱队）
恐惧正在俄罗斯消亡。
（独唱）
当我写作这些诗句，
常常不由得挥笔匆忙，
有一种恐惧萦绕心头，
害怕没有竭尽全力投入写作。
第五乐章 事业
（独唱）
教士们曾经一口咬定
伽利略危险又愚蠢。
（合唱队）
伽利略危险又愚蠢。
（独唱）
但是时间已经证明
愚蠢者更加聪明！
（合唱队）
愚蠢者更加聪明！
（独唱）
和伽利略同时代
还有一位科学家，
他不比伽利略愚蠢。
（合唱队）
他不比伽利略愚蠢。
（独唱）
他知道地球在旋转，
可是他有家眷妻室。
（合唱队）
可是他有家眷妻室。
（独唱）
当他干完了出卖的勾当，
偕妻子坐上四轮马车，
他算计着又向上爬了一步，
事实上他自毁了前程。
（合唱队）
事实上他自毁了前程。
（独唱）
于是伽利略单枪匹马，
做出了关于地球的发现，
他因此成为伟人。
（合唱队）
他因此成为伟人。
这就是我对事业追求者的理解。
伟大的事业万岁！
这是莎士比亚和巴斯德的事业⑧，
是牛顿和托尔斯泰的事业，
托尔斯泰……列夫？
列夫⑨！
为什么要恶意诽谤他们？
天才就是天才，无论你怎样诋毁。
（独唱）
诅咒者已被遗忘，
挨骂者名垂青史。
（合唱队）
挨骂者名垂青史。
（独唱）
那些在艰深科学中的奋斗者，
那些为研究霍乱而死去的医生，
他们是事业的追求者！
（合唱队）
我将以他们作为榜样！
（独唱）
我坚信他们神圣的信念，
他们的信念给了我勇气。
我将以不同于今日的崭新方式
追求我的事业！
注：
① 娘子谷，乌克兰首都基辅附近的一条山谷，1941年9月19日，纳粹德国军队在此集体屠杀了34000名犹太人；此后两年间，在这里被屠杀的犹太人、战俘等共达10万人。
② 德莱福斯，法国犹太裔军官，1894年被诬告犯有间谍罪，判终身监禁。虽后获赦免，但直至1930年才发现罪证系伪造，获得平反。
③ 别洛斯托克，波兰东北部城市，居住着许多犹太人，纳粹德国军队占领时杀害了城内大部分居民。
④ “俄罗斯人民同盟”，沙俄时代的反犹组织，经常杀害犹太人。
⑤ 安娜·弗兰克，在娘子谷被杀害的女青年。
⑥ 伊索，古希腊寓言作家。
⑦ 毛拉，为对伊斯兰教学者、教士的尊称。纳斯列定毛拉为阿富汗民间传奇中的幽默智慧人物，类似中国新疆民间传说中的阿凡提。
⑧ 巴斯德（1822－1895），法国微生物学家，发明了高温灭菌法。
⑨ 这里强调是列夫·托尔斯泰，《战争与和平》、《安娜·卡列尼娜》和《复活》的作者，以区别于前苏联时代的著名作家阿历克赛·托尔斯泰。
Opus/Catalogue Number：Op. 113
Duration: 0:55:00 ( Average )
Genre ：Symphony
