And the fact that Shostakovich held firm to his symphonic aims shows a high degree of personal courage at a time when artistic aberrations where only too easily translated into political crimes.

Only then can a relevant picture of Shostakovich emerge: a man often subjected to immence pressure, yet, in spite of this, an artist able to maintain a consistent viewpoint in his music.

Behind the composer's complete statement on the work there lies not only the anxiety to cover any anticipated official criticism, but also the attempt to defend the presence of tragedy in the symphonic writing. And if the last movement consists lagerly of the routine optimism demanded by the Stalin edicts, it is nevertheless framed within a clear symphonic shape.

Thus, the first poem, Lorca's 'De Profundis', serves as the basis for one of the composer's usual slow symphonic introductions.

In the short second movement, the poem, again by Lorca, talks of death haunting the tavern, mingling with the sound of the guitar, and the smell of salt and warm blood.