The Fourth Symphony is explored as a groundbreaking work that diverges significantly from Soviet norms in structure, tone, and language. Pauline Fairclough provides an in-depth analysis of the score, discussing tonal and thematic processes, as well as musical allusions and references. Her examination is anchored in the broader context of Soviet musical culture from 1932 to 1936, highlighting the symphony's unique position during a pivotal time in its development.
