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Tone
The main issue with this article is its tone. The wiki community added a note in 2014 asking for editors to improve the article by making its tone neutral. There are many places where the article reads like a review, especially the section entitled "Requiem for a Generation?"

Content
In the section "Structure," the speculation is not cited and is somewhat incomplete. There is information on the symphony's allusion to the Hungarian Revolution of 1956, discussed by many music experts, that is not mentioned at all in the article.

Format
It would make more sense to have instrumentation come first, then structure, then overview.

http://www.kennedy-center.org/artist/composition/2875

Structure
1. Adagio (The Palace Square)

The first movement reflects the discomforting quietness of Palace Square on the morning of Bloody Sunday. The Adagio incorporates two Russian folk songs, Slushai ("Hearken"), and Arrestant ("The Prisoner"), played by flute and bass respectively, that are associated with famed political figures. Throughout the movement Shostakovich calls for timpani and trumpet motifs that allude to events to come.

2. Allegro (The 9th of January)

The second movement depicts the events of Bloody Sunday at the Winter Palace on 22 January 1905 [O.S. 9 January]. Shostakovich bases the movement off of two themes from his Ten Choral Poems on Revolutionary Texts, entitled Goy ty, tsar nash, batyushka ("O though, our Tsar, our father"), and Obnazhite golovy ("Bare your heads"). The first section depicts the petitioners at the protest, in which crowds descended on the Winter Palace to complain about the government's increased inefficiency, corruption, and harsh ways. This first section is busy and constantly moves forward. It builds to two steep climaxes, then recedes into a deep, frozen calm in the prolonged piccolo and flute melodies, underscored again with distant brass. Another full orchestra build-up launches into a pounding march, in a burst from the snare drum like gunfire and fugal strings, as the troops descend on the crowd. This breaks out into a section of relentless strings, and trombone and tuba glissandos procure a nauseating sound underneath the troops' advance on the crowd. Then comes a section of mechanical, heavily repetitive snare drum, bass drum, timpani, and tam-tam solo before the entire percussion sections breaks off at once. Numbness sets in with a section reminiscent of the first movement.

3. Adagio (Eternal Memory)

The third movement is a lament on the violence, based on the revolutionary funeral march Vy zhertvoyu pali ("You fell as victims"). Toward the end, there is one more outbreak, where material from the second movement is represented.

4. Allegro non troppo (Tocsin)

The finale serves as a warning and a stance of defiance. Shostakovich uses celesta as a tocsin (in Russian nabat, also the name of a revolutionary magazine) to anticipate the events of 1917. Three pieces are quoted: Besnuytes, tyranny ("Rage, tyrants"), Varshavyanka ("Whirlwind of danger"), and Ogonki ("Sparks").

Requiem for a generation
According to the composer's son-in-law Yevgeny Chukovsky, the original title sheet for this symphony read not "1905" but "1906", the year of the composer's birth. This causes critics to view the Eleventh Symphony as a requiem not only for the composer himself but for his generation. Still, because the work was composed for the Revolution, its purpose is not lost. The 1905 Revolution was not politicised by the Party, so the piece maintained its romantic aura in the eyes of later generations. Because of this romantic aura, The Eleventh Symphony is among a group of diverse works that embody a spirit of struggle for a just cause, such as Sergei Eisenstein's film 'Battleship Potemkin' and Boris Pasternak's narrative poems "1905" and "Lieutenant Schmidt."

The title, The Year 1905, recalls the start of the first Russian Revolution of 1905, which was partially fired by the events on 9 January (9 January by the Julian calendar still in use in Russia at the time, modern date of 22 January 1905) of that year. Some Western critics characterized the symphony as overblown "film music"—in other words, as an agitprop broadsheet lacking both substance and depth. Many now consider the work to carry a much more reflective attitude, one that looks at Russian history as a whole from the standpoint of 1957, four years after the death of Stalin.

Hungarian Revolution
The similarities between the Russian Revolution of 1905 and the Hungarian Revolution of 1956 have led critics to believe that Shostakovich wrote the symphony in part as a response to the events of the Hungarian Revolution in Budapest. In both cases a peaceful uprising was put down with great force by the Russian government. Shostakovich himself speaks to the recurrence of events in Russian history in his testimony, stating that the Eleventh Symphony "deals with contemporary themes even though it's called '1905.'" His widow Irina has also said that he had the Hungarian Revolution "in mind" during composition. The symphony, which was finished in 1957, relayed themes of an oppressive government and its brutal policies towards revolts. The timing (being just one year after the Hungarian Revolution) strongly suggests that Shostakovich was speaking not only about events in his own country, but those events that his government was involved with. While the symphony incorporated enough revolutionary songs that it lay under the radar of the government, the underlying themes would have resonated fully with people at the time.