>>184さん　私はこれくらいしか知りませんがお役に立てば幸いです。

ここには戦後のソビエト政権がいかにいいかげんに音楽を変えてしまったかが書かれています。（"harm"という言葉を使っていますね）
ショスタコビッチと党とのリンクを示すためのプロパガンダとしてつかわれた模様。
Eisenstein collaborated with German composer Edmund Meisel on a score for the Berlin premiere in 1926 but this was rhythmic,
in keeping with Eisenstein's editing. After his death in 1948, the Soviets commissioned a score by N. Kriukov, who felt free
to re-edit Eisenstein's montages. In 1975-76, more harm was done. Dimitri Shostakovich had supplied a lot of film music to keep
himself in roubles and out of political strife but he had written none for Eisenstein, who used Sergei Prokofiev. Officialdom
plundered four of Shostakovich's symphonies to serve up the bureaucratic bombast he had ridiculed. This appropriation was part
of Soviet propaganda to link Shostakovich to the party.
http://bulletin.ninemsn.com.au/bulletin/eddesk.nsf/6df5c28ed2c6c605ca256a1500059f03/9639DBE0047D88F9CA256B030021B278?OpenDocument

以下は決して一流の音楽家とはいえないマイゼルの音楽がなぜ心を打つかの分析があります。後者には『禁止されたことのある史上唯一の映画音楽』
の記述がありますが、事情はわかりませんね。
What makes Meisel's music special is not the means which he used but the way in which these means have created a solid dramatic
structure that not only moves parallely, but actually doubles the emotional impact of the visual part. Meisel strikes at the heart
of the action with every note.
http://users.otenet.gr/~nexus7/filmmusien.htm

Although Meisel's score for Eisenstein's Potemkin (1925) was not of musical interest in its own right, it is not surprising that it achieved
the strange distinction of being the only film score which was ever banned.
http://www.americansymphony.org/dialogues_extensions/93_94season/2nd_concert/theater.cfm