dmitri shostakovich symphony no. 5 (more information)

7/30/2019 DMITRI SHOSTAKOVICH Symphony No. 5 (More Information)

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DMITRI SHOSTAKOVICH - SYMPHONY NO. 5 IN D MINOR OPUS 4 7

Genesis

Leningrad as seen by photographer Alexey Titarenko

Shostakovichs Fifth Symphony would, at first glance, seem, on purely musicalgrounds, to be a most unlikely work to have become possibly the most debated

and discussed piece of classical music written in the 20th c.. Nonetheless, in thethree quarters of a century since it was composed, it has never failed to divide

opinion or inspire debate. It remains one of the few pieces of music that can still

incite angry exchanges among performers or musicologists who have come tosharply divided conclusions about its importance, its originality and whether itends in triumph or forced rejoicing, or, to put it simply, whether it has a happy

or sad ending.

The piece was conceived under the most intense spotlight imaginable. JosefStalins public denunciation of Shostakovichs opera Lady Macbeth of Mtsensk in

the essay Muddle instead of Music published in Pravda on the 28th of

January,1936 had effectively turned Shostakovich into a strange combination of anon-person and musical public enemy number one. Shostakovichs

denunciation could not have come at a worse time-

it was the very peak of theStalinist Terror, and Shostakovich knew as soon as he saw the editorial that the
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lives of both he and his family were in grave danger. Artistically, this blow came at

a terrible moment. A former wunderkind who had become instantly world-

famous when he published his First Symphony at the age of 19, by 1936, when

Muddle was published, Shostakovich was a composer at the peak of his powersand early maturity, possessed of a breadth of experience to match his talent, and

with his confidence in full flower. Lady Macbeth is a work of staggeringinspiration and consummate skill, and he had already completed most of his next

major work, his Fourth Symphony.

Shostakovich before the publication of Muddle instead of Music by Joseph

Stalin

A starkly tragic masterpiece, Shostakovichs Fourth Symphony was one of his

most ambitious and innovative works. It shows him breaking radical new ground

as a post-Mahlerian symphonist, and so it is no surprise that friends and

colleagues implored Shostakovich to withdraw the work before its scheduled

premiere. Its dark message and comparatively modern language would have, in

all likelihood, sealed Shostakovichs fate with the authorities. Canceling its

premiere was one of the most painful decisions of Shostakovichs professionallife.
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Shostakovich after the publication of Muddle instead of Music by Joseph Stalin

Shortly after the Pravda article was published, Shostakovich was summoned to a

meeting with Stalins emissary, Platon Kerzhentsev. Shostakovich was askedwhether he fully accepted the criticism of his work in the Pravda articles.

Shostakovichs answer, according to Kerzhentsev was that he accepts most of it,but he has not fully comprehended it all. Shostakovichs answer had been

carefully calculated, but was a huge risk-

had he fully accepted all the criticisms,his future music would have been judged strictly by the terms of Stalins previous

criticisms. By feigning ignorance, he was giving himself vital space to create and

experiment, but had Stalin sensed his reticence to comply fully, the price wouldsurely have meant death for Shostakovich and his family.

Under the circumstances, Shostakovich could have been forgiven for avoiding the

most public of instrumental genres, the symphony, until the climate hadimproved. In fact, he would later do exactly that- in the late 1940s when the

premiere of his Ninth Symphony led to another public shaming by the

authorities, he chose to wait until after the death of Joseph Stalin four years laterto complete his Tenth Symphony, even though parts of it were sketched many

years earlier.
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Reception

However, in spite of the danger of further provoking the Party, Shostakovichquickly began work on the Fifth, completing the score in July 1937. The works

premiere by the St Petersburg (then the Leningrad) Philharmonic under itsmusic director, Yevgeny Mravinsky, was an occasion of incredible expectation andalmost unimaginable anxiety. The impact of the work on its first audience is hard

to overstate- many listeners wept openly during the elegiac slow movement. At

the end of the performance, the audience burst into an ovation so passionate andstormy that it nearly eclipsed the 45 minute symphony in duration.

Shostakovichs public statements were a vital tool in his life-long cat and mousegame with the authorities. As a result, one should always read anything he wrote

or said about his music with great scepticism- his audience was the Party, not

posterity. Shortly after the premiere, Shostakovich published a short, highlyopaque essay called My Creative Response, from which comes the Fifthsepigraph A Soviet artists practical, creative reply to just criticism. This title and

the works traditional formal structure and direct musical language served to

placate Stalin and the Party. Shostakovich was partially rehabilitated and thepiece went on to become one of the most frequently played works in the

twentieth century. Shostakovichs contrite essay, and the official verdict of party-

approved critics, especially Alexei Tolstoy, helped set in place an official

programme for the work as an optimistic tragedy that would allow it to beexploited by the state, as well as performed, but this official reading, which was

never accepted by a majority of Russian musicians or listeners, came to beuncritically accepted by many Western commentators, leading to decades of

confusion, misunderstanding, and even misrepresentation.

Early critical reaction unanimously recognized the deeply tragic mood of the firstthree movements. One writers noted that the emotional tension is at the limit:another stepand everything will burst into a physiological howl. Another said,

The passion of suffering in several places is brought to a naturalistic screamingand howling. In some episodes, the music can elicit an almost physical sense of

pain.Given the later-day controversy about the meaning of the SymphonysFinale, it is worth noting that the writer Alexander Fadeyev wrote after the

premiere that The end does not sound like an exit (and certainly not like a

triumph or victory) but like a punishment or a revenge on someone. Another

listener compared the work with Tchaikovskys Pathetique, the most tragic of allRussian symphonies.


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First movement- Moderato

It seems there is a tradition in the best fifth symphonies from Beethoven toMahler to begin with a shocking, dramatic gesture. The almost physical impact of

the beginning of Shostakovichs Fifth slightly belies how restrained he is in usingthe orchestra in the Symphonys opening paragraphs. As in his Eighth and Tenthsymphonies,he begins using only the strings, gradually introducing the

bassoons, flutes,oboes and clarinets, and finally,the brass and percussion.

In the late 1970s, the publication of Solomon Volkovs Testimony- The Memoirsof Dmitri Shostakovich brought on heated debate in the West over the official

programme of the Fifth. A mirror-image programme, no doubt closer to the truthbut still far too one-dimensional, was suggested: that the work was a protest

against the Stalinist Terror. In the ensuing decades of often maddeningly

reductionist debate, it has been easy to overlook evidence that the work hasseveral programmes. The first of these is suggested by the first movementssecond theme.Soaring and tender in its first incarnation in the violins, and more

pained when repeated by the violas, playing in an intentionally cruel register, it is

a variation of the works opening theme, but also a quote from the Habanera(Lamour, lamour) of Bizets Carmen.

Why Carmen? In 1934-5 Shostakovich had fallen in love with ElenaKonstantinovskya. She had ultimately rejected him, and married a man named

Roman Carmen. As with his symphonic idol, Mahler, Shostakovich understood

that a symphony could carry a variety of messages and express a range ofprogrammes, from the most public to the most private. This first movement of

the Fifth marks an important turning point in his development, wherein he

defines and perfects his own, very personal reworking of traditional Sonata form.

By reversing the order of themes in the recapitulation, he creates a vast archform, building in intensity to a climax of apocalyptic intensity, finallydisintegrating into tragic resignation. The restraint with which the movement

begins and ends is matched by the near hysterical abandon of the movementsclimax. Shostakovich uses tempo to intensify this arch shape, beginning the

symphony very slowly, gradually speeding up through the development and thenwinding down to end at very nearly the same speed as the opening. This design

was based to a large extent on the first movement of Tchaikovskys Pathetique

Symphony, and Shostakovich would use it again in the 7th, 8th and 10th

symphonies.
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Second Movement- Allegretto

The second movement, a rather gruff Landlershows Shostakovich at his mostMahlerian- mixing charm and venom, elegance and irony in equal measure. The

Trio begins as a study in obsequious elegance withsolo violin playingflirtatiously over delicate harp and pizzicato accompaniment, but the musicrepeatedly loses its cool, descending into noisy violence. Thesinister return of

the Landleris surely a nod tothe Scherzo of Beethovens Fifth, with its skeletal

instrumentation of staccato bassoons and pizzicato strings. One last flirtatiousnod to the violin solo, this time on solo oboe, disingenuously promises a gentle

resolution of the movements tensions, before a final angry outburst brings themovement to an abrupt close in A minor.

Third Movement- Largo

The extraordinary Largo, written in just three days, is one of Shostakovichs most

moving creations. As in the opening of the first movement, Shostakovich uses theorchestra with tremendous restraint. Again,he opens with a long paragraph for

strings, only gradually and sparingly introducing woodwinds and percussion. The

brass remain silent throughout. In the second paragraph solooboe,clarinetandfluteeach state a theme pregnant with loneliness over nearly static string

tremolo accompaniment. Then, Shostakovich begins the inexorable build up tothe anguished emotional climax of the entire symphony, as passage the great

American musicologist Michael Steinberg calls the most Tchaikovskian page in

all Shostakovich.

Finale- Allegro non troppo

A dispassionate glance at the score of the Finale, a movement described by

Volkov as perhaps the most disturbing and ambivalent music of the 20th c.immediately reveals an important structural tie to the first movement. Once

again, Shostakovichs metronome markings express a carefully calculated archform, beginning at crotchet= 88, then speeding up through 104, 108, 120, 126,

132 to 184, then winding down from 160 to 108, 116 and finally 92, exactly (as inthe first movement) one notch above the opening tempo on the metronome, but

for one important quirk. Where as in the first movement Shostakovich marks theopening tempo as quaver=76 (the equivalent of crotchet=38) and the end as

crotchet=42 (or the equivalent of quaver=84). In the finale, this is reversed, andinstead of ending with a marking of crotchet= 92, the final tempo is quaver=188,a marking that on first glance seems eccentric enough to merit suspicion. In spite

of this clear structural tempo relationship, Michael Steinberg points out that

Most of the big-name conductors seem to proceed entirely at random.

The Finale shatters the rapt stillness of the Largo with a violent and brutishmarch, the theme of which integrates material from no less than three sources.
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The first is, again, Carmen, using the music from the Habanera setting the words

Prends garde a tois!or Beware! Beware! Secondly, material from the themewas used again in Shostakovichs later setting of Robert Burns poem

MacPhersons Farewell, to the words Sae rantingly, sae wantonly, saedauntingly gaed he as the hero is led to the gallers-tree. Finally, as Gerald

McBurney observed, the first four notes (A D E F) are the same as the first fournotes of Shostakovichs 1936 setting of the Pushkin poem Rebirth,where in the

poet describes A Barbarian artist with sleepy brush, who Blackens over a

picture of genius. The parallels with Stalins obliteration of ShostakovichsFourth Symphony and Lady Macbeth are obvious.

In the course of the ensuing build up, there are more quotations to be found,

notably from the fourth movement of Berliozs Symphonie Fantastique andStrausss Till Eulenspiegel, both of which, like Shostakovichs Burns setting,

contain vivid musical descriptions of public executions.In the quiet middle

section, Shostakovich returns tohis setting of Pushkins Rebirth quoting hisown music from the final stanzas:

But with the year, the alien paints

Flake off like old scales;

The creation of genius appears before us

In its former beauty.

Thus do delusions fall away

From my worn-out soul

And there spring up within it

Visions of original, pure days.

Confusion over the metaphysical and political meaning of the Fifth has been

greatly increased by the purely musical confusion over the final tempo, largelypropagated by Leonard Bernsteins iconic 1959 recording and his performance

with the New York Philharmonic in Shostakovichs presence that year, in whichhe famously more than doubled the speed from what Shostakovich had written.

Although Shostakovich later repeatedly confirmed his intention that it be played

at quaver=188, confusion continues to this day among conductors and critics

more inclined to learn a piece through recordings than through the score. (In hisdefence, Bernstein, throughout his career, was generally more scrupulous in his

observance of many of the other metronome markings in the symphony than

Mravinsky, who tends to speed through the symphonys slow music).

But what are we to make of that idiosyncratic metronome marking? By giving the

tempo in quavers, Shostakovich is implying that each quaver has its own impulse,

its own emphasis, and, in fact the entire coda has an absolutely unremittingstring of continuous quavers,all on the pitch A, 252 in all. The brass, in note
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values double their original length, bring back the openingBarbarian or

Carmen theme, now in triumphant D major-Prends garde!Beware! it seems tobellow over and over. Through it all, the strings, woodwinds and piano continue

to repeat those As over and over. When asked what all those As where meant tosignify, he said La! La! La! La! La is the Russian nickname for Elena, the woman

who had broken, his heart by marrying Mr Carmen; Shostakovichs archivistManashir Yakubov calls it a cry of despair and farewell. Yet, asked by another

friend, Shostakovich replied Ya! Ya! Ya! or Me! Me! Me! This tension between

the barbarian and the genius, and between me and her continues to the finalnote of the piece. Ambivalent, angry, triumphant, tortured, heartbroken, defiant,world-embracing and self-regarding, the final page of this greatest of 20th c.

symphonies is so powerful for much the same reason it has always been socontroversial. When one is able to recognize the depth and intensity of its

countless tensions and contradictions, what listener could ever settle forsomething as simplistic and straightforward as a happy, or sad, ending again?

Copyrighted material is partially reproduced here without profit for educationalpurposes only, under relevant Fair Use provisions of international copyright lawand will be removed on request
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dmitri shostakovich symphony no. 5 (more information)

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