Symphony No. 5 (Shostakovich)

The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a huge success, and received an ovation that lasted well over half an hour.^[1]

Form

The symphony is approximately 45 minutes in length and has four movements:

1. Moderato—Allegro non troppo

   The symphony opens with a strenuous string figure in canon, initially leaping and falling in minor sixths then narrowing to minor thirds. The sharply dotted rhythm of this figure remains to accompany a broadly lyric melody played by the first violins. Variants of this theme return throughout the 3rd and 4th movements. The second theme is built out of octaves and sevenths. Whereas the first theme is based on a sharp dotted rhythm, the second relies on a static long-short-short pattern. With that is found all the musical material for this movement—one that is tremendously varied, its climax harsh. The coda, with the gentle friction of minor in strings against chromatic scales in celesta, ends on a note of haunting ambiguity.^[2]

2. Allegretto

   The opening motif in this waltz-like scherzo is a variation of the first theme in the first movement; other variations can be detected throughout the movement. The music remains witty, satirical, raucous while also nervous.

3. Largo

   After the assertive trumpets of the first movement and the raucous horns of the second, this movement uses no brass at all. The strings are divided throughout the entire movement (3 groups of violins, violas in 2, cellos in 2; basses in 2). Shostakovich fills this movement with beautiful, long melodies—one of them again based on the first theme of the first movement—punctuating them with intermezzi of solo woodwinds. Harp and celesta play prominent roles here as well. The music is emotive and even elegiac in tone; it returns to the sober mood which the scherzo has interrupted.

4. Allegro non troppo

   This movement, in an abbreviated sonata form (with no 2nd theme at the recapitulation),^[3] picks up the march music from the climax of the opening movement, at least in manner if not in specific material. A tense conclusion leads to the quieter section of the piece. This section ends and the short snare drum and timpani solo introduces a brief militaristic introduction to the finale of the movement—an extended and obsessive reiteration of the D major tonality.^[4]

Instrumentation

The work is scored for two flutes and piccolo, two oboes, two clarinets and E-flat clarinet, two bassoons and contrabassoon, four horns, three Bb trumpets, three trombones, tuba, timpani, snare drum, triangle, cymbals, bass drum, tam-tam, glockenspiel, xylophone, two harps (one part), piano, celesta and strings.

Overview

Composition

The Symphony quotes Shostakovich's song Vozrozhdenije (Op. 46 No. 1, composed in 1936–37), most notably in the last movement, which uses a poem by Alexander Pushkin (find text and a translation here) that deals with the matter of rebirth. This song is by some considered to be a vital clue to the interpretation and understanding of the whole symphony.^[5] In addition, commentators have noted that Shostakovich incorporated a motif from the "Habanera" from Bizet's Carmen into the first movement, a reference to Shostakovich's earlier infatuation with a woman who refused his offer of marriage; she subsequently moved to Spain and married a man named Roman Carmen.^[6][7]

Reception

With the Fifth Symphony, Shostakovich gained an unprecedented triumph, with the music appealing equally—and remarkably—to both the public and official critics, though the overwhelming public response to the work initially aroused suspicions among certain officials. The then-head of the Leningrad Philharmonic, Mikhail Chulaki, recalls that certain authorities bristled at Mravinsky's gesture of lifting the score above his head to the cheering audience, and a subsequent performance was attended by two plainly hostile officials, V.N. Surin and Boris M. Yarustovsky, who tried to claim in the face of the vociferous ovation given the symphony that the audience was made up of "hand-picked" Shostakovich supporters.^[8] Yet the authorities in due course claimed that they found everything they had demanded of Shostakovich restored in the symphony. Meanwhile, the public heard it as an expression of the suffering to which it had been subjected by Stalin. The same work was essentially received two different ways.^[9]

Alexei Tolstoy's review set the official tone toward the Fifth Symphony.

Official

An article reportedly written by the composer appeared in the Moscow newspaper Vechernyaya Moskva a few days before the premiere of the Fifth Symphony. There, he reportedly states that the work "is a Soviet artist’s creative response to justified criticism." Whether Shostakovich or someone more closely connected with the Party actually wrote the article is open to question,^[10] but the phrase "justified criticism"—a reference to the denunciation of the composer in 1936—is especially telling.^[11] Official critics treated the work as a turnaround in its composer's career, a personal perestroyka or "restructuring" by the composer, with the Party engineering Shostakovich's rehabilitation as carefully as it had his fall a couple of years earlier.^[10] Like the Pravda attack at that time on the opera Lady Macbeth of the Mtsensk District, the political basis for extolling the Fifth Symphony was to show how the Party could make artists bow to its demands.^[10] It had to show that it could reward as easily and fully as it could punish.^[10]

The official tone toward the Fifth Symphony was further set by a review by Alexei Tolstoy, who likened the symphony to the literary model of the Soviet Bildungsroman describing "the formation of a personality"—in other words, of a Soviet personality.^[9] In the first movement, the composer-hero suffers a psychological crisis giving rise to a burst of energy. The second movement provides respite. In the third movement, the personality begins to form: "Here the personality submerges itself in the great epoch that surrounds it, and begins to resonate with the epoch."^[12] With the finale, Tolstoy wrote, came victory, "an enormous optimistic lift."^[12] As for the ecstatic reaction of the audience to the work, Tolstoy claimed it showed Shostakovich's perestroyka to be sincere. "Our audience is organically incapable of accepting decadent, gloomy, pessimistic art. Our audience responds enthusiastically to all that is bright, clear, joyous, optimistic, life-affirming."^[12]

Not everyone agreed with Tolstoy, even after another article reportedly by the composer echoed Tolstoy's views. Asafiev, for one, wrote, "This unsettled, sensitive, evocative music which inspires such gigantic conflict comes across as a true account of the problems facing modern man—not one individual or several, but mankind."^[13] The composer himself seemed to second this view long after the fact, in a conversation with author Chinghiz Aitmatov in the late 1960s. "There are far more openings for new Shakespeares in today's world," he said, "for never before in its development has mankind achieved such unanimity of spirit: so when another such artist appears, he will be able to express the whole world in himself, like a musician."^[13]

Public

During the first performance of the symphony, people were reported to have wept during the Largo movement.^[14] The music, steeped in an atmosphere of mourning, contained echoes of the panikhida, the Russian Orthodox requiem. It also recalled a genre of Russian symphonic works written in memory of the dead, including pieces by Glazunov, Steinberg, Rimsky-Korsakov and Stravinsky. Typical of these works is the use of the tremolo in the strings as a reference to the hallowed ambience of the requiem.^[15]

Symphony as artistic salvation

After the symphony had been performed in Moscow, Heinrich Neuhaus called the work "deep, meaningful, gripping music, classical in the integrity of its conception, perfect in form and the mastery of orchestral writing—music striking for its novelty and originality, but at the same time somehow hauntingly familiar, so truly and sincerely does it recount human feelings."^[16]

Shostakovich returned to the traditional four-movement form and a normal-sized orchestra. More tellingly, he organized each movement along clear lines, having concluded that a symphony cannot be a viable work without firm architecture. The harmonic idiom in the Fifth is less astringent, more tonal than previously, and the thematic material is more accessible. Nevertheless, every bar bears its composer's personal imprint. It has been said that, in the Fifth Symphony, the best qualities of Shostakovich's music, such as meditation, humor and grandeur, blend in perfect balance and self-fulfillment.^[17]

Post-Testimony response

The final movement, often being criticized for sounding shrill, is declared in Testimony to be a parody of shrillness, representing "forced rejoicing." In the words attributed to the composer in Testimony (a work, although attributed to Shostakovich himself, is shown to have serious flaws in its credibility^[18][19]) :

This is symbolized by the repeated "A"'s at the end of the final movement in the string and upper woodwind sections.^[21] It includes a quotation from the composer's song "Rebirth," accompanying the words "A barbarian painter" who "blackens the genius's painting."^[22] In the song, the barbarian's paint falls away and the original painting is reborn. It has been suggested that the barbarian and the genius are Stalin and Shostakovich respectively. The work is largely sombre despite the composer's official claim that he wished to write a positive work.

While most performances and recordings of the symphony have ended with a gradual acceleration of the coda, especially Leonard Bernstein's October 1959 Columbia Records recording with the New York Philharmonic Orchestra (following a performance in Moscow in the presence of the composer), more recent renditions have reflected a different interpretation (though not clearly provable) of Shostakovich's intention. Vasily Petrenko's 2008 recording, with his Royal Liverpool Philharmonic Orchestra on Naxos, exemplifies this "forced rejoicing" interpretation extremely clearly. Shostakovich's friend and colleague Mstislav Rostropovich conducted the closing minutes in a much slower, subdued manner, never accelerating; he did this in a performance in Russia with the National Symphony Orchestra and in their commercial Teldec recording. He told CBS that Shostakovich had written a "hidden message" in the symphony, which is allegedly supported by the composer's words in Testimony.

Nowadays, it is one of his most popular symphonies.^[3]

Notable recordings

Notable recordings of this symphony include:

⁽¹⁾ = recorded live at Bunka Kaikan, Tokyo, Japan
⁽²⁾ = recorded in Moscow during start of 1991 Soviet coup d'etat attempt
⁽³⁾ = recorded live in Tokyo
⁽⁴⁾ = recorded live in Birmingham
⁽⁵⁾ = recorded live at the BBC Proms, Royal Albert Hall, London
⁽⁶⁾ = recorded live at Symphony Hall, Boston 11/2015; Winner of 2017 Grammy for Orchestral Performance
Source: arkivmusic.com (recommended recordings selected based on critics reviews)

References

Sources

• Blokker, Roy, with Robert Dearling, The Music of Dmitri Shostakovich: The Symphonies (Cranbury, New Jersey: Associated University Presses, Inc., 1979). ISBN 0-8386-1948-7.
• MacDonald, Ian, The New Shostakovich (Boston: Northeastern University Press, 1990). ISBN 1-55553-089-3.
• Maes, Francis, tr. Arnold J. Pomerans and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002). ISBN 0-520-21815-9.
• Rothstein, Edward, "A Labour of Love," Independent Magazine, November 12, 1968, 49-52.
• Schwarz, Boris, Music and Musical Life in Soviet Russia: Enlarged Edition, 1917-1981 (Bloomington: Indiana University Press, 1983). ISBN 0-253-33956-1.
• Schwarz, Boris, ed. Stanley Sadie, The New Grove Dictionary of Music and Musicians (London: MacMillan, 1980), 20 vols. ISBN 0-333-23111-2.
• Sollertinsky, Dmitri & Ludmilla, tr. Graham Hobbs & Charles Midgley, Pages from the Life of Dmitri Shostakovich (New York and London: Harcourt Brace Jovanovich, 1980). ISBN 0-15-170730-8.
• Steinberg, Michael, The Symphony: A Listener's Guide (Oxford and New York: Oxford University Press, 1995). ISBN 0-19-512665-3.
• Volkov, Solomon, tr. Antonina W. Bouis, Testimony: The Memoirs of Dmitri Shostakovich (New York: Harper & Row, 1979). ISBN 0-06-014476-9.
• Volkov, Solomon, Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and the Brutal Dictator (London: Little, Brown, 2004). ISBN 0-316-86141-3.
• Wilson, Elizabeth, Shostakovich: A Life Remembered (Princeton University Press, 1994). ISBN 0-691-04465-1.
• Wilson, Elizabeth, Shostakovich: A Life Remembered (London: Faber & Faber, 2006). ISBN 0-571-22050-9.

External links

• Sample recordings of the first and second movements by the New York Philharmonic, Leonard Bernstein conducting.
• Keeping Score: Shostakovich Symphony No. 5 Multimedia website produced by the San Francisco Symphony
• PBS Video: (Full Episode) Publicly condemned Shostakovich's 5th Symphony saved his life. Was there a hidden meaning