Shostakovich- Symphony No. 5 in D Minor, op. 47 Part I
Subtitled, “An artist’s response to Just Criticism,” the Fifth was composed as Shostakovich’s ticket back into the Party’s favor after his controversial opera Lady Macbeth received a terrible review in a state journal. Despite yielding to his critics on only the most superficial of levels with clarity of form and a clear symphonic storyline tracing a path from adversity to triumph, it is hard to listen to the Fifth and walk away without an uncomfortable nagging in the back of one’s mind. Something is clearly not right here, and Shostakovich deftly creates a sense of false victory for his detractors while at the same time giving a wink and a nudge to those that are able to look past what they want to see.
The 5th Symphony was premiered on November 21, 1937 in Leningrad under Y. Mravinsky. It catapulted Shostakovich back into party favor, while at the same time it made Shostakovich an instant success with the public who were able to identify the cynical and sarcastic undertones in the symphony.
- Moderato
- Allegretto
- Largo
- Allegro non troppo
I. Moderato
The symphony opens with a huge open sixth from the low strings in a dotted rhythm that recurs throughout the movement. The figure is repeated by the upper strings before they descend and the low strings begin to repeat the opening rhythmic motive, this time in intervals of minor thirds. The violins enter and play a lonely, hesitant theme one (0:28) that seems quite unsure of itself against the steady backdrop of the low strings. Minor thirds in the winds (1:05) precede a series of descents in the strings which become much more lyric as the violins reach high into their range (2:22). The oboe and bassoon (2:40) begin a short duet which is interrupted by the return of the opening motive in the strings. A horn descent at 3:05 is followed by bassoon and oboe ascents which again lead to a return of the opening motive (3:25) crowned with heralding trumpets and supported by the low brass. The strings repeat the opening motive again, and the first major thematic section of the movement ends with a brass chorale (3:57).
Theme two follows with a heavy, plodding figure in the low strings while the violins play the melody. The repetitive bass line gives this theme more motion than the first, but the overall mood is no less suspenseful. At 4:48 we get a glimpse of major as the underlying harmony shifts briefly, but this moment is fleeting as ominous figures in the strings (5:01) remind us of a fear that has yet to be revealed. A rich and sonorous wind chord at 5:26 serves as a backdrop to two hopeful sounding flute solos. A string ascent climbs and results in a tremolo and brass chord, which leads to a pensive clarinet solo (6:16). The clarinet signals the return of theme two at 6:37 as the heavy footsteps return and the violins begin to repeat theme two.
After a series of rising and falling 3-note motives in the strings, at 7:13 these motives turn march-like as the piano begins to play these in the low register. Powerful and dark low brass erase any doubt about the marshal nature of this section. Trumpets enter the fray at 7:36. The three-note motives are transferred to pizzicato notes in the strings as the winds enter (7:51) and ascend. A series of rising and falling lines in the winds and strings (8:10) create confusion as to where the music is going. A four-note motive first heard in the low strings at 8:23 is repeated by the clarinets, violins, and finally low brass as the music continues to build.
At 9:15 this huge crescendo reveals a theme one-based march complete with snare drum and timpani. Pointed brass notes with obvious swagger dominate the melody. The march is followed by an ascent in the brass (9:49) which soon comes crashing downwards, resolving into a series of frenzied opening motives in the strings and winds (10:11). The brass try to control the chaos with authoritative two-note descents (10:21), and the movement builds to another climax at 10:55. Three-note motives are sequenced downwards and a powerful melodic statement is played in unison, interrupted by huge timpani and brass chords. At 11:49 the tam-tam blasts the door open on a dirge-like section with pounding timpani and heavy brass.
As the music quiets until only the trumpets remain playing their funeral figure, a ray of sun breaks through the clouds in the harp at 12:21. The relentless, plodding rhythmic motive of theme two has returned in the strings, except this time there is an obvious shift of mood brought about by the change of key to major. The flute and horn share a beautiful, airy duet. The clarinet joins the flute after the horn exits, but by the time it has finished we’ve shifted back to minor. Three-note motives in the clarinet and oboe (13:29) remind us of the earlier trials of the movement. The horns and trombones re-enter with a chorale-like figure at 14:04 which reveals a rising and falling line in the low strings.
Quietly, the intervals from the beginning of the movement are heard in the strings and winds (14:35). The flute ascends slowly, low in its range- imparting a mysterious and eerie quality to the coda. A trumpet and timpani fanfare sounds quietly at 15:05. The flute ascends again, disenchanted, and is echoed by a solo violin. The opening motive can be heard in the low strings underneath the weak-sounding violin (15:34) and pulsing strings. Trumpet and timpani fanfares are followed by quiet ascending scales in the glockenspiel as the movement comes to its quiet conclusion.
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If you are interested in listening to a recording, I recommend Valery Gergiev’s 2004 release with the Kirov Orchestra on Philips. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.
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