Shostakovich- Symphony No. 5 in D Minor, op. 47 Part IV
We conclude our discussion of Shostakovich’s Fifth Symphony with the fourth movement.
- Moderato
- Allegretto
- Largo
- Allegro non troppo
IV. Allegro non troppo
The quiet conclusion of the third movement is shattered by a sharp and violent trill in the winds and a quickly growing crescendo from the brass and timpani. A dark march-like theme one in the brass ensues based on a four-note ascent accompanied with forte timpani. After the conclusion of the first phrase (0:24), a long descent leads to harsh, repeated brass and low string notes that soon serve as a backdrop to a string melody played quickly and as if in fear. Frenzied strings play atop the march theme in the low brass (0:40) as the strings push forward, building the tension with rising dotted rhythms.
A transition featuring a motive built off of four fast notes followed by two staccato, longer notes leads to a string ascent and a brief shift to major (1:01). At 1:19 the march melody returns in the winds with the phrase finished forcefully by the strings. Low brass play theme one over painfully uncomfortable harmonies in the horns (1:31) followed by a unison three-note ascent and a timpani figure. Tense strings crescendo gradually, joined by the low brass before the trumpets make an unsuccessful attempt to bring a triumphant feeling to the movement at 1:56. The low strings begin to play frantically, creating a tumultuous bass line over which chaotic wind lines rise and fall. A string-only theme one leads to a series of three-note ascents in the strings and winds before a series of rapidly rising and falling string figures serve as a backdrop to a strangely anticlimactic trumpet solo at 2:24. A long descent from the trumpet and brass increases the tension as the xylophone joins in the chorus of frantically playing instruments in the high voices. A deep, descending bass line adorned with trumpet fanfares brings the movement to a climax at 2:51.
Sweeping strings and rich brass chords momentarily create a sense of arrival as the trumpets continue to play fanfare figures in the cheerful and lyric theme two. The mood soon turns dark again, as another brass descent underneath ominous trumpet blasts result in pounding timpani and theme one motives from the trumpets and low brass (3:14). A funeral march rhythm over a descending bass line contrasts with a quiet string ascent which resolves to a lazy trill (3:46).
Much like the fourth movement of Brahms’ Symphony No. 1 in C Minor, against this quiet backdrop of otherwise pedestrian figures in the strings, a solo horn plays a calm, reflective theme two that seems to bring hope and light to the otherwise dour movement thus far (3:51). The strings follow with a lyric passage that does not entirely convince one that we’ve turned any sort of emotional corner. Flute ascents at 5:18 are echoed in part by the clarinet and then the bassoon. The strings begin to play a three-note “turn” motive followed by a leap (5:43), sequencing downwards before finally repeating the same three notes. In direct contrast to theme two’s peaceful statement just a minute and a half earlier, a chilling, almost leering three-note ascent from the low strings (5:59) is answered by the horns. The violins descend over a quiet horn chord until the cellos and bass begin to repeat a triadic figure (6:49). The violins play a quiet melody that rises and falls several times before they too begin to repeat the same figure over theme one motives in the low strings (7:33). Twinkling notes from the harp play over a slowly descending bass line.
At 8:04 quiet march figures in the timpani and snare drum drags warn of theme one’s return in the winds over low brass chords. A dramatic ascent from the winds leads to theme one motives in the brass underneath a wind countermelody. At 9:08 the strings take up where the winds left off, briefly playing the countermelody before arriving on a single note and repeating their rhythmic pattern with increasing urgency. The brass ascend with theme one motives (9:24) before a series of rising and falling string arpeggios amidst forte strokes on the bass drum. The brass play several powerful ascents (9:46), alternating between two notes on the tail end over repeating strings. The strings and trumpets climb higher, answered by the low brass before triumphant theme one motives in the brass are capped with crash cymbals and cadential timpani (10:23). The brass continue this huge show of grandeur and power, with huge tuttis and high notes that, I’m told, are absolutely exhausting in the third trumpet. The symphony literally ends with a bang, as the timpani and bass drum play more or less as loud as they can before the final brass chord.
Shostakovich’s Fifth Symphony is a perfect example of the compositional doublespeak he had to master in order to save his skin under the Soviet despotism. The first movement is simple and seems to convey its message with brute force. The second movement scherzo is comically unbalanced- the bullish low strings followed immediately by a timid wind choir. The third movement is a sad reflection with underlying anger and confusion. The fourth movement is an over-celebrated statement of triumph through clenched teeth. Shostakovich wrote in his memoirs,
“What exultation could there be? I think it’s clear to everyone what happens in the 5th. The rejoicing is forced… as if someone was beating you with a stick, saying “Our business is rejoicing, our business is rejoicing!” and you rise, shaky, and go marching off muttering “Our business is rejoicing, our business is rejoicing…”
The fifth remains one of Shostakovich’s most popular works and is symbolic of the brutal conditions under which he composed.
=*=
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.
This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider leaving a note in the comments or Stumbling it using the button below.
Technorati Tags: Music 365, orchestra, horn, theme, motive, clarinet, flute, violin, bassoon, timpani, trumpet, trombone, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, scale, listening guide, arpeggio, scale, Shostakovich, Soviet Union, sarcasm, Stalin, imbalance, tam-tam, triangle, xylophone, march, Lady Macbeth, Russia, bass, baritone, music
