Shostakovich- Symphony No. 9 in E-flat Major, op. 70 Part I
Soviet authorities asked Shostakovich to compose a tremendous 9th symphony- the symbolism of which was not lost on Stalin and his cronies. Nazi Germany had just been crushed between the Red and Allied armies, and the new symphony was supposed to be a triumphant monument to Soviet power and achievement.
Shostakovich indeed started to write a grand symphony for the occasion, but by the time he had finished late in 1945 it had changed into something much different. It did not require a chorus or soloists as it was expected to. Its melodies are not broad and powerful like that of his Fifth or Seventh symphonies, and a bright, playful mood perhaps unique in his symphonic literature pervades almost the entire piece.
The authorities noticed. The 9th Symphony and Shostakovich himself were criticized for “ideological weakness” and “formalism.” Instead of honoring Soviet achievement, the symphony was interpreted as a mockery and banned for nearly 8 years by the censorship board.
The symphony typically lasts under 30 minutes, each movement being played attacca with no pause in between. The premiere under the baton of Yvgeny Mravinsky was on November 3, 1945 in Leningrad.
I. Allegro
Sonata form
The symphony begins with a restrained, very Mozart-like string introduction (theme one) soon highlighted with a flute solo. The oboe plays a flourished ascent with offbeat string accompaniment before pizzicatos (0:21) lead to another string passage. The opening theme is briefly reprised at 0:39.
At 0:47, a loud fourth from the brass and the start of a steady snare drum rhythm give way to dainty, carefree piccolo solo (theme two). Occasional triangle beats ring in the background before another brass interval leads to a repeat of the piccolo statement, which is extended and joined by the winds. After another brass interval they continue to play the solo theme (1:22). The phrase is finished by the winds and strings.
The opening melody section of the symphony is reprised faithfully, and the heralding brass interval and piccolo solo return at 2:17. The piccolo, winds, and brass repeat their phrases, ending this second exposition.
The development section begins at 2:59 with a confident string ascent and offbeat brass accompaniment. The first developmental phrase from the strings is immediately inverted before a series of forceful two-note ascents. Another ascent begins at 3:11 but is cut short with eighth/sixteenth note figures. The low strings play the mirrored rising/falling motives beginning at 3:22 over glockenspiel-like alternating notes from the winds. After a brief transitory passage, a dissonant version of the piccolo solo theme rings out in the winds (3:41), while the violent brass accompaniment creates a strong sense of imbalance. String figures begin to repeat anxiously as ascents in the low strings are answered with forte three-note descents from the brass (3:48). Momentary triumph from the brass at 4:00 is soon twisted with a brass descent and a series of descending motives echoed throughout the orchestra.
The recapitulation 4:11 is not heard as it first appears in exposition, but is full of brass interjections and an uneasy, slow descent in minor over bustling low strings. The brass interval that signaled the piccolo solo in the exposition is heard early, followed by an inverted theme one in minor. Theme two finally returns at 4:42, this time in the solo violin. The change in timbre creates an amazing effect- instead of the innocence of theme two as first heard in the piccolo, the violin rendition sounds mocking and sarcastic. The second phrase is again extended, but Shostakovich leads out the brass version of the theme for now. The clarinet plays theme one at 5:13 followed by a fluttering flute descent. Flute/pizzicato strings converse briefly before minor theme two in the full string section takes the place of the brass version in the exposition (5:33). A four-note ascent from the brass and a trumpet flourish end the movement with a convincing cadence.
=*=
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 Stumbling it using the button below.
Technorati Tags: Music 365, orchestra, horn, theme, clarinet, flute, violin, bassoon, timpani, trumpet, trombone, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, bass, Shostakovich, symphony number 9, Soviet Union, censorship, Stalin, World War II, Red Army, Leningrad, Mravinsky, triangle, tambourine, circus music
