Black Holes and Snowy Mountains

The third and fourth movements of Shostakovich’s 9th symphony contrast sharply with one another.

III. Presto

Ternary form

Fast triplet figures and runs in the clarinet open the third movement, soon repeated by the flutes and piccolo. The strings sequence a simple rhythmic figure upwards (0:16), ending in a somewhat distressful trill and descent. The winds repeat the phrase, after which the winds and strings play a syncopated dotted rhythm in conversation with one another.

Signs of trouble begin to appear at 0:35 with challenges from the trumpets. The winds and strings respond with more syncopated figures before the low brass get involved at 0:44 underneath a tight, double-tongued trumpet. Crazed strings play rapid descents and rising arpeggios amidst sharp brass interjections. Dotted two note descents in the brass section (1:02) lead to a carnival style solo in the trumpet against busily playing strings. The snare drum begins to contribute to the rhythmic drive of the movement as the low brass play the trumpet’s melody under chromatically rising and falling strings.

At 1:35 the opening melody returns in the flutes and piccolo. A wind ascent against monotone strings is followed by a slightly ominous sounding figure in the horns and trombones. This is repeated by the strings at 1:58. Sharp, repeated notes from the winds precede a string dialogue of the horn melody which ends up in the low strings. The music begins to slow, as the end of the third movement serves as a bridge into the fourth, ending with a forceful tritone.

IV. Largo

Theme and Variation form

A dark fanfare in the low brass ascends inexorably, complete with a cymbal and brass chord at 0:23. A lonely bassoon (0:35) plays a tranquil but troubled melody against pedal strings. A huge pause leads to another brass ascent, rehashing the opening of the movement. The bassoon re-enters at 2:11, this time slightly more assertive with a bold ascent at the beginning of its solo.

At 3:15 the strings play their only change of pitch in the entire movement that isn’t after a long period of rest. The bassoon ends the movements with an octave descent that leads directly into the fifth movement.

The fourth movement is a striking contrast to the rest of the symphony. While it is extremely spare in its orchestration and thematic content, this does not take away from its expressive power.

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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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Posted under: Culture by HP at 06/5/09 1:15 PM