Considering just the first movement of the 5th Symphony, discuss how Shostakovich produces a modern work against a political authority which demanded traditionalism.

Under extreme pressure from the Soviet authorities in a period of history often described as ‘The Terror’, Shostakovich had to succeed with his fifth symphony following the severe criticism he had faced with his opera Lady Macbeth. He could have played safe by simply producing music that Russian composers had been producing for years, but he decided to build upon what he had done in his fourth symphony, which he considered too dangerous to perform a year before, however much more refined. His fifth was and remains a major success. However it is apparent that he pushed the boundaries of traditionalism without exceeding them and also added personal touches, hidden meanings and messages under the noses of the authorities.

The introduction sets the tone for the rest of the movement by including three significant motifs which are used throughout. It is clear that the symphony is going to be adventurous from the start as the fist note that is played is a semiquaver pickup onto the second beat of the first bar (a rest which could be written as a double dotted quaver). The texture is rather unusual consisting of 2 part imitative counterpoint between the cellos and basses, and the violins both playing in octaves 1 beat apart. Stephen Johnson speaking on Radio 3 described the introduction to be similar to the two part inventions of Bach, containing close canon and baroque like dotted rhythms. These masterpieces were seen by the Russians as ‘academic exercises’, a similar usage by Shostakovich could have been hazardous if the authorities believed he was corresponding with composers such as Bach.

The symphony has no key signature; however in the opening bar a B flat and a C sharp are both used suggesting the key of D minor. A theme is played in the first violin at figure one which includes an F natural creating a mournful mood as it is the minor third of D minor. However this theme also has an E flat and a C natural on the downbeat of the second and third bars of figure one. These notes are unusual to the key of D minor as they are the flattened second and seventh belonging to the Phrygian mode starting on D. Furthermore in just the first five bars of the theme at figure one all twelve tones of the chromatic scale are used, perhaps a reflection of the twentieth century move to greater chromaticism. Another point of interest is that all these tones are created by flattening notes instead of sharpening them creating and suggesting a solemn effect. At one bar before figure eight there is a climactic chord which has a piquant tone caused by a false relation of F natural and F sharp on the second beat between the strings. This chord could imply further movement from romantic music into atonality having such a harsh quality. Shortly after the music modulates into E flat minor. This is an unsuspected modulation from the original D minor being the flattened second of the scale, once again linking to the Phrygian mode.

In the second subject the harmonic rhythm is stretched and slower than before and the music only includes some mild dissonances which build up on the effect of nostalgia and loneliness including chromaticisms and sevenths. It seems very possible that the theme came from Habanera in Bizet’s Carmen. The contour of the melody is very similar containing two arch shapes each around four bars long. Moreover although augmented, the rhythm is identical and the use of a gentle percussive accompaniment is clearly present in the two. Shostakovich had been in love with a woman called Elena Konstantinovskaya who was a translator. Unfortunately for him she married another man who incidentally was called Roman Karmen! The use of this theme and its subsequent distortion in the higher tessitura of the viola at figure fifteen could be seen as an expression of Shostakovich’s

unrequited love. As the lyrics of Act 1 Scene 5 of Bizet’s Carmen suggest; “Love is a rebellious bird that no one can tame, and if you call for it, it’ll be quite in vain for it’s in its nature to say no.” Considering that this symphony was meant to show repent for his previous opera which the critics described as a disaster, Shostakovich may not have been cautious enough.

In the development section Shostakovich uses the piano to play a fortissimo ostinato-like bass line which is adapted from figure twelve in the violas and cellos. The dark left hand motif is doubled by the basses and the right hand by the cellos. A new dimension is added to the piece with this innovative choice of instrument as it was unusual for a piano to be used as an orchestral instrument rather than a soloist, which shows how Shostakovich pushed onto the restrictions that were put before him. The start of the development thrives upon contrast in dynamics, (from piano just before), varied octaves and a few bars later pitch to the previous second subject at figure fifteen. The tempo is increased greatly making the motif of two quavers on an upbeat landing on a crotchet downbeat varied enough to provide interest whilst still being an omnipresent theme which binds the movement together. Additionally some of the ostinato like minor thirds are reduced a semitone to make them diminished thirds creating a menacing effect combined with the percussive quality of the piano.

The once pure theme played at figure one is transformed into a rasping melody in the horns and later in canon with trumpets three bars into the development. Shostakovich uses these orchestral instruments in a difficult low register giving them a forceful and destructive tone possibly demonstrating the aggression shown by Communism in Russia at the time. This marks the eruption of what the development section. There is a huge surge into figure twenty-seven including a cymbal crash where another contrast in mood is evident. Loud percussion enter the scene including a tonic dominant march like timpani passage and a snare drum playing a diminished rhythm of the three note figure used under the second subject and later using minor thirds in the start of the development. The trumpets play the theme derived from figure one fortissimo with strident accents creating a quick march perhaps imitating the military of the Soviet Union. Is this a prime example of how Shostakovich felt towards Soviet socialism and the leaders of the Soviet Union turning something once innocent into the harsh realism of what was happening at the time?

The recapitulation is largely just a repeat of what has happened before in the exposition. However it is still plays an important role in this movement of the symphony since it creates an arch like structure starting with a thin texture, a quiet dynamic and a slow tempo which all grow towards the middle of the movement and then subside towards the end. Even in the final moments of the movement Shostakovich innovates and experiments with orchestral timbre. Following the use of the piano in the development section Shostakovich made it more accessible to use a celesta at figure forty seven adding a dreamy above air like mood which leaves a sense of mystery to the end of the movement. Other unusual instruments included were the E flat clarinet, piccolo and contra bassoon which allowed Shostakovich to explore different pitches and timbres. Such as at figure nineteen and twenty-one, where the E flat clarinet pierces the texture with high flourishing melodies. These instruments show how adventurous Shostakovich was in the symphony despite the torment he was under.

There seems to be significant and consistent evidence of Shostakovich’s rebellious side throughout the first movement of the symphony as it contains obscure modes, hidden personal and political

messages, adventurous scoring of unusual symphonic timbres and challenging tonality. Being narrowed in his approach to composing Shostakovich thrived creating an excellent piece of music which contained just enough innovative material to produce a twentieth century masterpiece. He borders the rules set out for him and whilst sticking to moderation created a work that was accessible to all, including the Russian authorities and the people of his county who were subject to their brutalisation.

Edward Clark 24/11/2013

References:

Rhinegold A2 music study guide

AQA A2 music study guide

BBC radio 3 discovering music

www.keepingscore.org/interactive/shostakovich-fifth-symphony