Shostakovich Symphony No. 5

 

The theme of my symphony is the making of a man. I saw Man with all his experiences in the center of the composition, which is lyrical in form from beginning to end. The finale is the optimistic solution of the tragically tense moments of the first movement. 

 Shostakovich on Symphony No. 5

Background:

Dmitri Shostakovich's Symphony No. 5 is a masterpiece. The symphony was premiered in 1937. This period was the peak of soviet censorship instigated by the USSR regime.
 Pravda condemned his opera "Lady Macbeth of the Mitsenk District" as unpatriotic and dissonant and heaped ferocious attacks on the composer, simply calling it "Muddle, not Music!" on the front page review. Overnight he was marginalized by authorities who were in charge of aesthetic idealism. The fifth symphony was conceived under these insecure circumstances. Fifth is the result of fear and trembling for his very survival and avoiding the doomed fate of exile to concentration camps. The pressure combined with Shostakovich's character led to a cryptic score which on one hand should show his ideological rehabilitation in the eyes of party-approved ultranationalist style. On the other hand, he needed to satisfy his own artistic. Therefore, he opted for a Beethoven model for this symphony: Starting boldly as a sonata.

First movement: Moderato

The first movement starts with a sonata in the vein of Beethoven's tradition but this time in a hesitant and uncertain mood. By the third bar, the music undergoes a stylistically radical shift: an abrupt break-off and a downward wiggle toward a dead-end with a triple note repetition. This sequence of apprehensive start, retraction, and dead-end is repeated throughout the symphony.
The next theme is an E♭ minor folk-driven with a slight variation implemented. This simple change is the masterstroke of thematic change via slight subtle twists. This sort of subtle manipulation is characteristic of Shostakovoch's works. 
The middle section of the first movement shows a drastic change in instrumentation, with piano and bases lurching in with the dead-end theme then winds, brass, and percussion. This generates a militaristic vibe similar to parts of Overture 1812 by Tchaikovsky. Then you hear the pile-up of various tunes as they eventually fade into the strong dominant dead-end tune played by brass and percussion. Then hushly all the tunes return and the opening tune repeats with trumpet and tympani, as a premonition of what is to come in the next movements. 

Second movement: Allegretto

This epitomizes the composer's wry sense of humor pointing at his critics. It is a scherzo with a goofy vibe, a spoof on waltzes. The movement is also a hommage to Gustav Mahler (one of Shostakcich's favorites) with solos played by the first violin and flute or clarinet generating the dance imagery accompanying it.

Third movement: Largo

To the dislike of the purge-era Soviet regime, this melancholic movement struck a chord with a casual listener, conjuring the sensations of despair and longing. The third movement is a mourning for those who died, Stalin's victims. References to the Russian Orthodox liturgy are also noticeable. Here the strings are played in a way that resembles a choir. Shostakovich did this by dividing the strings into different sections. Then we have the oboe accompanied faintly by strings which is probably the saddest tune in the whole symphony. Then double basses lurch in, accompanied by strings leading to the dead-end notes again. The movement closes on a high note, with a ghostly vibe played by harp, piano, and strings. 

Fourth movement: Allegro non troppo

Starts with many march-like themes, slowly gaining pace as the movement progresses. This parade-like vibe broadly resembles Mahler's tradition (again!) in composing finales. As one expects, the symphony needed an upbeat and cheerful ending. At first glance, this seems to be a forced prosaic ending for an otherwise masterfully written symphony. But the master is at work again conjuring up layers of subtle textures. A slow march pays homage to the opera Boris Gudonov where masses praise the tsar. However, this one is bleak and a slow march. In the more upbeat part, Shostakovich deliberately altered a note again and completely changed the mood of the music. This time an alteration from B natural to B ♭ does the magic! It may look bizarre in the context of happy-ending tunes, but this is deliberately executed by the composer. The whole new minor tone foreshadows the preceding upbeat part of the movement. 

My take:

Shostakovich's Fifth Symphony is a prime example of artistic resilliance and defiance in the face of calamity and censorship. Where individuality had to be sacrificed in the name of patriotic nationalist aesthetic. Shostakovich to me epitomizes working under impossible conditions and having the cutting-edge prowess to please both sides: he includes the cosmetics to satisfy the harsh criteria of an oppressive regime, Meanwhile, he manages to insert the subtle elements to keep the music authentic. The fifth symphony fakes glory and buys him some time to breathe with standard glorious movements placed in it. But the music hints at a tragic underlying story with multiple tunes and tricks inserted masterfully in it.

Socially conscious artists reflect on society and its afflictions. They give tongue to those who were silent or were made silent. They picture an era for those who could not witness or closed their eyes on it. Similarly, Shostakovich's music mirrors his era; living under constant threats and brave masks that people were forced to wear. We are lucky that a genius lived and dared to work under immense pressure and duress. He worked and left a body of work which are quite diverse and influenced by various inspirations. From his chamber music, trios, and string quartets to symphonies to his experiments with jazz music following his trip to the US, this massive body of work shares one characteristic of social awareness. Symphony number five is an emotionally charged and complex masterpiece with hidden layers of meaning.