Page 281 - (DK) The Classical Music Book - Big Ideas Simply Explained

MODERN 1900–1950 279

Ambiguous meanings in Symphony No. 5

Movement Overt meaning Possible meaning
First Use of minor tonality Not since the time
undermines the glorification. of Berlioz has a symphonic
A folk tune setting, Jaunty rhythms in the first composer created
glorifying the Slavic theme give way to less
people and their struggle assertive rhythms in the such a stir.
against oppression. second theme, creating an Nicolas Slonimsky
overall sense of ambiguity.
The Musical Quarterly (1942)

Second
An ironic spoof on the
A waltz, suggesting a traditional form, wittily
pleasant and romantic presenting the waltz as trite,
time for relaxation hackneyed, and sometimes
and enjoyment. brash. It is a satire that creates meaning would become clear, and
an unsettling atmosphere. audiences would see the work’s
martial references and triumphal
conclusion as ironic gestures.
Third Not so much a lament as a
A lament, reflecting on piece of nostalgia. References Hidden clues
those who suffered and to the Russian Orthodox Shostakovich’s acceptance by the
lost their lives in the Requiem hint at a yearning
battle for liberation from for religion rather than Soviet authorities lasted only a while. Any
tsarist rule. communism. lapses into music that seemed to
be discordant or introspective were
leapt on by Communist Party
Fourth A bombastic caricature of critics. The composer’s Symphony
A celebratory march, the military march. A more No. 8, written in 1943, was attacked
with a pensive and reflective section underlines by Soviet officials as “not a musical
peaceful middle the minor tonality of the home work at all, repulsive and ultra-
section, leading to a key but returns to a militaristic,
triumphant ending. triumphalist finale aggressively individualist,” and Shostakovich,
asserting the key of D major. denounced again, was forced to
resign from the Soviet Composers’
Union, although he continued to
Shostakovich’s Symphony No. 5, on the face of it, is a write symphonies.
positive endorsement of the Soviet regime, but subtleties After Stalin’s death in 1953, the
in the music suggest a very different interpretation.
party line softened, but restrictions
on artistic creativity continued
It is likely that Shostakovich also passes, the vandal’s paint flakes until the fall of communism in the
left a particular clue to the deeper away, and the original image is 1980s. Until then, Soviet composers
meaning of the work hidden in the revealed again as a masterpiece. were unable to express themselves
score. The quiet passage in the The symphony’s original with complete freedom, especially
final movement of the symphony audience had no way of knowing in high-profile works, such as operas
contains a musical quotation from a of the presence of this quotation, and symphonies. As a result, many
song the composer wrote to words because at the time of the premiere produced ambiguous works or
by the Russian poet Alexander the song had not been performed. poured their most personal music
Pushkin. The song, called “Rebirth,” But many believe that Shostakovich into private forms, such as string
describes someone who overpaints meant to send a message to the quartets, which were less likely to
a picture by a great artist; as time future, when the symphony’s real attract the authorities’ attention. ■

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