![]() Then we come to know them even better, so they are, if not comfortable musical companions, at least ones we recognize and feel we understand. The Fifth, and certainly the Seventh, are not Shostakovich’s greatest symphonies, but they seem to be the ones we’ve come to know best.īut isn’t this a vicious cycle? We’ve come to know them, perhaps moved by the stories that surround them, so we are offered them most often. The Fifth appeared in New York classical radio’s WQXR and Q2 2013 year-end Countdown lists, and nothing else. While I have no statistics and can’t confirm this, it seems we are offered in live performance, more than any others among the symphonies, the Seventh and the Fifth. Yet even where his music is concerned, the depth and breadth of his music too often disappears from view. ![]() While an accurate understanding of the historical context is both useful and inspiring, the most important place to look is the one place to which we are often pointed last: his music. In seeking Shostakovich, I’ve discovered one thing above all: his genius is too often obscured, if not lost altogether, in the babble of commentary that surrounds his work. Reflections on the Symphonies of Shostakovich You might also enjoy… Dmitri Shostakovich: Jazz Suite No.Shostakovich 1942 or 1943 (Library of Congress) Although only a short waltz, this work has stood up to the test of time and its immediate success has not wavered in the modern day. The construction of this work is certainly reminiscent of a toy solider march, and the lightness of the melody creates even more of a haunting beauty within. The unrelenting bass line is prominent throughout the work, with the double basses and snare drum being the consistent parts on this line. The addition of the trumpets at the end of this solo highlights some of the comedic readings you could take from this piece. The trombone solo in the middle of the work is perhaps one of the most sought after classical trombone solos. The brass take on both melodic and solo roles. The role of the winds sees them accentuating the melodic structure and using their extreme ranges to sound similar to the tuned percussion. ![]() The role of the strings is either accompaniment and keeping the ‘oom pah pah’ rhythm driving, or they are leading the tonality into the major with long flowing melodic phrases. Shostakovich’s use of tuned percussion and bells accentuates the alluring drama that is created as the main melody is passed around the orchestra. On face value this could be read as a romantic waltz, however the dichotomy between the lightness and darkness within the music is what gives this waltz the edge. The timbre of the alto saxophone with the sparse march accompaniment creates the signature uneasy atmosphere that this waltz is so well-known for. The main melody is first played by the alto saxophone, which highlights the ‘variety’ aspect of the orchestration. Throughout the short work Shostakovich moves between Eb major and C minor (relative major/minor keys), which creates a certain unsteadiness to the piece.īeginning with a march-like 3/4 accompaniment from the drums and strings, the tempo and character of the piece is soon set. 2 is certainly the most famous from the suite, largely due to its affiliation with The First Elechon. This particular composition by Shostakovich is in ABA form, with the outer sections being firmly rooted in C minor. You can hear the full suite in order here: In the composer’s note at the start of the score, Shostakovich writes that the movements can be played in any order, and they do not all have to be played in one performance. The ‘variety’ element is supported by Shostakovich’s addition of a full saxophone section, a celeste and two pianos. The suite was composed post-1956, and was subsequently used as part of the soundtrack for the Russian film The First Elechon. The suite itself is comprised of eight small movements, all of which are scored for a large orchestra. 2 is one of the composer’s most famous works. Composed as part of Shostakovich’s Suite for Variety Orchestra – Waltz No.
0 Comments
Leave a Reply. |