SHOSTAKOVITCH Symphony No. 5 (Op. 47), Artur Rodzinski, Columbia, MM-520

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SHOSTAKOVITCH
Symphony No. 5 (Op. 47)


Artur Rodzinski conducting the Cleveland Orchestra


Columbia Masterworks Set
MM-520

Complete on Five Twelve-inch Records

Matrix numbers: 11866 - 11870

Dmitri Dmitriyevich Shostakovich (Russian: About this sound ??????? ?????????? ??????????, tr. Dmitrij Dmitrievi? Šostakovi?, pronounced [?dm?itr??j ?dm?itr???v??t?? ??st??kov??t??]; 25 September 1906 – 9 August 1975) was a Soviet Russian composer and pianist and a prominent figure of 20th-century music.

Shostakovich achieved fame in the Soviet Union under the patronage of Soviet chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the government. Nevertheless, he received accolades and state awards and served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until death).

After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single work juxtaposed a wide variety of trends, including the neo-classical style (showing the influence of Stravinsky) and post-Romanticism (after Gustav Mahler). Sharp contrasts and elements of the grotesque characterize much of his music.

Shostakovich's orchestral works include 15 symphonies and six concerti. His chamber output includes 15 string quartets, a piano quintet, two piano trios, and two pieces for string octet. His piano works include two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include three operas, several song cycles, ballets, and a substantial quantity of film music, especially well known The Second Waltz, Op. 99: Music to the film The First Echelon (1955–1956).

The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a huge success, and received an ovation that lasted well over half an hour.

Structure

The symphony is approximately 45 minutes in length and has four movements:

1. Moderato

The symphony opens with a strenuous string figure in canon, initially leaping and falling in minor sixths then narrowing to minor thirds. The sharply dotted rhythm of this figure remains to accompany a broadly lyric melody played by the first violins. Variants of this theme return throughout the 3rd and 4th movements. The second theme is built out of octaves and sevenths. Whereas the first theme is based on a sharp dotted rhythm, the second relies on a static long-short-short pattern. With that is found all the musical material for this movement—one that is tremendously varied, its climax harsh. The coda, with the gentle friction of minor in strings against chromatic scales in celesta, ends on a note of haunting ambiguity.

2. Allegretto

The opening motif in this waltz-like scherzo is a variation of the first theme of the first movement; other variations can be detected throughout the movement. The music remains witty, satirical, and raucous while also nervous.

3. Largo

After the assertive trumpets of the first movement and the raucous horns of the second, this movement uses no brass at all. The strings are divided throughout the entire movement (3 groups of violins, violas in 2, cellos in 2; the basses remain unison). Shostakovich fills this movement with beautiful, long melodies—one of them again based on the first theme of the first movement—punctuating them with intermezzi of solo woodwinds. Harp and celesta play prominent roles here as well. The music is emotive and even elegiac in tone; it returns to the sober mood which the scherzo interrupts.

4. Allegro non troppo

This movement, in an abbreviated sonata-allegro form, picks up the march music from the climax of the opening movement, at least in manner if not in specific material. A tense conclusion leads to the quieter section of the piece. This section ends and the short snare drum and timpani solo introduces a brief militaristic introduction to the finale of the movement—an extended and obsessive reiteration of the D major tonality.

From the private collection of the late Dr. Harry Hammer, who was the Chairman of Macalester College’s music department from 1969-1977 as well as an avid collector for over 40 years. Dr. Hammer once served as a special hitting coach for the New York Mets. That was in August, 1965...hired to help the Mets' hitters follow the ball better, using a method he originally developed to teach musicians sight reading. All albums are from the late 20’s to early 40’s, and many are original, 1st editions containing pristine pressings from the golden age of 78’s. This collection consists of a nearly complete run of RCA Victor Musical Masterpiece Albums and Columbia Masterworks Album Sets.

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