Albert
The purpose of this paper is to try to analyse two symphony concerts which are performed by the Danish conductor Thomas Sondergard. The both concerts consist of the pieces of music of Russian composer Dmitri Shostakovich and his symphonies No. 5 (C mol) and No. 11 (D mol). These concerts do not have lyrical mood, but they draw bright musical picture which is rather dramatic. Abrupt change of rhythms, dissonance notes, dialogues of musical instruments immerse the listener in the world of misery and opposition to the evil. Both symphonies have life-asserting character though.1
The four part symphony No. 5 (D mol) has traditional form. The first part of the symphony gives the impression as if it is full of soul pain. Initial bars sound like questions, the answer is light gentle music of violins.2 Gradually appears the attractive image of the enticing future and after a time rigid intonations are rushing increasingly and the march is heard.3 There is coming impression that everything good and bright is being ruined by the rigid drumbeat. Nevertheless, initial bars from the introduction lead their way.4 Then the flute sounds soft and sad as its music has to relieve the sufferings. The second part, under the laws of symphony, is separating from the main subject of the first part. The music is becoming lighter, but it does not seem cheerful, though there is a slight irony.5
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Norris Christopher. The Man and His Music (Lawrence and Wishart 1984), 25.
Ibid., 28.
Gerstel Jennifer. Irony, Deception and Political Culture in the Works of Dmitri Shoctakovich (Winnipeg 1984), 32.
Ibid., 34.
Ibid., 36
Carelessness disappears when among saturated sound of the orchestra, ominous notes of trouble are heard. Music of the third part reminds of human thoughts about destiny. The music flows quietly, melodies replace each other.6 Clear sounds of lyrical monologues of musical instruments seem to imitate thoughts and feelings of people.7 Choir episode suddenly turns into intense piece of music which characterizes confusion. The final of the symphony is solved in the tempo of march. This movement directs the listener forward quicker and quicker.8 This music may be considered as optimistic one. In its fanfares the melody, similar to the anthem is heard. Then again there is episode, close to the thoughtful state of mind. Kettle-drums sound on gloomy musical background and don't seem festive any more.9 The symphony comes to the end with it.
Symphony No. 11 (D mol) is a bright musical, reasoning on the theme about kindness and evil. The first part begins with ominous sound which creates feelings of depression and grief.10 On this background the bell is tolling. It is replaced by melodies which bear feeling of hopelessness. The second part begins with choir melodies in which, as it seems the choir tune represents the human gloomy mood of people. All second part consists of two episodes, contrasting both on character and rhythm, constructed in a variation form.
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John Holmes. Conductors on Composers (Greenwood Press, 1993), 47.
Ibid., 48.
Ibid., 49.
Ibid., 50.
Michael Steinberg. The Symphony: A Listener’s Guide (Oxford University Press, 1988), 26.
The second part is perceived as a bright author's approach that creates necessary impression.11
The third part is slow and mournful. The sad feeling is especially strengthened by violas. Later appears a lighter music, but this part is not the leader in this section. After it there is a bright culmination which gives hope for bright final.12 In the fourth part, on the background of string and wooden wind instruments, there are beats of drums, with the tragic melodies of the first part.
At the end of the final the sound is getting filled with terror. Four parts of the symphony go one by one without interruption, making impression of one theme, created from sufferings and hope.13 Both concerts where the music of Shostakovich sounds, have been perfectly performed with all musical nuances, thanks to work of the world famous Danish conductor Thomas Sondergard. He has taken into consideration the slightest nuances in his work with an orchestra. It is quite possible to call both symphonies the examples of the highest quality in composition and in execution.
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Ibid., 28.
Ibid., 30.
Ibid., 30.
Bibliography
Gerstel, Jennifer. Irony, Deception and Political Culture in the Works of Dmitri Shoctakovich. Winnipeg 1984.
John, Holmes. Conductors on Composers. Greenwood Press, 1993.
Michael Steinberg. The Symphony: A Listener’s Guide. Oxford University Press, 1988.
Norris, Christopher. The Man and His Music. Lawrence and Wishart 1984.
