Shostakovich's Fifth Symphony: A Soviet Artist's Reply...?

Author(s): J. Daniel Huband

Source: Tempo, New Series, No. 173, Soviet Issue (Jun., 1990), pp. 11-16
Published by: Cambridge University Press
Stable URL: http://www.jstor.org/stable/946394
Accessed: 10-11-2015 14:39 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.

Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Tempo.

http://www.jstor.org

This content downloaded from 217.73.171.82 on Tue, 10 Nov 2015 14:39:53 UTC
All use subject to JSTOR Terms and Conditions

J. Daniel Huband
Shostakovich's Fifth Symphony:
A Soviet Artist's Reply...?
The attempt to relate a nonmusical event to a
musical phenomenon creates problems for the
musicologist. Compelled to search beyond the
mere notes on the printed page, one may try to
gain more penetrating insights into a particular
work by scrutinizing historical circumstances
concurrent with the genesis of the music. In the
case ofDmitri Shostakovich's Fifth Symphony,
the social and political background to this piece
has been greatly emphasized.1 Yet could the
efforts to relate the composer's compositional
style to his troubles with the Soviet regime
obscure musical issues? The Fifth Symphony,
frequently viewed by many music historians as
an apologetic musical response to the Pravda
attack on the opera Lady Macbethof the Mtsensk
District, does not present as drastic a change in
musical style as is commonly believed. An
analysis of the four earlier symphonies reveals
that they function importantly in the composer's
evolution as a symphonist; Shostakovich refines
several compositional techniques employed in
these works and incorporates them in the Fifth
Symphony, his first fully mature piece. The
most salient features of the composer's early
works that most clearly relate to his development as a symphonist shall be discussed in this
essay. This process aims to reassess the hypothesis which suggests Shostakovich suddenly
mended his ways in light of official criticism.2
Shostakovich began to compose his First
Symphony in the fall of 1924 as a graduation
piece while a student at the Petrograd
Conservatory. A four-movement architecture
which employs traditional forms can hardly be
considered as innovative, yet the work of a fine
crafstman is evident. Sonata principles guide
1A
representative view of the Fifth Symphony may be found
in Tim Souster's 'Shostakovich At The Crossroads'(Tempo78,
Autumn 1966, pp.2-9) which concludes that 'there can be no
doubt, in this particularcase, as to the fruitfulnessof a political
intervention in the arts'.
2 The views
expressed in Testimony:The Memoirsof Dmitri

Shostakovich,as related to and edited by Solomon Volkov

(New York: Harper and Row, I979), are not included in this
essay because its authenticity in full or part has not been
established. See LaurelE. Fay's 'Shostakovich Versus Volkov:
Whose Testimony?' RussianReview39 (October 1980): 484-93.

the outer movements, while ternary designs

shape the inner ones. The Symphony's primary
themes evolve from the opening measures of
the piece, thus engaging motives as unifying
agents throughout the work. Certainly, for
1925, the harmonic idiom seems conservative,
with tonal principles governing the processes.
The orchestration remains imaginative and
colorful; yet the composer conspicuously avoids
any hint of heavy orchestration. 'Chambermusic-like' sonorities characterizemuch of the
composition since thick textures are avoided.3
These stylistic tendencies, however, were
destined almost immediately to undergo dramatic modification.
When the young Dmitri left the conservatory,
he found himself confronted with a continuing
struggle between the proponents of Westernoriented modernism and those who believed in
'Proletarian'music. The adherents of Westernoriented modernism establishedthe Association
for Contemporary Music (ACM) in '1923, and
in the same year, those who believed music
should be immediately comprehensible to the
simple workman or peasant established the
Association of ProletarianMusicians (RAPM).4
Shostakovich found stimulus in both these
movements, for his works which immediately
follow the First Symphony exemplify an acute
reaction to its ethos.
Shostakovich inaugurated his most sudden,
severe change of style with the Octet for Strings,
op.i I; the Piano

Sonata,

op.I2

('October

Sonata'); and the Aphorisms,op. 13. A defiance

of traditionalformal principlestakes hold, linear
textures often dominate, and incisive, dissonant
passages (occasionally approaching cacophony)
frequentlycharacterizethe harmony. Maximilian
Steinberg, the teacherwho guided Shostakovich
on the First Symphony, expressed dismay over
Dmitri's new found style:
3 Boris

Schwarz, MusicandMusicalLife in Soviet Russia I9171981, enlarged ed. (Bloomington: Indiana University Press,
I983), p. 72.

4 A third

group, primarilyfound in academiccircles, consisted

of Russian traditionalists; this group was not formally
organized. Schwarz, op.cit., p. 149.

This content downloaded from 217.73.171.82 on Tue, 10 Nov 2015 14:39:53 UTC
All use subject to JSTOR Terms and Conditions

12 Shostakovich'sFifth Symphony:A SovietArtist'sReply...?

On leaving the Conservatoire,Shostakovichcame viewed in part as a reflection of the changing
under the influence of people who professedthe social and politicalconditions of the period. Yet,
musicalprinciplesof the 'extremist'West. This was aesthetically speaking, could the composer's
in 1925 ... One of Shostakovich's first compositions
forthcoming symphonies continue in the vein
was his sonata, written in contemporary idiom and of
Symphony No.2? Apparently he felt not,
called by him OctoberSymphony. Alreadyin this because the ones which follow the rebellious
therewas anunhealthytendencyto 'adapt'formalistic
Second begin a trend back towards the inlanguagefor the expressionof revolutionaryideas.
The most extremestatementof Shostakovich's'new' corporation of more conventional symphonic
Then [sic] he brought procedures.
tendencywas the Aphorisms.
Nevertheless, similarities exist between the
them to me, I told him thatI understoodnothingin
them that they were quite foreign- afterwhich he Second and Third Symphonies. The Third
ceasedcomingto me.5
(I929), subtitled TheFirstofMay, also requiresa
in its final section, incorporating a
chorus
Shostakovich's Second Symphony of 1927
has been described as 'an ASM orchestral piece contemporary text by Semyon Kirsanov.
with an RAPM finale' by Gerald Abraham who Though it also has a single-movement form, its
notes that 'the work was at first actually accept- internal divisions more closely resemble the
ed - with reservations - by both parties'.6 In movements of a traditionalsonata cycle (I. Fast
this piece, entitled To October:A Symphonic 2. Slow 3. Scherzo 4. Introduction-Finale), but
the components of sonata form do not appearin
Dedication,scored for orchestraand chorus with a
of the Third Symphony's sections.9
any
contemporary revolutionary text by Alexander
Shostakovich
clearly avoids thematic manipulaBezymensky, Shostakovich creates the antithesis to Symphony No.I, including the tions, since he prefers to present his material in
utilization of a single-movement form. Though an episodic style, one new idea after the next.
five internal divisions may be discernible, these However, the primarily diatonic idiom and
sections bear little relation to the traditional clearertexturescontrastgreatly with Symphony
movements of a sonata cycle. Furthermore, the No.2, and more closely anticipate qualities
found in the Fifth. Occasionally, very large
composer abandons sonata form principles and
melodic
intervals appear in Symphony No.3
thematic development. Except for some
which
seem
quite novel and appear to have no
repetition of a revolutionary song motive and
the recurrence of first-section material in the relationship to the work's overall structure.
These passagesforeshadow the second theme in
finale, Shostakovich makes no attempt to unify
the sections. The harmonic idiom also differs the first movement of Shostakovich's Fifth: in
the Third, the large melodic intervals have no
greatly from that of the First Symphony, for a
lack of tonality often predominates. This underlying purpose, but in movement I of the
nontonal style permeates the first section Fifth, Shostakovich uses them to function in
contrast with the smaller melodic intervals of
(measures 1-43) where much of the dense string
the first theme. Though this type of balance of
the
part writing utilizes pitches which insure
form and content is not present in the Third, it
of
dissonance
realization.
level
upon
highest
This heavy, dissonant type of texture completely most clearly presents the prototype of this
melodic style.10 Another technique
negates the principles inherent in the earlier important
when
the orchestraboldly states thematic
occurs
seem
symphony.7 Other orchestral effects, too,
most removed from the earlierwork, particular- material in octaves (making an 'orchestral
in the Third, this technique
ly the angular tuba solos.8 The part for factory unison'). Though
comes
about
suddenly,
seemingly with no
hooter in F-sharp (with alternateparts for brass)
not only announces the chorus in the final structuralintentions, it makes for an important
Shostakovichlaterintegratesthis early
section, but symbolizes Shostakovich's turn precedent.
device into the Fifth Symphony's
compositional
away from pure, 'abstract' music, and may be
opening movement where it provides a sudden
5 Gerald Abraham, Eight Soviet Composers(London: Oxford
contrastto the double canon in the development
University Press, 1943), p. 16.
section, creating one of the most momentous
6 Gcrald Abrahan, 'Music in the Soviet Union' in TheModem
passages in the symphonic repertoire.1
Agy 189o-1960, New Oxford History of Music, Vol.X
(Lonldon:Oxford University Press, 1974), p.655.
7 For exanmple,a series of brass entries in measure 23 produces
a succession of nlinor ninth intervals, and when combined
with the strings, this juxtaposition creates a tone cluster-like
effect.
8 See measures 41-43 and 90-94.

9These sections begin at measures I, 346, 446, 654, and 806.

'0For example, see measures375-400in the Third Symphony.
The second thematic area in the first movement of the Fifth
Synlphony begins at measure 50.
" These passages are found between measure 666-708 in the
ThirdSymphony, andmeasures243-252in the FifthSymphony.

This content downloaded from 217.73.171.82 on Tue, 10 Nov 2015 14:39:53 UTC
All use subject to JSTOR Terms and Conditions

Shostakovich'sFifthSymphony:A SovietArtist'sReply...?

On

22 January

1934

the

premiere

of

Shostakovich's opera LadyMacbethof theMtsensk

District earned the composer many praises, and
it was quickly regarded as a grand achievement
of Soviet culture. Shortly after this time, the
composer

created

the Cello

Sonata

(1934),

op.40, one of the most conservative works of

his early period. Though completed about one
year prior to the composer's initial work upon
the Fourth Symphony, it anticipates the Fifth
Symphony in many ways. Both utilize a fourmovement structure; both are in D minor; both
of the first movements strongly rely on sonata
form; and each contains a movement with a
lucid ternary design. The opening movement
ofthe.Cello Sonata clearly provides an important
precedent for the texture of the second thematic
area in the Fifth Symphony's opening movement.12 Moreover, the second movement of
the Cello Sonata includes rhythmic patterns
much related to those present in the Fifth
Symphony's second movement, and some of
the melodic contours similarly foreshadow the
latter piece.13
One should bear in mind that the Cello Sonata
was completed prior to Shostakovich's first
crisis period, which began when his opera Lady
12Note the rhythmic
followedby two
pattern(a quarter-note
eighth-notes)which accompaniesthe lyrical cello line in
measures I35-146.
13 Almost
uncannily,in measures55-57, the cello melody
a glissandowhichstronglysuggestsmeasures
88incorporates
9I in thesecondmovementof theFifthSymphony.

13

Macbeth of the Mtsensk District was severely

criticized by Pravda. The Pravda attack on
Shostakovich's opera occurred on 28 January
1936, about midway through the composition of
the Fourth Symphony. In the article entitled
'Chaos Instead of Music', Shostakovich's opera
was criticizedvehemently:
Fromthe firstmoment,the listeneris shockedby a
deliberatelydissonant,confused stream of sound.
Fragmentsof melody, embryonicphrasesappearonly to disappearagainin the din, the grinding,and
the screaming...this music is built on the basis of
rejectingopera...whichcarriesintothetheatreandthe
musicthe most negativefeaturesof'Meyerholdism'
infinitelymultiplied.Herewe have'leftist'confusion
insteadof natural,humanmusic... Thedangerof this
trendto Soviet music is clear. Leftistdistortionin
painting, poetry, teaching, and science. Pettybourgeoisinnovationslead to a breakwith realart,
realscience,and realliterature...All this is coarse,
primitive,andvulgar.The musicquacks,gruntsand
growls, andsuffocatesitself, in orderto expressthe
amatorysceneall over the operain the most vulgar
manner.The merchant'sdouble bed occupies the
centralpositionon the stage.On it all 'problems'are
solved...14
This violent review may well have been a key
factor which compelled the composer to withdraw the Fourth Symphony (1936) from
performance during this time. Boris Schwarz
14
Pravda,quoted in Schwarz, Musicand MusicalLie, p. 123.
Anotherarticlefolloweda weeklater(on6 February)
which
criticizedShostakovich's
ballet,TheLimpidStream.

This content downloaded from 217.73.171.82 on Tue, 10 Nov 2015 14:39:53 UTC
All use subject to JSTOR Terms and Conditions

14 Shostakovich'sFifth Symphony:A SovietArtist'sReply...?

points out that Shostakovich could have revised
it in an attempt to insure its acceptability during
this hostile period, or he could have destroyed
it. Yet the composer must have felt the Fourth
to be of some value as originally conceived, for
he withheld it from the public until its premiere
on 30 December

I96.15s

The most intriguing formal structures in all

of Shostakovich's symphonies exist in
Symphony No.4. In spite of Robert Dearling's
statement that 'the Fourth Symphony does not
gain from too critical an analysis any more than
does a ballet score',16 much has been written
about the design of this work, and consequently
many interpretationshave been made regarding
its form. For example, Hugh Ottaway asserts:
The successes,near-successes
andfailuresin theFourth
providemanypointersto the work'ssignificancefor
Shostakovich's
development.Whilethereis in it much
thatis indebtedto the constructivistviewpoint- and
to the anti-Romanticmovementin general- thereis
also a deeply human, Mahler-likeexpressionthat
only partiallysucceedsin formulatingitself.17
Despite insinuations from many critics that the
form is weak, definite means are employed to
give structure to the Fourth Symphony. The
composer returns to multi-movement architecture, but continues to experiment with his
organizational plans. Indeed, the opening
movement seems to represent a compromise
between the very conservative Cello Sonata and
the formal experiments of the earlier Second
and Third Symphonies. This hybrid form makes
for a most unusual first movement design.
Shostakovich freely initially exposes material,
develops and recapitulates it, yet his idiosyncratic approach creates a structure far too
removed from convention to be considered
'sonata form'. Therefore, the term 'sectional'
most aptly describes it. Even so, this design
more closely approachesa traditionalsymphonic
movement than do any of the sections in the
previous two symphonies. The gigantic outer
movements are balanced in the central one by a
simple ABAB-coda structure which presents
another major turn toward a more conservative
symphonic approach. Yet the final movement's
sectional nature has qualities remarkably independent from customary designs, though it
does make reference thematically to the first
15 Schwarz, MusicandMusicalLife, pp. 170-72.
16 Robert
'The First Twelve

Dearling,
Symphonies: Portrait
of the Artist as Citizen-Composer', in Shostakovich:the Man
aind His Music, ed. Christopher Norris (Boston: Marion
Boyars, 1982), p.56.
17Hugh
Ottaway, 'Looking Again At Shostakovich 4' Tempo
115 (l)Deceber

1975): 24.

movement.18 This attempt to unify the overall

structure lacks strength, however, because it
alone does not provide the necessary reinforcement needed to unite such a mammoth
symphony.
A more traditional treatment of thematic
material appears in the Fourth Symphony,
marking another turn toward a more conservative style. Thematic transformationsand motive
manipulations feature strongly in this work,
departing from the thematic treatment of
Symphonies 2 and 3, and foreshadowing the
intricate motivic relationships in the Fifth. Yet
passagesnot treatedin a developmental manner
suggest that the composer was reluctant totally
to abandon the through-composed method of
the Second and Third Symphonies.
Ostinati play varying roles in Shostakovich's
first five symphonies, but it is in No.4 that the
powerful potential of the ostinato at climactic
points is first fully realized. During the first
culminating point in the third movement, the
repeated semiquaver figures in the upper
woodwinds, strings and xylophone create a
rhythmic urgency, making the material in the
remaining parts of the orchestra all the more
intense.19 This structural employment of the
ostinato becomes even more important in the
Fifth Symphony, where in the first movement
(measures188-204) the beginning of the ostinato
passage releases tension, but as the passage
continues it builds momentum. Furthermore,
this device has an expanded role in the latter
work, functioning as a unifying agent. The
opening of the development section (in the first
movement) presents an excellent case in point.
This area begins with the piano stating an
ostinato (derived from the closing theme of the
exposition) which serves to conjoin these
sections. When the horns enter in the development over the continuing pattern, Shostakovich
integrates the texture and thematic content to a
degreeunprecedentedin his earliersymphonies.20
Mahler'sinfluencepredominatesin the second
movement of the Fourth Symphony. The
meter, rhythmicstructuresand melodic contours
resemble those found in the LAndlersecond and
third movements of Mahler's Second Symphony (the Resurrection,I894). In fact the first
themes in the third movement of Mahler's
symphony and in the second movement of
Shostakovich's begin on the final beat of the
18Measure i61 in the third movement marks the
beginning of
a reference to a passage which commences at measure 799 in
the first movement.
19See measures 48-57.
20 This area includes measures I
17-125.

This content downloaded from 217.73.171.82 on Tue, 10 Nov 2015 14:39:53 UTC
All use subject to JSTOR Terms and Conditions

Shostakovich's
FifthSymphony:A SovietArtist'sReply...?

15

measure,containmuchlegatostep-wisewriting, lacking in Shostakovich's Fifth. Heroism, too,

and are initiallypresentedby a string section. was regarded as an ideal; perhaps its initial sucBoth of these movementsalso have numerous cess resulted from its so-called 'heroic finale'.22
passages with incessant semiquavermotion. For many years conductors have tended to
Members of the clarinetfamily are the first perform the last movement much faster than
non-stringinstrumentsto presentfirstthematic indicated. The finale, however, does not sound
areamaterialin eachof theseworks;moreover, 'heroic' if the metronome markings of the
a reference to Mahler's Second Symphony composer are followed. A major misconception
occurs in measuresIO8-I 2 of Shostakovich's poses further problems when considering the
second movement. The timpani and clarinet Fifth Symphony, for many musicians believe
writing seem to be modelled after the intro- that the composer initially referred to it as 'a
ductionto thethirdmovementofMahler'swork Soviet artist's creative reply to justified critic(in fact the same pitches are trilled by the ism'. Boris Schwarz points out that it is open to
clarinetsin both works). Not only do theabove question if Shostakovichactuallyused the words
areasinvoke a Mahlerianflavor, but the huge 'justified criticism', even though the quote has
orchestrarequiredfor Shostakovich'sFourth appeared in numerous western reports. The
suggestson its own the earliercomposer.E-flat deletion of the word 'justified' does not imply
clarinetsolos, often considereda characteristic any admission of guilt, but may suggest quite
of Mahlerianorchestration,appearfor the first the contrary.23 Indeed, the above problems
time in Shostakovich'sFourth,and laterin his suggest that other factors (aside from musical
Fifth.Indeed,the myriadeffectsachievedin the ones) hithertounaccountedfor, may have helped
Fourth Symphony may well be viewed as propel the Fifth Symphony into acclaim.24On
symbolic of Shostakovich'senthusiasmfor the the other hand there can be no doubt that the
wide variety of color and texture found in Pravdaattackmust have influencedShostakovich,
but the extent of that impact cannot be deterMahler'sscores.
The harmonic language also contributes mined. Nevertheless, one may ascertain that
greatly to the variedpaletteused on the orch- after Symphony No.2 the composer begins to
estral canvas. Extremely dissonantpassages, incorporate some conservative stylistic traits in
often independentof functionalrelationships, his symphonic works, and that Symphony No.5
characterizeseveralareasof the work, and yet representsthe culmination of his early years.
A four-movement design, incorporating
many traditionalcadentialpatterns(suchas the
dominant to tonic) abound. This dichotomy severaltraditionalformal principles,distinguishsuggests the composerattemptedto integrate es the Fifth Symphony's architecture. Here,
the harmonic idioms of the first three sym- Shostakovich returns to nmanyof the ideas used
phonies into a single framework.Not until in his First Symphony, but creates a work of
Shostakovich's Fifth Symphony, however, greater originality and depth. As in Symphony
would he be ableto createa successfulsynthesis No.I, the opening movement utilizes sonata
of many techniques used in his earliest principles, but key relationships occur more
symphonies. Though one may regardShosta- freely than in its predecessor, indicating a
kovich's Fifth as merely 'takingup where the compromise between his earlier tonal and
First left off,21 the Second, Third and Fourth

nontonal systems. The precise point of recap-

Symphonies must be viewed as significant itulation is ingeniously made ambiguous, a

works, for they functionedas compositional further indication of its flexibility.25 Shostaexperiments which thereforehelped him to kovich also handlestexturemore thoughtfully in
become a more skilful composerin his latter
22 Boris Schwarz, 'Shostakovich,
works.
Dmitry (Dmitriyevich)',
The Fifth Symphony of I937 immediately The New GroveDictionaryof MusicandMusicians,ed. Stanley
reinstated Shostakovich as the foremost Sadie(London:MacMillan, I980), Vol. XVII, p.267.
23 Schwarz, Music and MusicalLife, pp. I70-72.
composer of his generation, and has been 24
Indeednonmusicalfactorsappearto have createdmuch ofthe
acclaimedas a model of SocialistRealism.This
controversy surroundingLadyMacbeth;this opera also caused
assessmentis curiousbecausemuchof thework some agitation in Philadelphia. See
Royal S. Brown's 'The
appearscontraryin mood andstyle to whatthe Three Faces of Lady Macbeth' in Essaysfor Boris Schwarz,
Soviet authoritiesbelieveda symphonyshould Malcolm Hamrick Brown, ed. (Ann Arbor: UMI Research
be. The ideal symphony of the periodshould Press, 1984) pp.245-252.
havecontainedfolk musicandnationalistic
ideas 25Strong cases may be made for labelling the recapitulationat
21 Schwarz,

op.cit.,p.172.

either measure 243 or 259. This author prefers the latter, for
the tension created by the development begins to release here
more effectively.

This content downloaded from 217.73.171.82 on Tue, 10 Nov 2015 14:39:53 UTC
All use subject to JSTOR Terms and Conditions

16 Shostakovich'sFifth Symphony:A SovietArtist'sReply...?

the Fifth Symphony, where a polyphonic treatment of the first thematic area of the opening
movement helps to differentiate it from the
monophonic second thematic area. Contrasting
textural considerations, vivid in earlier works
but occasionally lacking structuralintegrity, are
now fully integratedinto the symphonic fabric.26
Much of the Fifth Symphony's success may
be attributed to the skilful manner in which
Shostakovich uses varying types of thematic
treatment. The great manipulation of motives
owes much to Symphony No. I, but the primary
themes of the Fifth's various movements are
not derived from the opening of the piece.
Rather, a greater coherence within each
movement makes for more effective contrasts
between movements. For example, the brilliant
motivic manipulations in the first movement
yield to the new thematic material which
Shostakovich presents in a nondevelopmental
mnannerin the second movement; this procedure
also helps to balance the multi-movement
design, recalling similar attempts from the Cello
Sonata, First and Fourth Symphonies. The
cogency of Shostakovich's thematic treatment
would not have come to fruition in the Fifth had
he not evaluated and reacted to the thematic
features of his First Symphony. Those angular
melodies and motivic peculiarities which
characterize areas of Symphonies 2, 3 and 4
clearly serve as catalysts for the development of
the mature compositional style inherentin No.5.
Orchestration, too, takes on great structural
significance. In the Fifth's first movement,
Shostakovich saves the piano, trumpets,
trombones, tuba, timpani, and percussion until
the development section. This inclusion of new
orchestral colors in the development makes it
possible to create furthercontrastswhich aid the
tension-creating process. Indeed Shostakovich's
affinity with Mahler, vividly presented in the
Fourth Symphony, touches the Fifth as well.
The absence of the brass in the third movement
allows these instruments' entrance at the
beginninlgof the fourth movement to give added
impact to the new material.27 Mahler used a

similar approach in his Fifth Symphony, by

scoring the fourth movement for strings and
harponly, prior to its rousing finale. In essence,
Shostakovich's Fifth draws upon a variety of
tone colors used in his earlier works, but
integratesthese colors into its design in a manner
unprecedentedin his earliersymphonies.
Principles of tonality fully govern the
harmonicprocessesof the Fifth Symphony. The
extreme incorporation of dissonance, which
characterizesseveral sections of the Second and
Fourth Symphonies, acquiesces in the Fifth;
nevertheless, Shostakovich uses tonality most
skillfully and imaginatively. Perhaps the most
outstanding example of harmony occurs in the
second thematic area of the first movement,
where the vertical sonorities operate within a
tonal context; yet much of this region defies
traditional 'Roman Numeral' analysis because
it contains chordal structures which extend
beyond familiar harmony. In effect, Shostakovich tempers the excessive dissonance of his
earlier symphonies and expands his harmonic
language, so that the Fifth demonstrates a
reconciliation of artisticliberty with traditional
form and content.
One must conclude that the Fifth Symphony
evolved from the earliersymphonies and Cello
Sonata. The First Symphony, the antithetical
reactions to it, and the compositional trends
present in the works intervening between
Symphonies I and 5 aresynthesized in the Fifth.
An analyticalreview of these pieces reveals that
the composerbegins to treathis musicalmaterials
in a more conservative manner after the radical
Second Symphony and, therefore, each of these
compositions has an important role in Shostakovich's development as a symphonist. Though
it would be a mistake to assume that the Pravda
attackon LadyMacbethof theMtsenskDistrictdid
not force the composer to reconsider the nature
of his musicallanguage, the effect of this incident
upon Shostakovich's Fifth Symphony has been
overemphasized. Certainly, it must be regarded
not only as a reaction to official criticism, but as
the result of a musical evolution as well.

26

Malcolil Hamlrick Brown, in 'The Symphonlies of Sergei

Prokofiev'(Ph.D. dissertation, The Florida State Uliversity,
Tallahassee, 1967), pp.435-37, feels that the textural contrasts
within the exposition of Shostakovich 5 may possibly have
served Prokofiev as a model for the opening of his Fifth
Sylmpholny(1946).

Schwarz notes the relationship of the Fifth Symphony's

coda to that of Mahler's First Symphony (movement four).
See MusicalandMusicalLJfe,p. 172.
27

This content downloaded from 217.73.171.82 on Tue, 10 Nov 2015 14:39:53 UTC
All use subject to JSTOR Terms and Conditions