A former wunderkind who had become instantly world-famous when he published his First Symphony at the age of 19, by 1936, when “Muddle” was published, Shostakovich was a composer at the peak of his powers and early maturity, possessed of a breadth of experience to match his talent, and with his confidence in full flower. Showing the new symphony to friends did not help. Vasily Petrenko's 2008 recording, with his Royal Liverpool Philharmonic Orchestra on Naxos, exemplifies this "forced rejoicing" interpretation extremely clearly. We can imagine how, without Pravda’s “just criticism,” he might have traveled further along that road. Berlioz: Symphonie fantastique Shostakovich wrote the music for over thirty films, including a science fiction melodrama, Aelita: Queen of Mars (1924). The music that follows suggests quiet remembrance of those who are gone. The movement begins with a string of march-like themes filled with swaggering attitude. In January 1936, halfway through this period, Pravda—under direct orders from Joseph Stalin —published an editorial "Muddle Instead of Music" that denounced the composer and targeted his opera Lady Macbeth of Mtsensk. Welcome to a special edition of Explore the Score. The greatest argument I’ve heard in favor of a triumphant ending is that “Testimony” was very possibly fabricated by Volkov (or at least skewed) in an effort to reimagine Shostakovich after his death. 3, Auricolae- The Double Album Listening Room, Ensemble Epomeo- Schnittke, Penderecki, Kurtág and Weinberg String Trios, Complete String Trios- Gal and Krasa Listening Room, Soaring and tender in its first incarnation in the violins, epeated by the violas, playing in an intentionally cruel register, building in intensity to a climax of apocalyptic intensity, solo violin playing flirtatiously over delicate harp and pizzicato accompaniment, he opens with a long paragraph for strings. Solomon Volkov’s Testimony, the controversial “Shostakovich memoirs” published in 1979, includes a passage that seems to embody a truth about the closing moments of the Fifth Symphony. Finally, other themes tentatively make their way back to the opening theme. Then Stalin himself went to a performance. 5 in D minor, Opus 47. Shortly after the premiere, Shostakovich published a short, highly opaque essay called “My Creative Response,” from which comes the Fifth’s epigraph ‘A Soviet artist’s practical, creative reply to just criticism.’ This title and the work’s traditional formal structure and direct musical language served to placate Stalin and the Party. "There are far more openings for new Shakespeares in today's world," he said, "for never before in its development has mankind achieved such unanimity of spirit: so when another such artist appears, he will be able to express the whole world in himself, like a musician.". With the Fifth Symphony, Shostakovich gained an unprecedented triumph, with the music appealing equally—and remarkably—to both the public and official critics, though the overwhelming public response to the work initially aroused suspicions among certain officials. Imagine my surprise some years later actually playing through the work (I was a double bassist at university) and discovering that the edition we played wasn’t the same as the edition National Symphony played! [11] Shostakovich slimmed down his musical style considerably from the superabundance of the Fourth, with less orchestral color and a smaller breadth of scope. In the 1930s, the Soviet Union reeled under the purges of Joseph Stalin. Shostakovich uses an immense orchestra in this work, requiring well over one hundred musicians. The next theme is derived from a folk song recognizable to the Soviet audience. I think it is clear to everyone what happens in the Fifth. I saw man with all his experiences as the center of the composition. An unidentified reviewer called it “a Soviet artist’s reply to just criticism,” a formulation subsequently accepted by Shostakovich and indeed often attributed to him. Conductor Kirill Kondrashin led the premiere of the orchestral version on 30 December 1961 with the Moscow Philharmonic Orchestra.
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