Dmitri Shostakovich By Megan West

Dmitri Shostakovich

• By Megan West

Beginnings

• Dmitri Shostakovich was born in St. Petersburg, Russia.

• His entire family was musical

• He began taking piano at the age of nine and when he was 10, he was invited to play for the director of the St. Petersburg Conservatory.

Family life

• He was the middle child or three. The other two were girls.

• His father’s job provided them luxuries not many families at the time had.

• They owned a piano, two cars, a summer house, and had a nanny and a tutor.

Musical Beginning

• At age nine Dmitri started formal piano lessons.

• He had perfect pitch

• He was already composing at the age of eleven.

Musical Schooling

• In 1919, Aleksandr Glazunov recruited him for the Petrograd Conservatory

• He was trained in violin, composing and conducting

Life grows harder

• His father died in 1922

• He contracted tuberculosis and had an operation before his final piano exam.

Music, Life and School

• Shostakovich began his first symphony at age 17

• He had a brief affair with Tatyana Glivenko

• He was denied acceptance to his former conservatory

• He completed his first symphony at 19.

His music

• He had a very experimental dissonant textures and spare counter point musical style.

• His music was chastised by the Soviet government.

Personal life and musical criticism

• In 1932, he married Nina Varzar

• In 1936, his opera ‘Lady Macbeth’ was criticized by Stalin

• His first child, Galina, was born in 1936 and his second, Maksim, in 1938.

Crippling musical decrees

• The Communist Party passed a decree criticizing the works of many composers in 1942.

• Despite the criticism, he moved to Moscow and became a full professor at the Moscow Conservatory.

Freedom from Stalin

• Stalin died in 1953, and the criticized composers took to performing their banned works.

• However, his wife died of cancer in 1954, followed by his mother in 1955, he married Margarita Kavanova, but divorced her and contracted polio.

The last years

• He joined the Communist party in 1960

• He married Irina Supinskava in 1962

• He had a heart attack in 1966 and another in 1971

• He died of lung cancer on August 9, 1975 at the age of 65.

Symphony Number Five in D minor

The Piece

• Dmitri Shostakovich began the Fifth Symphony on April 18, 1937 and finished it three months later on July 20.

Russia

• The Communist government controlled every aspect of life for the composers and Shostakovich tried his best not to draw attention to him and his family.

Success after failure

• The Fifth Symphony was first performed in Leningrad, Russia on October 21, 1937

• Shostakovich complied with the government’s orders, but the Symphony was a big hit, nevertheless.

The Musical Style of the Piece

• Dmitri did not write the piece to please the government, as he infused a good deal of satire and parody in the piece.

• It has a completely different orchestral sound from the first four with dominate winds and broader themes and more emotion.

The Piece Itself

• It is about 45 minutes long

• It has four movements: Moderato, Allegretto, Largo and Allegro Non-Troppo.

• Musicians argue the first movement is a cry of despair brought on by the opposition of the Soviet government.

The Secret Meanings

• The government was highly unaware of the truth behind the music.

• The third movement of the piece is probably the most despairing piece of music ever written.

• It testifies of and is seen as a witness of one man’s struggle to escape the rule of a vicious tyrant.

A Closer Look

• Now we will take a closer look at the Fifth Symphony in D minor.

• http://www.rhapsody.com/player?type=undefined&id=tra.29479164&remote=undefined&page=undefined&pageregion=undefined&guid=undefined&from=undefined&__pcode=rcom

0:02 The Symphony opens with the Cello and Contrabass playing Theme 1 at a Mezzo Forte. 0:04 The Violins I and II come in with a round-like approach and follow the lower instruments melody. 0:16 The violins continue with the melody supported by the bass notes. 0:31 The violas appear, playing along with the Cello and Contrabass in a bridge that lasts a measure and a half. 0:36 The first violins come in with the melody that decrescendos slowly. 1:08 The bass and cello drop out and the violins continue playing the melody for another two measures. The melody they play is minor with a very disjunctive and atonal center. 1:15 The first violins stop playing the melody as the second violins come in with a tremolo at piano. 1:18 The oboes play theme II at mezzo piano while the violins continue tremolo and the cello and bass pizzicato a counter melody.

• 0:02 The Symphony opens with the Cello and Contrabass playing Theme 1 at a Mezzo Forte. 0:04 The Violins I and II come in with a round-like approach and follow the lower instruments melody. 0:16 The violins continue with the melody supported by the bass notes. 0:31 The violas appear, playing along with the Cello and Contrabass in a bridge that lasts a measure and a half. 0:36 The first violins come in with the melody that decrescendos slowly. 1:08 The bass and cello drop out and the violins continue playing the melody for another two measures. The melody they play is minor with a very disjunctive and atonal center. 1:15 The first violins stop playing the melody as the second violins come in with a tremolo at piano. 1:18 The oboes play theme II at mezzo piano while the violins continue tremolo and the cello and bass pizzicato a counter melody.

1:30 The second violins play theme I at mezzo forte and are joined by the violas, cellos and bass. 1:50 The first violins play a variation of theme II and are supported by the second violins and violas. 2:31 The melody ascends and increases to a forte at it's climax. 2:35 The melody descends and decrescendos 2:37 The melody hits a piano dynamic. 2:48 The first violins play an extremely high note while the second violins play a melody similar to that of the first theme. 2:54 The fist violins resume playing the melody 3:09 The oboe begins the melody by playing an ascending scale while the clarinet supports it with a lower melody played at a piano dynamic.

• 1:30 The second violins play theme I at mezzo forte and are joined by the violas, cellos and bass. 1:50 The first violins play a variation of theme II and are supported by the second violins and violas. 2:31 The melody ascends and increases to a forte at it's climax. 2:35 The melody descends and decrescendos 2:37 The melody hits a piano dynamic. 2:48 The first violins play an extremely high note while the second violins play a melody similar to that of the first theme. 2:54 The fist violins resume playing the melody 3:09 The oboe begins the melody by playing an ascending scale while the clarinet supports it with a lower melody played at a piano dynamic.

3:23 The violins repeat the theme heard at the beginning of the piece with a support of ascending five-note scales in the cellos. 3:38 The brass instruments, specifically the oboes, play the theme II melody while the coronets I and II play an echo of the oboe in chords. 4:01 The first violins and the flutes play a series of high E's while the coronets, trombones, second violins, violas and cellos play essentially the same ascending scale in quarter notes. 4:04 The violins and flutes play an almost fanfare-like melody while the supporting instruments change from a minor key to a major key. 4:14 The key once again changes from major to a very discorded minor characterized by atonal chords and bizarre rhythms. 4:25 The melody once again returns to as it was in the beginning with the cello and bass copying the melody set by the violins and violas. 4:34 The brass section once again comes in with the melody at a piano dynamic. 4:46 The string instruments minus the first violins play a pattern of quarter, eighth, eighth, quarter notes at a piano dynamic.

• 3:23 The violins repeat the theme heard at the beginning of the piece with a support of ascending five-note scales in the cellos. 3:38 The brass instruments, specifically the oboes, play the theme II melody while the coronets I and II play an echo of the oboe in chords. 4:01 The first violins and the flutes play a series of high E's while the coronets, trombones, second violins, violas and cellos play essentially the same ascending scale in quarter notes. 4:04 The violins and flutes play an almost fanfare-like melody while the supporting instruments change from a minor key to a major key. 4:14 The key once again changes from major to a very discorded minor characterized by atonal chords and bizarre rhythms. 4:25 The melody once again returns to as it was in the beginning with the cello and bass copying the melody set by the violins and violas. 4:34 The brass section once again comes in with the melody at a piano dynamic. 4:46 The string instruments minus the first violins play a pattern of quarter, eighth, eighth, quarter notes at a piano dynamic.

4:49 The first violins play a melody line similar to that of the second theme. 4:54 The key changes from minor to major as a result of the melody played by the first violins. 5:26 The flute plays the melody of the first violin at a lower pitch and volume. 5:33 The dynamic of the supporting strings increases to a forte. 5:51 The violas take over, playing the melody in a division of high half notes and low eight notes at a piano dynamic. 5:58 The cellos echo the viola melody. 6:23 The melody decrescendos to a pianissimo 6:29 The brass section once again plays a supporting chord of half notes at pianissimo.

• 4:49 The first violins play a melody line similar to that of the second theme. 4:54 The key changes from minor to major as a result of the melody played by the first violins. 5:26 The flute plays the melody of the first violin at a lower pitch and volume. 5:33 The dynamic of the supporting strings increases to a forte. 5:51 The violas take over, playing the melody in a division of high half notes and low eight notes at a piano dynamic. 5:58 The cellos echo the viola melody. 6:23 The melody decrescendos to a pianissimo 6:29 The brass section once again plays a supporting chord of half notes at pianissimo.

6:36 The flute begins a solo at a piano dynamic. 7:05 The violin I begin to play with the flute melody. 7:11 The second violins, cellos and bass tremolo in unison. 7:16 The music increases in dynamic and tempo in preparation for the climax of the phrase. 7:19 The climax is reached by the first violins and flutes. The melody begins to decrescendo. 7:23 The oboe begins a solo

• 6:36 The flute begins a solo at a piano dynamic. 7:05 The violin I begin to play with the flute melody. 7:11 The second violins, cellos and bass tremolo in unison. 7:16 The music increases in dynamic and tempo in preparation for the climax of the phrase. 7:19 The climax is reached by the first violins and flutes. The melody begins to decrescendo. 7:23 The oboe begins a solo

7:43 The cello and contrabass begin a pattern of long-short-short-long notes similar to those played by the lower string instruments at 4:46. 7:46 The violas play the melodic line 8:17 The melody line switches from the violas to the cellos. 8:20 The melody switches from the cellos to the bass and decrescendos. 8:21 The piano is introduced playing an ascending version of the melody that just descended through the lowest string instruments. 8:24 The coronet once again plays a supporting melody derived from theme II while the piano continues the melody. The whole is at a mezzo forte. 8:33 The piano begins to ascend in melody. The coronets stay forte playing half notes and whole notes.

• 7:43 The cello and contrabass begin a pattern of long-short-short-long notes similar to those played by the lower string instruments at 4:46. 7:46 The violas play the melodic line 8:17 The melody line switches from the violas to the cellos. 8:20 The melody switches from the cellos to the bass and decrescendos. 8:21 The piano is introduced playing an ascending version of the melody that just descended through the lowest string instruments. 8:24 The coronet once again plays a supporting melody derived from theme II while the piano continues the melody. The whole is at a mezzo forte. 8:33 The piano begins to ascend in melody. The coronets stay forte playing half notes and whole notes.

8:45 The trombone plays a descending contour similar to the melody of theme I. The piano is diminished to a piano dynamic, the coronet to a mezzo piano. 9:00 The cello and bass begin to play the same rhythm as the piano at a different pitch in pizzicato. 9:04 The flute, clarinet and oboe play the same ascending melody at a forte as the piano, cello and bass continue the staccato supporting melody. 9:19 The violins and violas play an ascending melody at forte. 9:22 The violins begin to descend and decrescendo in the melodic line.

• 8:45 The trombone plays a descending contour similar to the melody of theme I. The piano is diminished to a piano dynamic, the coronet to a mezzo piano. 9:00 The cello and bass begin to play the same rhythm as the piano at a different pitch in pizzicato. 9:04 The flute, clarinet and oboe play the same ascending melody at a forte as the piano, cello and bass continue the staccato supporting melody. 9:19 The violins and violas play an ascending melody at forte. 9:22 The violins begin to descend and decrescendo in the melodic line.

9:32 The violas begin a supporting melody of eighth notes as the brass section plays the same rhythmic ascending melody. The whole is forte. 9:38 The violins once again take the melody as the dominant instrument in the group playing a really dissonant and disjoint melody. 9:45 The violins switch to a supporting melody of eighth notes and the brass section takes the melody. The whole is forte. 9:54 The brass section begins a trumpet march and the violins play the melody, all at a forte 10:03 The trumpet melody switches to the violins and the brass section begins to play the melody.

• 9:32 The violas begin a supporting melody of eighth notes as the brass section plays the same rhythmic ascending melody. The whole is forte. 9:38 The violins once again take the melody as the dominant instrument in the group playing a really dissonant and disjoint melody. 9:45 The violins switch to a supporting melody of eighth notes and the brass section takes the melody. The whole is forte. 9:54 The brass section begins a trumpet march and the violins play the melody, all at a forte 10:03 The trumpet melody switches to the violins and the brass section begins to play the melody.

10:14 The contrapuntal scheme of the piece is really evident as the brass plays a swinging melody, the lower strings play a simple quarter note and eighth note melody and the higher strings play a quick melody similar to that of the swinging brass section. The whole is, once again, loud. 10:26 The climax of the piece is reached as the symbols clash, the swinging melody stops and the dynamic drops to mezzo forte. The trombone play theme I and the snare drum plays a repeating pattern. 10:57 The higher strings play an ascending variation of theme II. 11:01 The cello and bass play quarter notes at a forte while the violins play eighth and sixteenth notes at a mezzo forte. 11:15 The descending melody is played by both the strings and brass section. The dynamic does not change. 11:24 The recapitulation of theme II occurs in the strings and brass at a forte. 12:05 The melody starts to decrescendo.

• 10:14 The contrapuntal scheme of the piece is really evident as the brass plays a swinging melody, the lower strings play a simple quarter note and eighth note melody and the higher strings play a quick melody similar to that of the swinging brass section. The whole is, once again, loud. 10:26 The climax of the piece is reached as the symbols clash, the swinging melody stops and the dynamic drops to mezzo forte. The trombone play theme I and the snare drum plays a repeating pattern. 10:57 The higher strings play an ascending variation of theme II. 11:01 The cello and bass play quarter notes at a forte while the violins play eighth and sixteenth notes at a mezzo forte. 11:15 The descending melody is played by both the strings and brass section. The dynamic does not change. 11:24 The recapitulation of theme II occurs in the strings and brass at a forte. 12:05 The melody starts to decrescendo.

12:19 The string instruments play the melody in synchronization at a forte. 12:35 The timpani plays an increasing drum roll until the climax of the phrase. 13:13 The brass section plays the melody at a forte. The timpani supports the instrument, also at a forte. 13:20 The whole begins to decrescendo. 13:36 The piece takes on a major tone, the strings play the supporting melody, and the tempo is increased. The dynamic of the whole is mezzo piano. 13:38 The flute begins a solo at mezzo forte. 13:43 The coronet supports the flute solo. 14:07 The key changes from major to atonal minor again.

• 12:19 The string instruments play the melody in synchronization at a forte. 12:35 The timpani plays an increasing drum roll until the climax of the phrase. 13:13 The brass section plays the melody at a forte. The timpani supports the instrument, also at a forte. 13:20 The whole begins to decrescendo. 13:36 The piece takes on a major tone, the strings play the supporting melody, and the tempo is increased. The dynamic of the whole is mezzo piano. 13:38 The flute begins a solo at mezzo forte. 13:43 The coronet supports the flute solo. 14:07 The key changes from major to atonal minor again.

14:22 The clarinet plays an ascending scale that leads into the next section. 14:24 The clarinet takes over the melody with the flute as a support. The strings continue to play at a piano, and the two instruments with the melody play at a mezzo piano. 14:39 The strings cease to play The oboe and clarinet compliment each other in a solo. 15:32 The violas play the melody with the clarinets. 15:54 The violas play the melody with the cellos and the bass supports with a held whole note. 16:00 The flute once again begins a solo at piano. The melody it plays is an inverted version of theme I.

• 14:22 The clarinet plays an ascending scale that leads into the next section. 14:24 The clarinet takes over the melody with the flute as a support. The strings continue to play at a piano, and the two instruments with the melody play at a mezzo piano. 14:39 The strings cease to play The oboe and clarinet compliment each other in a solo. 15:32 The violas play the melody with the clarinets. 15:54 The violas play the melody with the cellos and the bass supports with a held whole note. 16:00 The flute once again begins a solo at piano. The melody it plays is an inverted version of theme I.

16:31 The first violin plays an almost indistinguishable ascending scale. The melody in the lower strings grows to a mezzo piano. 16:56 The cello and bass play the melody heard at the beginning at pianissimo. 17:19 The celesta plays the first ascending scale, supported by tied eighth notes in the string section and held whole notes in the brass section. The whole is at a pianissimo. 17:25 The celesta plays the second ascending scale, the music is slowing and growing softer. 17:30 The brass section plays a final two note tribute to theme I, the celesta begins it's final ascending scale.

• 16:31 The first violin plays an almost indistinguishable ascending scale. The melody in the lower strings grows to a mezzo piano. 16:56 The cello and bass play the melody heard at the beginning at pianissimo. 17:19 The celesta plays the first ascending scale, supported by tied eighth notes in the string section and held whole notes in the brass section. The whole is at a pianissimo. 17:25 The celesta plays the second ascending scale, the music is slowing and growing softer. 17:30 The brass section plays a final two note tribute to theme I, the celesta begins it's final ascending scale.

Citations

• Music Files Ltd, “Dmitri Shostakovich – an overview of the classical composer”. 1999-2000. Autonomous Nonprofit Organization "Russiapedia: Those Russians" 2005-2010. Fay, Laurel E. “Shostakovich: A Life.” New York: Oxford University Press, 2000. Simms, Bryan R. Music of The Twentieth Century. New York: Schirmer Books, 1986 Grout, Donald J. A History of Western Music. New York: W. W. Norton & Company, Inc. 1980 Clavier. “Dmitri Shostakovich” Piano Explorer March 2009

• Shostakovich(?) and Volkov, Testimony: The Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov, translated from the Russian by Antonina W. Bouis Harper & Row Publishers, New York, 1979 Kuenning, Geoff “Shostakovich: Symphony No. 5 in D Minor” Geoff Kuenning. 1997 Brown, Royal. “Dmitri Shostakovich, Symphony No. 5 op. 47” Shostakovich Symphony No. 5 Leonard Bernstein, New York Philharmonic

• Amazon. "Amazon.com: Shostakovich: Symphony No. 5 in D Minor, Op.47 / Ballet Suite No. 5 from "The Bolt" Op. 27A - Neeme Järvi /…." Amazon.com: Online Shopping for Electronics, Apparel, Computers, Books, DVDs & More. Web. 17 July 2010. .

• Clipart taken from the following websites:

• http://www.imajlar.com/free_clipart/music_clipart/music_clipart_violin.gif

• http://homework.syosset.k12.ny.us/teachers/hdolgon/cartoon%20piano%202.jpg

• http://rlv.zcache.com/piano_music_abstract_poster-p228687800422897017trma_400.jpg

• http://4.bp.blogspot.com/_MW3ctWr3AJ0/SuZb0m7hwAI/AAAAAAAAAAQ/ae0umY6N1c0/s1600-R/music-notes.jpg

• http://www.wseas.org/conferences/2009/russia/m01.jpg

• http://www.corrieblog.tv/1111699916gravestone.gif

• http://www.monsalvat.no/composing.jpg

• http://thumbs.dreamstime.com/thumb_191/11913579816y0LgZ.jpg

• http://store.drumbum.com/media/music-tray-piano-keys.jpg

• http://www.istockphoto.com/file_thumbview_approve/6083905/2/istockphoto_6083905-piano-keys-and-golden-notes.jpg