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This is a slippery slope with Shostakovich...

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In Reply to: What is a version of the Shostakovich 5th that has a triumphant as opposed ot a"forced rejoicing" finale? posted by Iczerman on March 19, 2007 at 21:03:20:

Removing the "non-musical context" from ANY work by Shostakovich injects disagreement with regard to proper performance. Like with Mahler, it is unclear whether stripping the (proper?) emotion nullifies the message. I feel that it DOES NOT. So, I admire Bernstein in Mahler, but also Boulez. For Shostakovich, it doesn't always have to be "Russian", or histrionic or depressing. For the 5th, although I wouldn't describe it as "optimistic" -- more like neutral/powerful -- there is a nice recording by Levi on Telarc (coupled with the 9th Symphony) -- recently reissued at mid price. PLENTY of big bass when needed.

Follow Ups:

Yes...powerful is good! - Iczerman 07:55:59 03/20/07 (0)
Thanks!
It's simpler than that. - markrohr 07:21:27 03/20/07 (6)
All you have to do is observe the metronome mark.
While Shostakovich was still living, Celibidache wrote to him, asking if the MM (eighth-note = 176) was right or not--it seemed too slow even to Celibidache! He received a postcard from Moscow, unsigned, with one word on it: "Correct."
- Only partially true? Doesn't account for... - SE 08:12:07 03/20/07 (5)
  course, blaring brass and scraping violin tone -- which really sqeezes the last ounce of hell from the music...pacing apart.
  - Was talking about "slippery slope/non-musical context" - markrohr 08:57:25 03/20/07 (4)
    Thought you were, too.
    - Not sure what you mean... - SE 09:09:12 03/20/07 (3)
      Doesn't the "texture" of the instruments have as much to do with the emotion/message (or lack of it) as the pacing of the music?
      - Sorry, I was responding to a post that said - markrohr 10:12:57 03/20/07 (2)
        
        In Reply to: Not sure what you mean... posted by SE on March 20, 2007 at 09:09:12:
        
        "Removing the "non-musical context" from ANY work by Shostakovich injects disagreement with regard to proper performance."
        My point, apparently poorly made, was that whether or not there is or is not an extra-musical context we have an objective guide: the metronome mark.
        Shostakovich's marking *forces* the musicians to bring the extra-musical meaning to the fore--it's damn hard to sound joyful at an eighth-note = 176. Whether that results in "blaring and scraping" is pretty immaterial; neither are necessary for the performance to convey the composer's meaning.
        There is also a striking spatial metaphor in this ending. The strings are repeating a unison A over and over again, relentless and cold. They are like the bars of a giant cell, behind which the cowering masses "rejoice."
        
        Yes, thanks... - SE 10:38:18 03/20/07 (1)
        
        In Reply to: Sorry, I was responding to a post that said posted by markrohr on March 20, 2007 at 10:12:57:
        
        Your metaphor is terrific. Regardless of "how" music such as that is played, if the basic structure of the piece is adhered to the main point is made. Put another way, I'm not sure (even in my recommended performance) that I was completely convinced by the idea that ANY performance of the 5th could sound "triumphant, optimistic" -- I merely thought that "removing some of the (Russian?) idiosyncrasy" (and adding a little Telarc bass!;-) might be one answer.
        
        Gotcha. nt - markrohr 12:38:29 03/20/07 (0)
        
        In Reply to: Yes, thanks... posted by SE on March 20, 2007 at 10:38:18:
        
        .

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