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Carrying on from here.

Other threads in The Old Place:

Celebrating Shostakovich!


Shostakovich, what about this set?

Shostakovich and Prokofiev

Anybody watched "Testimony"?

And, what the hey:

Boris Tishchenko!!!!!!!!!!!!!!!!!!!!!

I love the 5th with all my heart.  (Not as much as #10, mind you), but I just finished listening to it again, and I came to realize again that the last moments of the 1st movements are nearly the most spooky and frightening parts of the whole symphony.  And I also love the 3rd movement, but it's frightening in a different sense I think. 


--- Quote from: Haffner on April 10, 2007, 03:25:03 AM ---Buona Mattina, Maestro Karl! Do you ever feel even in the least a bit gloomy, listening to such sometimes-infinitely-dark Shostakovich pieces?

--- End quote ---

Although, when I am in the mood for lighter-toned music, Shostakovich will not do . . . in general, I think of the difference, for example, between (say) Giotto and Rembrandt:

The tone-scale of Rembrandt tends always to be darker than, well, a number of other artists/styles/epochs, but the message is still one of Light.

With Shostakovich, on the other hand, it would be much overstepping bounds to consider the ‘message’ of his music a matter of Light.  Still, in the quartets he was more at musical liberty than in the more public works (and I speak as one who loves the great majority of the symphonies, for instance);  these, at least, are fifteen pieces in which the composer is thinking pretty much only of his Muse, and the four players.


--- Quote from: Ring_of_fire on April 09, 2007, 02:51:18 PM ---I love the 5th with all my heart.  (Not as much as #10, mind you)

--- End quote ---

This is one reason (of many) that I admire Shostakovich so much. The casual reaction to a composer after Beethoven who has written 15 symphonies is, perhaps, to suppose that the writing of a symphony becomes somehow 'mechanical'.  But Shostakovich (notwithstanding the 'family resemblance' of materials which sometimes connects different pieces — such as "Macpherson Before His Execution" from the Six Romances on Verses of English Poets, Opus 62 and "Humour" from the Thirteenth Symphony 'Babi Yar') never wrote the same piece twice, and the difference in profile between even consecutive symphonies (the Fourth and Fifth being, understandably, perhaps the most dramatic examples) is striking, and telling.


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