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Current time:0:00Total duration:8:51

Dmitri Shostakovich: Symphony No. 5. Analysis by Gerard Schwarz (part 4)

Video transcript

the finale last movement starts out with his aggressive trill and then the timpani Bam Bam Bam Bam pump I mean this is a March this is a diabolical March and the brass come in playing this March the strings take over then in fact they have the second part of this moment and just a cobra develops it right away he takes the material of the violins and material of the brass and he immediately makes that into a whole section on its own so he doesn't introduce more material he just takes that an imaginative way develops and incredibly until this new theme comes in and the new theme is played by the trumpet go after the trumpet states that that material grows and grows and then all of a sudden in the most positive expression this whole string section place that melody it's just a great it builds to a high pitch and then the company come in and then we have the first theme played by the trombones as a cannon so the trombones start and then the trumpets and horns come in and it leads to this great tremendous climax and what are we here but the same rhythm that we always hear this it's just a kobish accompanied with eventually the violence come in playing an accompaniment passage and the second theme is played in a very poignant way by the solo horn again one of the more beautiful horn solos in the repertoire we talked about the first theme and having a second part of the first theme during at the end of the horn solo the strings come in and they do a kind of a an extension is it's it's kind of a bridge and then they play that same melody that we heard but in an Augmented way very poignant very beautiful then the heart comes in and this kind of again suspended way and the timpani start in the snare drum and we hear the first theme the trumpet you know that started the movement but this time played very softly by the woodwinds as if it were from a distance it was there was from somewhere else and it done in a very different way / that eventually clarinets and oboes come in playing an accompaniment that are just all quicker notes and eventually the strings come in those eighth notes keep going and it starts to build to this triumphant ending so here is the the question for all of us what is this is it a very positive ending what you have is you have these repeated notes that we heard from the oboz holding on and going on and going on and then the material is in a major key but just the cobra's does it in a slow way it's not a fast ending he brings the timpani in just like the beginning of the movement but he has this repetition of this these noses going on forever at while the trumpets play and the timpani Bom Bom Bom Bom so the question is for so many of us is it a very positive ending well yeah it is or no it's not I'm from the no it's not group I find it to be as powerful and poignant as anything in a minor key would be there was a famous performance in the late 1950s of Leonard Bernstein did with the New York Philharmonic where he did the whole ending very fast not written that way but he did it that way and that sounds very positive there's no question if you do it really fast boom it's over and it's the great coda but if you do it the way he wrote it it has a whole different psychological poignancy that is quite a lot you