Dmitri SHOSTAKOVICH (1906-1975)
Symphony No. 5 in Dminor, Op. 47 (1937)
Documentary and performance by the San Francisco Symphony Orchestra/Michael
Tilson Thomas
rec. Davies Symphony Hall, San Francisco and the Royal Albert Hall, London,
2007 as part of the SFSO’s “Keeping Score” series, an in-depth look at works
from the classical repertoire.
SFS MEDIA 8 21936 0026 9 8 [109:08]
In 1936, Josef Stalin, the dictator of the Soviet Union, went to see a performance
of Lady Macbeth of Mtsensk, an opera by the golden boy of Soviet Music,
Dmitri Shostakovich. The young composer rushed to the theatre, hoping to bask
in the glory of Stalin’s approval, only to discover to his horror that the
communist leader had left in disgust after the first act. The next day, the
now infamous Pravda editorial entitled Muddle instead of Music,
which denounced Shostakovich as a composer of confusing, jarring noise
appeared. The composer went immediately from socialist darling to a man in
danger of his very life. Some believe that the only reason he was spared the
gulags was because Stalin was in love with a patriotic song that Shostakovich
had composed for a propaganda film some years earlier.
In a captivating hour of discussion, Michael Tilson Thomas plays heir to the
legendary Leonard Bernstein as he teaches a fascinating lesson in musical
analysis, political intrigue and biography. He dissects Shostakovich’s complicated
score, exposing the composer’s protest, cleverly disguised as an apology.
Did he compose a great patriotic score, or did he use every ounce of his genius
to speak for a people oppressed and living in constant terror?
Tilson Thomas makes a strong case for the latter by pointing out the many
subtle twists and turns of motif and harmony, revealing places where had Shostakovich
chosen something as minute as a single different note, the outcome would have
been completely different. In a well paced hour of discussion and musical
examples, Thomas not only presents an intelligent analysis of the score, but
gives us a good look into the complex and tragic life of one of the twentieth
century’s most significant musical figures.
Following the documentary, MTT leads the San Franciscans in a taut, well-paced
reading of the symphony from a 2007 appearance at the BBC Proms Concerts.
There is no shortage of drama in the boldly dissonant opening movement, yet
Thomas never resorts to the sort of extroverted emotionalism that was characteristic
of Bernstein’s later readings. The brief scherzo is delivered with appropriate
sarcasm, and then Thomas lowers the boom in this exquisite reading of the
hauntingly personal third movement. He places just enough hurt into the music
to make the bitterly ironic final movement come across as the nose-thumbing
that it really is.
Production values are outstanding throughout, but I was disappointed that
there was no documentation whatever in the booklet. Granted, Thomas tells
you everything you need to know in the hour long documentary, but it would
have been nice to have had some sort of outline to follow. This series would
be a great aid to teachers teaching entry-level music appreciation classes.
Kevin Sutton