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01-Auswärts Dresdner Philharmonie : 18.05.2018
Titel
01-Auswärts
Erscheinungsdatum
2018-05-18
Sprache
Deutsch
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Philharmonie Dresden
Digitalisat
Philharmonie Dresden
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SLUB Dresden
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Urheberrechtsschutz 1.0
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Freier Zugang - Rechte vorbehalten 1.0
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urn:nbn:de:bsz:14-db-id880545186-20180518016
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http://digital.slub-dresden.de/id880545186-2018051801
OAI-Identifier
oai:de:slub-dresden:db:id-880545186-2018051801
Sammlungen
Projekt: Bestände der Philharmonie Dresden
Musik
LDP: Bestände der Philharmonie Dresden
Performance Ephemera
Saxonica
Strukturtyp
Ausgabe
Parlamentsperiode
-
Wahlperiode
-
Ephemera
Dresdner Philharmonie
Jahr
2017/2018
Monat
2018-05
Tag
2018-05-18
Ausgabe
01-Auswärts
-
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01-Auswärts Dresdner Philharmonie : 18.05.2018
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http://digital.slub-dresden.de/id880545186-2018051801/11
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Dmitri Shostakovich (1906 -1975) Symphony no. 5 in D minor, Opus 47 (1937) We can marvel at the purely musical mastery in the Fifth, how tender musical themes presented at the start of the first movement are transformed into brutal marches in the central development. His use of the orchestra remains distinctive, the brutality of the central section emphasized by the use of low braying horns, playing well out of their comfort zone. Shostakovich's admiration for Mahler is strikingly evident throughout the Fifth, and no more so than in the second movement with its echoes of similar dances that are such a distinctive part of the Mahlerian sound-world. Any suggestions of irony or ambivalent emotions are completely absent when we reach the third movement Largo, the heart of the Fifth, its tragic lament in the key of F sharp minor. It is fully understandable why many present at the work's premiere in November 1937 wept openly when hearing this music. Shostakovich showed himself to be truly in tune with the feelings of the people who had all been affected by anxiety, fear and loss during the Great Terror. The coarse Interruption of the Finale completely shatters the mood of the preceding Largo, but prepares the way well for the conclusion of this dramatic Symphony; it Starts with excitement and brutal energy, before giving way to the central reflective section that culminates in the aforementioned Pushkin Quotation. And so to the ending. Volkov has already quoted Shostakovich allegedly referring to the forced celebration at the coronation scene in Mussorgsky's Boris Godunov. But there is a Russian tradition of ambivalent endings and most markedly so with Tchaikovsky: Tchaikovsky's explanation (in a letter to Nadezhda von Meck) of his Fourth Symphony's finale is strangely apt for Shostakovich: 'The fourth movement. Ifwithin yourselfyou find no reasons forjoy, look at others. Go among the people. Observe how they can enjoy themselves. Surrendering themselves wholeheartedly to joyful feelings. A picture offestive merriment of the people... 0, how they are enjoying themselves, how happy they are that all their feelings are simple and directl... Rejoice in others' rejoicing. To live is still possible.' (letter to Nadezhda von Meck, 1877, as quoted in David Brown's Tchaikovsky, Volume II: TheCrisis Years). And one cannot help hearing that the Finale of Tchaikovsky's Fifth sounds similarly forced in tone, Tchaikovsky himself expressing his dissatisfaction with it on several occasions afterwards because of its questionable authenticity. Shostakovich's Fifth culminates with a combination of woodwind and strings playing the dominant note A no less than 252 times. After 1979, the Interpretation of these repeated notes has changed dramatically. Rostropovich slowed down markedly with subsequent performances: his 2002 recording of the Finale with the LSO taking 2Vi minutes longer than Mravinsky's 1975 performance, the extra time largely as a result of Rostropovich's interpretation of these final bars. This reflects his view that 'the strident repeated notes at the end ofthe symphony are like the stabbing Strokes ofa spear thrust into the wounds ofa tormented man'. Alternatively, we might also hear echoes of the closing bars of Mahler's Third Symphony with the same slow thumping out of the tonic-dominant D and A on timpani taking us to the conclusion. Perhaps this too reflects Shostakovich's hope for the ultimate victory of love, with its memories of Mahler's depiction of'What Love Teils Me'. It will always be very difficult to separate this great Symphony from its political associations, but its triumph of personal survival in challenging circumstances will surely continue to resonate. ©Timothy Dowling, September 2016
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