Shostakovich Symphony No. 5 Mvt. IV?

Question

I am studying the score of Shosty's 5th and have listened to a number of recordings from different orchestras. Right before the soft string section about 3 1/2 minutes in, there is a triumphant 'dead end' if you will, where the entire orchestra is blaring a b-minor chord in eighth notes and every recording I've heard puts a ritard during that section, but there is NO indication by Shostakovich that there should be one other than what makes sense in ones' ear. I am a firm believer in sticking to what the composer wrote! But, to me, this ritard makes sense! Given, in this entire symphony there is little to no direction given on where/how to play expression other than an occasional "play expressively" Perhaps fear of being denounced by Stalin? A whole other topic. Anyways, should there be a ritard in this section? Thank you!

Answer 1

I appreciate the desire to be as true to the ink as possible, but if you're TOO literal, then you'd play all your Bach with no dynamics or articulations, and that seems like a bad idea. :-)



If you feel that a ritard makes musical sense there, and helps bring closure to that section of the piece, then take the ritard.



And then have fun deciding whether you want the "slow" or "fast" tempo at the ending of the movement. ;-)



(Also, I am quite certain that leaving out an expressive marking has absolutely nothing to do with fear of being "denounced" by Stalin. Keep in mind, DDS had already been "denounced" prior to writing this piece...)

Answer 2

Music literature is replete with cases where the composer wants a slight crescendo, a slight decrescendo, or a slight ritardando, but is afraid to ask for it.

The composer is afraid that the performer will overdo it, and the composer would rather have it not done than overdone.

Music teachers have told me something to the effect of "The composer is underestimating you! Show the composer that you can make a very slight (crescendo) (decrescendo) (ritardando) here and prove him wrong!"



There is a passage in the Verdi Requiem where the composer wants a pochissimo retard but was afraid to ask for it.

When Toscanini was recording the work, he sensed that that was what Verdi wanted, and he did it just right.

Verdi was pleased.



The usual place for a slight crescendo is in a melodic rise.

The usual place for a slight descresdendo is in a melodic fall.

The usual place for a slight ritardando is at the end of a section of a piece or an entire piece.

That seems to be true in this case.

Answer 3

An interesting question. There are several sections of this symphony where a performing 'tradition' seems to have developed, even though not always indicated in the score.



My immediate reaction was to refer to the conductor who led the very first performance of this work in 1938, was particularly associated with this work and who was Shostakovich's preferred interpreter of the 5th Symphony - Yevgeny Mravinsky. Even at the world premiere performance, the ritardando is there, suggesting it was sanctioned (even required) by the composer, but that it somehow was omitted from the score:

http://www.youtube.com/watch?v=CtU2MoV4TcA#t=40m10s



Mravinsky's view of the symphony remained consistent over the next 45 years:

http://www.youtube.com/watch?v=ih4i6-hnyB8#t=35m36s

http://www.youtube.com/watch?v=JczZsLIDFO8#t=37m27s



The ritard makes sense (but not too early; some more wayward conductors pull on the brakes far too soon) as it makes for a smooth transition into the new tempo of half note/minim = 80 at fig 112.

Answer 4

So basically I wasn't going to answer this because I am was just about to go to bed when I saw this.

BUT I saw your user name and you play oboe!!!!!! I play oboe too!! I am majoring in music performance on oboe... Anyway. Yeah. Us oboe players have to stick together, as there are far too few of us. :)



I played this piece in its entirety last year, and I am a firm believer in the retard. I feel that the piece simply needs the retard there to be complete. It may not be written, but I think that we as musicians are allowed to take musical liberty. It releases so much of the tension that builds up previously to that section. I picture the beginning half of the 4th movement as the fight. But then the retard is the climatic building which NEEDS the retard before the slow string section. So yeah, I like the retard; without it, the 4th movement would not be as much of a joy ride as it is to play and listen to.