Engagement in business offends our finer feelings. And besides a "second-hand" score of this work would be by definition unclean. The sum of £7 moreover would feed a family of four for a month in the best parts of the world. Which is to say in summary that we could not possibly consult the score until such time as some one presents us it as a gift.

We intend to address Mr. Sudden's stimulating and insightful analysis (message 431) somewhat later after we have ourselves listened several more times to the symphony and Shonkicovitch's ethos has burrowed its way into the recesses of our memory.

In his profound and masterly book "The Art of the Player-Piano" the famous critic and theorist Sydney Grew tells us that "Emotional and æsthetic appreciation of music is safe and sound only when controlled by intelligent understanding of the form of music. The proposition is true of any art; but it is particularly true of the art of music, because music is, by nature, something which occupies successive fleeting moments of time and which has for subject-matter not an intellectually apprehensible thought or a visible object but a subtle, mentally intangible, mood or phase of feeling. Music, therefore, must itself be clear in form, and its performance must be architecturally stable, if it is not to appear rambling at the best and chaotic at the worst. Architecture and Form mean balance and proportion. A piece of music is a balanced rhythmical movement round a certain centre."

Therefore in accordance with Grew's wise advice and suggestion our second hearing (a description of which should appear here within a few days) will be devoted to the establishment of the form of this three-week work. We intend to be on the look-out this time for breaks between movements, repeated tunes and snatches, little mottos or motifs, and all sorts of things like that! At the same time we might make a preliminary guess as to the mood or burden of the work: what (if anything) it is intended to convey - but the details of that would be best left until our third hearing.

The Warner Rostropovich/Shostakovich Symphonies set, plus the Catalyst Shostakovich Piano Quintet/Ustvolskya Octet, 5th Symphony, etc. CD arrived today. When can I get to listen to them? Where will it all end? What do I do with the single CD of the Rostropovich/LSO 10th, (Warner elatus), now removed from my shelves as surplus to requirements?

Almost certainly. I already have one though... 

I mean whoever has the (c)opyright on the masters, Bryn...  Warner, or EMI, or whoever the rights may have been sold-on to?  I believe there are in fact two Rostro recordings of the sonata - and neither is available

SHOSTAKOVICH SYMPHONY NO. 8 – FIRST MOVEMENT

- a personal view
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Britten and Shostakovich – great friends – had something in common: they both responded artistically to the events of the Second World War. Britten’s War Requiem parallels Shostakovich’s trilogy of “War Symphonies” (7-9). In this regard, I take cognisance of two lines from the poetry of Wilfred Owen:

a) “The pity of war”
b) “all a poet can do is warn”

Some elements of Britten’s War Requiem seem to echo thoughts in Shostakovich’s 8th Symphony, whose First Movement is discussed here.
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Overall Form of Movt. 1
As a symphonic first movement, it falls (as usual) into three sections; but they are not the conventional ones. Instead of an “Exposition”, “Development”, and “Recapitulation” I note the following structure:

a) Introduction (bars 1-144)
b) Development (bars 145 – 300)
c) Closing Section (bars 300 – 404)

As such, the third section is not a “restatement” of the first (even though all its themes reappear); and the “Development” is not concerned only with developing the themes presented in the Introduction. In fact, it would be better to designate the sections as Prologue, Discourse and Epilogue.

However, since the subject is “War” (and the themes reflect this), it might be more useful to use the pugnacious terms “Preparation”, “Conflict” and “Aftermath” as descriptions for the three successive sections of the movement.

General Overview

The movement does not seem to rely upon tonal structure in the “Classical” sense, but more upon the tension between “diatonic” and “chromatic” writing. It will be shown that the opening theme (depicting war) is angular, chromatic and regimentally rigid in its rhythm; while the other themes presented are essentially diatonic, lyrical and flowing. (“Diatonic” here includes modal as well as tonal writing.) The rhetoric thus presented forms a clear distinction and dichotomy in the opening section. In the Second Section (Development/Discourse/Conflict) the “war” motif literally invades the other themes, and subverts them. They are both presented “as if” they conformed to the pugnacious qualities of the “war” theme, and become progressively subverted and subdued by it. Towards the close of Section 2, the completely overpowering force of the “war” theme takes absolute control. In Section 3 (the Closing Section/Epilogue/Aftermath) the solo Cor Anglais begins a long, plaintive Arioso. It seems to have lost sight of all the themes it previously uttered, and to be searching for them again. It gives up, unable to rediscover them. Underpinning its plight, as if to suggest total fright, is a relentless tremolo in the strings. As it almost rediscovers the beautiful Theme 2 previously heard in the First Section, it dies away (not to be heard again). The strings complete this sought-after restatement, but not without the pugnacious War Motto theme intruding. The movement ends peacefully, but with a feeling that the peace is uncertain, short-lived and certainly not in any way “won”.
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Section 1: Prologue /Preparation

This opens with an angular, chromatic, and dogmatically rhythmic theme in the strings, consisting of two parts: a) and b). They are pronounced initially in two-part counterpoint, and can be seen in EXAMPLE 1. As the work unfolds, these two Motto Themes become concatenated into a single melody, though at times they also work independently.

As the Motto theme dies away, the heavy rhythms and chromatic harmonies give way to a gentle, diatonic melody conveying lyricism and peace, but with a certain restless expectancy. Symphonically, this is THEME 1, as seen in EXAMPLE 2. This short statement is interrupted by the reappearance of the Motto Theme, first in the bass strings, and then in the higher strings (EXAMPLE 3), and Theme 1 then takes on the chromatic and rhythmic qualities of the Motto Theme as the woodwind take over from the strings.

After a brief reassertion of the dissonant chromaticism and quality of the Motto Theme – reaching a crescendo in the high woodwind – the music is then steered to a new tonal centre (E minor). The arrival of a gentle 5/4 pulse heralds the appearance of THEME 2 (again in the upper strings). This can be seen in EXAMPLE 4. As this gentle theme is restated at bar 83, an important rising-scale melody is added (please see EXAMPLE 5). This rising figure becomes organic, as can be seen in EXAMPLE 6where it is then taken up as a canonic counterpoint against a further statement of THEME 2 itself. This counterpoint becomes chromatic (resembling that of the Motto Theme), and works in opposition to the still-diatonic THEME 2, thus creating a tension and unrest. After further chromatic statements of this rising scale the diatonic stability returns – this time in Eb minor – to restate THEME 2 at bar 134 (see EXAMPLE 7). The restatement dies away at bar 144 to become a counterpoint to the re-emergence (at bar 145) of the Motto Theme heralding:

Section 2: Discourse/Conflict

The Motto Theme returns in the flutes at bar 145, this time both a) and b) components are united into a single intrusive theme (see EXAMPLE 8). This Section of the work is all about the imminent “Conflict”, and the ways in which the Motto Theme reasserts itself and subverts the two ideas of THEMES 1 and 2 presented in Section 1. As the pugnacious pace increases, the timpani and side drum soon enter, together with a perverted and metamorphosed version of THEME 1 heard in the strings and woodwind at bar 166. (Please see EXAMPLE 9).

After a number of “mock” fanfares and gathering pace, THEME 1 is further perverted – this time in diminution and canon – in the woodwind, trombones and lower strings at bar 183 (please see EXAMPLE 10).

The horror continues, with mounting tension, until bar 186. Here, inevitably, THEME 1 is now also subjected to diminution and canon, this time by the trombones (please see EXAMPLE 11). The jarring rhythms and chromatic melodies surrounding this perverted statement continue to mount in intensity and power. At bar 193 both THEMES 1 and 2 are wiped out completely, and the Motto Theme takes complete command a bar later. Here, both Motto a) and b) are again concatenated into a single overbearing melody in the brass (please see EXAMPLE 12).

Almost immediately (at bar 197) the pace quickens to “Allegro non troppo”, and the Motto Theme itself becomes perverted as a fast-moving accompaniment in the strings, against harsh chromatic lines in the surrounding instruments (please see EXAMPLE 13). Against this assertive and corrupt version of the Motto Theme, the woodwind soon enter (bar 205) with a highly perverted version of THEME 1, whose first phrase is developed in diminution and chromatics against the perverted accompaniment of the Motto Theme (please see EXAMPLE 14).

Within a few bars, the horns and violoncelli enter (bar 215) with a further corrupted version of THEME 2, again using chromaticisms alien to its first appearance in Section 1 (please see EXAMPLE 15). This is repeated a number of times until bar 231 where a new horror emerges!

At bar 231, the pace quickens still further (“Allegro”), and the effect becomes that of a highly banal MARCH – one whose musical banality somehow seems exactly to match (in my view) the complete banality of a goose-stepping army (whether belonging to Stalin, Hitler, or anyone else!). At this point, the serenity of the original THEME 1 is now converted into a goose-stepping militaristic parody, first alone, then in canon (please see EXAMPLE 16).

The second Section (“Conflict”) reaches its ultimate and terrifying horror at bar 283. Here, rather like an artillery or arial bombardment, heavily exploding percussion herald (and then punctuate) the ultimately ALL-POWERFUL ASSERTION of the COMPLETE MOTTO THEME in the brass (with shrieks of horror in the strings and woodwind). This is shown in EXAMPLE 17.

Section 3: Conclusion/Aftermath

At bar 301, a solo, highly plaintive cor anglais begins a long Arioso passage (somehow akin to that which Britten used in the concluding part of his War Requiem leading to the final “Let us sleep now” chorus). It seems itinerant, sometimes diatonic, and sometimes chromatic. It is searching for something lost. It moves through diverse keys in search of something that has been removed. There are echoes of the Motto Theme in its use of angular major 7ths, but also reminiscences of diatonic melodies that need to be re-identified. (Please see EXAMPLE 18.) It wonders alone, above shimmering strings that suggest fear and trembling, not seeming to know where to go. BUT…

At bar 327 it finds some guidance: in one of Shostakovich’s many examples of superbly-crafted orchestrations the poor solo cor anglais is joined (in unison) by the oboes and clarinets. They carefully enter, one by one, then depart discreetly (also one by one), hoping to have been of some help in guiding the solo cor anglais to regain its strength and direction (please see EXAMPLE 19).

At bar 339, the cor anglais seems to find an approximation (though not a clear one) to THEME 2 (with the correct string accompaniment), but then gives up at bar 350. It takes no further part in the movement. The “correct” restatement of THEME 2 is then provided by the strings alone (please see EXAMPLE 20). Notable is the non-participation of the solo cor anglais, even though it WAS present at the corresponding place in Section 1.

As THEME 2 runs out in the strings, the final phrase (Vln 1) reverts (almost as if compelled to do so) to the opening Motto Theme (even though it is still pianissimo). At this point, the threatening brass enter (this time muted) with Motto Theme b), as if to make clear that its threat is still very much there to return. (Please see EXAMPLE 21).

The movement then closes in a feeling of restless serenity with a statement of THEME 1 in the upper strings. But even here it is punctuated by the threatening insertion (bar 393) of the opening of the Motto Theme. (Please see EXAMPLE 22). The movement comes to rest with a C-major chord, and high string harmonics. Within this chord is embedded an alien D in the ‘cello that creates a feeling of unrest, while the string harmonics give a dream-like atmosphere, possibly implying dreams of things that might have been rather than of things that HAVE been.

Baz

This is, indeed, correct - that is all you have said. I, however, have tried to say something a little more than this, and to relate myself to the composer's intentions (as I understand them), whereas others have expected the composer to relate his expression of ideas only to recipients who themselves have absolute expectations.

I have tried - in unpicking a really quite complex score - to reveal some of the methods through which this composer's ideas were expressed. This was done because I thought the effort was worthwhile, and not because I wanted to reveal inadequacies and failings on his part. I genuinely believe Shostakovich to have been a great composer, and feel that his 8th Symphony is one of his great achievements.

Baz

We might also draw Members' attention to the book from which the original Latin text of Spem in Alium was adapted - http://en.wikipedia.org/wiki/Book_of_Judith .

The following excellent book here may also be of interest to Member Grew in this context.