Symphony No.6 in B minor - Dmitri Shostakovich

Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko.
I - Largo (♪ = 72) - (𝅘𝅥 = 44) - Poco più mosso e poco rubato (𝅘𝅥 = 52) - Moderato (𝅘𝅥 = 66) - Molto tenuto - Sostenuto - Largo (𝅘𝅥 = 44): 0:00
II - Allegro (𝅘𝅥 = 104): 19:39
III - Presto (𝅗𝅥 = 162): 25:35
Shostakovich's Symphony No.6 was composed between April and October 1939, being premiered on November 21 of 1939, performed by the Leningrad Philharmonic Orchestra, conducted by Yevgeni Mravinsky. The piece had a mixed reception; while audiences loved it and the final movement was encored, official critics and authorities were displeased and criticized the piece. As a result, the symphony soon vanished from concert programs, specially after the German invasion of 1941.
In 1938, Shostakovich announced his Sixth Symphony was going to be a large-scale "Lenin Symphony" for soloists, chorus, and orchestra. It would use the poem "Vladimir Ilyich Lenin" by Vladimir Mayakovsky as the text. However, work on the piece was unsatisfactory, so he gave up on the idea, writing instead a purely instrumental piece. Soviet authorities, who expected a propaganda piece that glorified Lenin and communist ideology, instead found a jarring three-movement symphony that defied formal conventions and that juxtaposed the tragic and the comic, the elevated and the vulgar.
The first movement is written in a large-scale ternary form. It begins with a tragic and deeply expressive main theme on low strings, which is the basis the whole work rests on. It is taken on full strings, reaching a dramatic climax. The texture of this first part unfolds in a grandly elaborate multi-voiced web, where every passing motif and note derives from ideas heard in the very opening bars. A series of contrapuntal dialogues between low and high strings ensues, before a bleak variation on solo piccolo leads us to a terrified anticlimax dominated by the trumpet. The central section opens with a funereal march on English horn over sinister thrills, derived from the opening theme. It is answered by an uncanny four-note motive on muted brass, followed by a flute solo.
Strings reappear in an overwhelming climax, after which the ominous trills continue while clarinets, oboes then strings unfold the four-note motive. The opening theme is then recapitulated in a varied, fragmented way, fused with the elements heard in the middle section. Finally, the trills transfer to the celesta, and the horn brings a touch of pale warmth to the four-note motive, answered by the main theme on strings. We find no real resolution, consolation or redemption of any kind, instead, the movement ends with a final reference to the funereal theme on English horn and violins over doleful timpani chords.
The second movement is a scherzo in ternary form. A lively and nervous main theme is introduced by the clarinet, being derived from the opening theme of the symphony. It is almost a hysterical parody of the bleak and brooding first movement, unfolding contrapuntally. The entrance of percussion and brass considerably darkens the atmosphere and texture, growing into a boisterous and wild climax. The trio features a strange, angular theme on various instruments (also derived from the opening theme), which is hardly contrasting. After an alarming and grotesque climax, the scherzo continues as if nothing had happened on clarinet and bassoon. Some phrases again remind us again of the tragic first movement, before a low-key coda ends the movement.
The third movement is also structured in an expanded ternary form. It begins with a rhythmic and bright main theme in form of a music-hall gallop on strings and woodwinds, which references Rossini's William Tell Overture. As the listener may wonder, the material is again rooted on the main theme of the opening. Despite the lightness and exuberance of the music, a certain macabre undertone can be perceived as in the previous scherzo. The central section bursts with a rowdy, masculine theme on strings (derived, once again, from the main theme of the opening), culminating in a boisterous climax. A violin solo leads us to a varied recapitulation of the main theme. The central section material returns as a vulgar, circus-like coda that ends the work in a huge frenzy.
[Musical analysis continued in the comments section].
Picture: "Double portrait of Vsevolod Meyerhold" (1916) by Russian painter Boris Grigoriev.
Musical analysis partially written by myself. Source: tinyurl.com/2bmvsh5m
To check the score: tinyurl.com/2dnb6sh6

Unlike the surrounding fifth and seventh symphonies, the sixth does not offer us much to analyse beyond the music itself. The composer described it as follows: "The musical character of the Sixth Symphony will differ from the mood and emotional tone of the Fifth Symphony, in which moments of tragedy and tension were characteristic. In my latest symphony, music of a contemplative and lyrical order predominates. I wanted to convey in it the moods of spring, joy, youth." However, the music hardly seems to mirror that narrative, even in the scherzo and galloping finale. Instead, the music more closely resembles the grim reflection of reality found in Shostakovich's fifth symphony.
Interestingly enough, one could interpret the second and third movements as developments of the themes and motives presented in the first. The subtle but effective cyclic nature of the work was also completely ignored at the time of its premiere. So, the work isn't really a "head-less body" as official critics assumed because of the lack of a sonata-form first movement. Shostakovich was constantly experimenting in harmonic, formal and expressive ways, and that didn't marry well with the soviet regime. Either way, despite being kind of underrated, the sixth is an impressive achievement in the realms of symphonic music.

[@garyscheele5118]

For some reason, I've always been very fond of this symphony. I often play it, and I never get tired of it. Thanks again.

[@gabrieru1983]

A superb symphony

[@fransmeersman2334]

Again an outstanding performance by conductor and orchestra of this marvelous symphony. I'm always a bit sorry when that sublime first movement ends, but I enjoy the other movements also very much. Many thanks !

[@Rahatlakhoom]

I had forgotten all about #6. It still holds up well. Thanks!

[@dejanstevanic5408]

I like it... TY