Symphony No.1 in F minor - Dmitri Shostakovich

Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko.
I - Allegretto - Più mosso - Allegretto - Allegro non troppo: 0:00
II - Scherzo. Allegro - Meno mosso - Allegro - Meno mosso: 8:16
III - Lento - Più mosso - Largo - Più mosso - Lento - (attacca): 13:52
IV - Allegro molto - Lento - Allegro molto - Meno mosso - Allegro molto - Molto meno mosso - Adagio - Largo - Più mosso - Presto: 23:16
Shostakovich's Symphony No.1 was composed between October 1924 and July 1925, written as graduation exercise for Maximilian Steinberg’s composition course at the Leningrad Conservatory. However, several of its ideas and materials were dated much earlier. It was premiered on May 12 of 1926, performed by the Leningrad Philharmonic Orchestra conducted by Nicolai Malko. The piece was an instant success, being widely performed in the Soviet Union and outside in Europe and America. Even today, it is still frequently performed.
Despite the conservatism of Steinberg, who tried to guide him towards the Russian romanticism of Tchaikovsky and Rimsky-Korsakov, Shostakovich's own voice quickly emerged as shown in the symphony. Influences of Prokofiev, Stravinsky and Mahler are also audible, as well as the composers own sessions playing the piano as support for film scores. A sardonic humour, reminiscent of Stravinsky's "Petrushka", permeates the first two movements, while Mahler's tragic and expressive soundscape pours into the latter two.
The first movement is structured in sonata form. It begins with a quirky introduction in which motives and fragments are gradually introduced and passed between instruments in a chamber-like setting, being the basis of the following themes. The main allegro begins with an ironic, march-like main theme introduced by the clarinet, contrasted by a light second theme in form of a delicate waltz, presented by the flute. The development section returns to the grotesque, full of musical jokes as it twists the material and reaches a portentous climax. An inverted recapitulation begins with the second theme, followed by the main one. A laconic coda ends the movement with the same elements from the introduction.
The second movement is a scherzo in ternary form. After a false start on low strings, a rhythmic main theme is introduced by the clarinet in form of a frenetic Russian dance, which passes to multiple instruments. The piano is prominent in this part, enhancing the cartoonish character of the music. The trio features a lyrical, lullaby-like second theme on flutes, passing to the woods. The scherzo then continues, with the second theme in counterpoint on the brass in an excited climax. The darkly comic attempts of the piano to end the movement form one of Shostakovich’s most witty (and haunting) musical jokes.
The third movement is written in ternary form. It opens with a darkly expressive main theme on oboe, answered dramatically by the solo cello and becoming more tragic on the rest of strings. A menacing brass call leads us to an anguished climax. The central section features a second theme in form of a slow, funereal march that is unfolded with great gloom and pathetism. The ensuing climax pits anguished strings against baleful brass. The violin recapitulates the main theme in an expressive solo, answered by the brass call. As the music gradually fragments, we finally hear an uplifting moment, before a drum roll transition leads us to the finale.
The fourth movement is episodic in structure. It begins with a brooding introduction dominated by low strings and woodwinds, with a yearning theme on clarinet. A crescendo leads us to a furious allegro with a scurrying theme on clarinet and piano. The irony and humour we found in the first two movements now has been filtered through the darkness of the third. A lyrical contrasting theme appears on the violin, almost too beautiful to be real. The acid allegro section then continues, culminating in a sustained fortissimo climax for full orchestra, which suddenly breaks off. A fateful timpani solo based on the brass call motive from the third movement follows, leading to the return of the lyrical theme on solo cello. It passes to trumpet and strings, growing more intense before being cut-off by violent fanfares that bring the symphony to a vigorous and dramatic end.
Picture: "Russian Toys" (1925) by the Russian painter Sergei Sudeikin.
Musical analysis partially written by myself. Sources: tinyurl.com/2a2qnotm and tinyurl.com/25gs6ukv
To check the score: tinyurl.com/24rpql5s

[@fransmeersman2334]

I always liked Shostakovich's first, exhilarating, very entertaining, not one moment of boredom, smart , lyrical and dramatic. What more can one wish ? Magnificent performance of conductor and orchestra. Thank you !

[@ericleiter6179]

The finale is like Looney Tunes on LSD...but I love that!!! But seriously, what an impressive first offering to a genre he would soon rule over...thanks for posting this!

[@Rahatlakhoom]

S. could turn woeful lines of utter distress into a crescendo of ecstasy on a dime. I love this man.

[@leestamm3187]

I had not heard this recording before. It is really excellent. Thanks, Sergio.

[@James-ll3jb]

Superb. Timely.❤😊

[@maurisioilcursato]

I wonder what you will upload after Shostakovich's and milhaud's symphonies... Your channel is great!