Symphony No.9 in E flat major - Dmitri Shostakovich

Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko.
I - Allegro (𝅗𝅥 = 132): 0:00
II - Moderato (𝅘𝅥 = 208) - Adagio: 5:14
III - Presto (𝅘𝅥. = 126) - (attacca): 13:57
IV - Largo (𝅘𝅥𝅮 = 84) - (attacca): 16:32
V - Allegretto (𝅘𝅥 = 100) - (𝅘𝅥 = 126) - Pochissimo animato - (𝅘𝅥 = 168): 20:04
Shostakovich's Symphony No.9 was composed in August 1945, being premiered on November 3 of that year, performed by the Leningrad Philharmonic Orchestra conducted by Yevgeni Mravinsky. It was well-received by audiences, but critics bashed it for its "ideological weakness" and its failure to "reflect the true spirit of the people of the Soviet Union". The work was banned on 14 February 1948, during Shostakovich's second denunciation. It was removed from the list in the summer of 1955, when the symphony was performed and broadcast.
Between 1943-5, Shostakovich announced he was working on a large-scale ninth symphony as celebration for the incoming Soviet victory over Nazi Germany in World War II. It would be a large composition for orchestra, soloists, and chorus. Shostakovich worked on it between January and April 1945 but left these fragments and started from scratch. A performing version of the sketches (as "Symphonic Fragment") was conducted by Gennady Rozhdestvensky in 2008. After the premiere revealed a modest, classically-oriented work with no sense of grandeur or triumph, Soviet authorities were infuriated and attacked the composer. As a reaction, Shostakovich wouldn't write another symphony until after the death of Stalin.
The first movement is structured in a classical sonata form. It begins with a cheerful and light main theme, with a subsidiary motive on oboe that will be a cyclical element through the piece. A playful second theme in form of a carefree march is also presented by the piccolo. Follows a complete reexposure of the themes, an element common in the classical period. The development is more dramatic and expressive, dominated by a small two-note motive previously heard on snare drum and trombone. After reaching an unsettling climax, the recapitulation of the themes follows in this tone. A brilliant coda ends the movement.
The second movement written in an expanded ternary form. It opens with a lyrical if melancholic main theme on the clarinet, soon unfolding in counterpoint with other wood instruments. A contrasting section opens with a hesitant, sorrowful waltz derived from the oboe motive on the first movement. After it reaches a dramatic climax, the main theme is then recapitulated by the clarinet. The second is also repeated, leading us to a slow and contemplative coda based on the main theme.
The third movement is a monothematic scherzo. It opens with a lively and rhythmic main theme on clarinet, derived from the opening theme of the work (including the oboe motive). It grows more grotesque as it unfolds, reminiscent of Shostakovich riotous early ballets "The Golden Age" and "The Bolt". We find no contrasting section nor "trio", instead a pedal note from strings leads us into the next movement.
The fourth movement is also monothematic in form. It opens with fateful brass chords, derived from the oboe motive. A sad and expressive main theme is presented by the bassoon, unfolded as in a recitative before brass interjections interrupt the flow of the music. It is a reference to the passacaglia of the tragic previous symphony. A pedal note from the bassoon leads us into the finale.
The fifth movement is structured in sonata form. It begins with a rhythmic main theme also introduced by bassoon, being a twisted version of the largo theme. Strings take it in a light and frivolous manner, answered by the appearance of a strange and ghostly second theme on woodwinds. The main theme is then recapitulated by the wood, followed by a short and ambiguous development underpinned by the main theme on low strings. The music accelerates, adopting a galloping rhythm, culminating in a furious and wild climax on the main theme. A vigorous coda ends the work with high spirits.
[Postmusical analysis continued in the comments section].
Picture: "To Work" (1921) by the Russian painter Nikolay Bogdanov-Belsky.
Musical analysis partially written by myself. Source: tinyurl.com/28bhsc5n
To check the score: tinyurl.com/289kfpgb

There are two main interpretations about the meaning of the piece: the first is that it is merely a diversion, a brief rest in between Shostakovich's oputput, with no extramusical pretensions as Shostakovich puts: "Musicians will love to play it and critics will delight in blasting it." The second once again portrays Shostakovich as a dissident, writting intentionaly a subversive work that openly defied the authorities expectations of a triumphal work alla Beethoven's ninth.
Some elements have been singled out; the two-note motive of the first movement being a representation of Stalin, the fourth movement being a subtle requiem for the repressed, and the overall form mirroing Shostakovich's Symphony No.8 (which was also a subversive piece). However, this view lacks confirmation either from Shostakovich's correspondence, testimonies from friends and colleagues, or even in Solomon Volkov's "Testimony", which lacks an extramusical description of the ninth. However, I consider appropiate to share with the reader the following paragraphs about the whole affair.
"[...] they wanted a fanfare from me, an ode, they wanted me to write a majestic Ninth Symphony. [...] I doubt that Stalin ever questioned his own genius or greatness. But when the war against Hitler was won, Stalin went of the deep end. He was like the frog puffing himself up to the size of the ox, with the diference that everyone around him already considered Stalin to be the ox and gave him an ox's due. Everyone praised Stalin, and now I was supposed to join in this unholy afair. There was an appropriate excuse. We had ended the war victoriously; no matter the cost, the important thing was that we won, the empire had expanded. And they demanded that Shostakovich use quadruple winds, choir, and soloists to hail the leader."
"[...] I confess that I gave hope to the leader and teacher's dreams. I announced that I was writing an apotheosis. I was trying to get them off my back but it turned against me. When my Ninth was performed, Stalin was incensed. He was deeply ofended, because there was no chorus, no soloists. And no apotheosis. There wasn't even a paltry dedication. It was just music, which Stalin didn't understand very well and which was of dubious content. [...] I couldn't write an apotheosis to Stalin, I simply couldn't. I knew what I was in or when I wrote the Ninth. But I did depict Stalin in music in my next symphony, the Tenth."

[@lightspeed174]

I just love this symphony. Let me tell you, this has to be my favorite one of Shostakovich. All I can say is, this interpretation is outstanding. Vasily petrenko and the orchestra have really made this come alive. Thank you so much for uploading this marvelous recording.

[@dejanstevanic5408]

Lovely - TY

[@kbakhurin]

People seem to compare Shostokovich to Mahler but frankly i think Shostokovich is way more entertaining and coherent