Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.2 9/5/84; site yale.ARPA Path: utzoo!linus!philabs!cmcl2!seismo!harvard!talcott!panda!genrad!decvax!yale!francois From: francois@yale.ARPA (Charles B. Francois) Newsgroups: net.music.classical Subject: Re: Out-of-place Codas Message-ID: <381@yale.ARPA> Date: Thu, 25-Apr-85 12:59:47 EDT Article-I.D.: yale.381 Posted: Thu Apr 25 12:59:47 1985 Date-Received: Sun, 28-Apr-85 06:07:34 EDT References: <2429@randvax.UUCP> <1219@cornell.UUCP> Reply-To: francois@yale-comix.UUCP (Charles B. Francois) Organization: Yale University CS Dept., New Haven CT Lines: 27 Summary: Shosty 5 coda is NOT happy, ref. Haitink Anyone who feels Shostakovich's 5th symphony has an inappropriate "happy ending" owes it to themselves to listen to Haitink's recent London recording of the piece, easily one of my three or four most treasured CD's. Haitink's contention, supported by the memoirs of DS himself, is that the blazing D major coda is precisely an inversion of the authorities' expectations of what Good Socialist Music should be like. Yes, it's big and bombastic. It's supposed to be; but there is an underlying hollowness and despair in the music that few conductors ever bother to bring out. The whole finale is bitterly sarcastic. The composer's conception of it goes something like this, and I paraphrase: "It's as though someone were beating you with a stick demanding that you rejoice, and in a thoughtless slumber, you take up the cry: 'I'm rejoicing, I'm rejoicing....'". Haitink, by avoiding the romanticisms that Bernstein and Ormandy heap on this work in their recordings, and by keeping a steady rhythmic pulse, allows the symphony to develop as if in a trance, building up powerfully to the climaxes, as in the insistent march beat of the first movement's blistering culmination. But Haitink only lets go at the coda, when, for about one mind-blowing second the entire orchestra suddenly comes to a halt, long enough to allow the bass drum two anguished gasps, before everything comes crashing down with the final tutti chord. Simply overwhelming... As for the Mozart D min. Piano Concerto... Well, *that*, words can't describe. --Charles B. Francois {...,decvax}!yale!francois