August: Nielsen's 5th Symphony

[fergus]

I must take this opportunity to say that I have had difficulty in the past with this work so I gave myself plenty of time with it this time around and I have put some effort into my listening in an attempt to come to terms with it as it has been a while since I have really listened to it. Perhaps my ear is finally becoming acclimatised to the sound world of 20th century music because I did not find this work as difficult to listen to or to interpret as I have heretofore found. Reports and analysis will follow in due course.

[Jared]

I have been listening to this piece myself again recently, courtesy of this recently purchased boxset:



whilst No.5 has never been a favourite piece of mine, I have to admit that it's structure has been clicking more on this visit than it has previously, and will read through your notes when I get a moment.

I think I'm always going to struggle with No.6 however.

[Seán]

I love the Fifth, it is a deeply unsettling piece, it really works for me.

[Jared]

I love the Fifth, it is a deeply unsettling piece, it really works for me.

I'm sure you're right... I think this all stems from my difficulties with 20th Century CM in general to be fair. I'm much more at home with Nos 1 & 2.

[Claus]

I read somewhere that the second part is better left without trying to make sense of it.... :D

I have to say that I am still very fascinated with the snare drum! It just reminds me of war and the fact that the German occupation of Denmark was in some ways already scripted with the first WW and its consequences.

The development of existentialism and secular humanism in this era is even more interesting and this piece of music intentionally or not seems to tie in with this.

I shall look into this theory further during the week.....

[Diapason]

Well the month is nearly over, and I still haven't even picked up a CD of this music. Poor effort from me, Claus, apologies!

[fergus]

Following a more sustained study of this music and mostly from attentive listening to this work the following is my take on this monumental symphony....


I like the quiet almost idyllic opening section of this work. Perhaps this is the setting of a scene that may soon be forever lost. As the movement progresses I like the subtle, menacing tones that forewarn of dissonance that is soon to disrupt this idyllic peace. We are filled with a sense of disquiet and apprehension. Sure enough the snare drum section and the menacing theme and wonderfully sounding orchestration shatter our quiet world. As the military theme prevails the marching nightmare of reality forces itself upon us. I think that the orchestration is very effective in achieving this jarring, disquieting mood. Questions that are unanswered conclude the first section of this movement and one is left pondering what has happened and what will be the outcome to this state of affairs that we now find ourselves in.

We are taken back to an idyllic if somewhat troubled remembrance of our prior world at the opening of the second section of this movement. The music is very poignant, yearning for the safety of a cherished past world or time perhaps? One can hear questions being constantly asked but no answers are forthcoming and this technique has the great effect of continuing to heighten the tension as the section moves on. I really like the brass theme in this section. That constantly recurring snare drum is definitely evil and is a constant reminder of the negative aspects of the turbulent world that we now find ourselves in. The music ultimately breaks free from its shackles momentarily with a glorious melody played on full orchestra but it eventually fizzles out and diminishes to a desolate and melancholic tune on woodwind which concludes the section.

The second movement opens in the first section with great momentum, assertion and optimism and seems to lead the way in terms of a resolution to all of the preceding conflict and pessimism. Tension is soon introduced in the jarring rhythms of the strings and the chromatic counterpoint of the woodwind and brass and this self assuredness ultimately dissolves yet again in the second section. The third section opens with another passage of poignant and forlorn music that strives for a resolution that once again is not found. Gradually, as we move into the final section of this movement we begin to see a way forward and the music struggles to rise above the bounds of its constraints ultimately concluding with a fanfare which although exuberant, I feel is not one of ultimate satisfaction. So perhaps we have emerged from our troubles and conflicts but we are perhaps scarred by them and therefore, as a result, face into an uncertain future.

[fergus]

The San Francisco Symphony and Blomstedt really have the measure of this work. Their version of the work plays for 35:34 minutes. The playing is tremendous and they really do succeed in creating a wonderful atmosphere of tension and conflict with their music making. They create a dynamic and ever changing sound world and manage to constantly retain and continually regenerate a heightened sense of unresolved tension which is the essence of this work thus making this a very successful and enjoyable performance of this work.

[Seán]

Following a more sustained study of this music and mostly from attentive listening to this work the following is my take on this monumental symphony....


I like the quiet almost idyllic opening section of this work. Perhaps this is the setting of a scene that may soon be forever lost. As the movement progresses I like the subtle, menacing tones that forewarn of dissonance that is soon to disrupt this idyllic peace. We are filled with a sense of disquiet and apprehension. Sure enough the snare drum section and the menacing theme and wonderfully sounding orchestration shatter our quiet world. As the military theme prevails the marching nightmare of reality forces itself upon us. I think that the orchestration is very effective in achieving this jarring, disquieting mood. Questions that are unanswered conclude the first section of this movement and one is left pondering what has happened and what will be the outcome to this state of affairs that we now find ourselves in.

We are taken back to an idyllic if somewhat troubled remembrance of our prior world at the opening of the second section of this movement. The music is very poignant, yearning for the safety of a cherished past world or time perhaps? One can hear questions being constantly asked but no answers are forthcoming and this technique has the great effect of continuing to heighten the tension as the section moves on. I really like the brass theme in this section. That constantly recurring snare drum is definitely evil and is a constant reminder of the negative aspects of the turbulent world that we now find ourselves in. The music ultimately breaks free from its shackles momentarily with a glorious melody played on full orchestra but it eventually fizzles out and diminishes to a desolate and melancholic tune on woodwind which concludes the section.

The second movement opens in the first section with great momentum, assertion and optimism and seems to lead the way in terms of a resolution to all of the preceding conflict and pessimism. Tension is soon introduced in the jarring rhythms of the strings and the chromatic counterpoint of the woodwind and brass and this self assuredness ultimately dissolves yet again in the second section. The third section opens with another passage of poignant and forlorn music that strives for a resolution that once again is not found. Gradually, as we move into the final section of this movement we begin to see a way forward and the music struggles to rise above the bounds of its constraints ultimately concluding with a fanfare which although exuberant, I feel is not one of ultimate satisfaction. So perhaps we have emerged from our troubles and conflicts but we are perhaps scarred by them and therefore, as a result, face into an uncertain future.

That is a lovely piece Fergus, I think that you capture the essence of this work very well indeed. You have done a really good job of analysing Nielsen's Fifth; and now having done so, do you like it?

[Seán]

The San Francisco Symphony and Blomstedt really have the measure of this work. The playing is tremendous....

I agree.