The simplicity of Nielsen's Symphony No 5.
In a previous blog in the composer's toolbox
series I looked at the use of ostinato and delved into a number of works which
have an improvisatory character where the use ostinato is the binding force.
Since posting the blog I have been drawn to Nielsen's symphonies and in
particular the fifth. I was lucky enough
as a student to play the cello part with our university orchestra and after
rehearsals I asked our professor if he would consider conducting the fourth
which I thought at that time the superior symphony. He declined, and put me in my place about the
5th being the only great Nielsen symphony, without giving any further details. Several decades on I still hold both
symphonies in equal regard. With the
passing of time there is a difference in the way I understand and listen to
these two symphonies, I now hear the music as large scale paragraphs rather
than layers of superimposed detail, which was in essence the way we were taught
to think about music.
To hear these large scale paragraphs we have to
understand how the fifth symphony has at its core the most satisfying uses of
ostinato in 20th century music. In primarily focusing on this feature many
musicians will argue that I am missing the two most important aspects, melodic
invention and key change. Like many
great composers Nielsen has the gift of turning a scale or equally simple
figure into an arresting texture. There are fascinating details in the use of
the scales which by means of simple interlocking patterns permits the
construction of new and less conventional modes. As to the use of keys, far too much ink has
been used describing Nielsen’s progressive tonality to repeat that process, and
the description of key movement can produce some of the most turgid writing in
music. However these matters are the
detail of the work and I would prefer here to focus on the larger scale
planning and execution of the music.
The following makes reference to the music
extracts above, which if taken as a “reduced” score is sufficient to guide the
listener through the first half of the symphony, I have given rehearsal numbers
and bar numbers if this blog inspires the reader to get a score. Most musicians discuss the use of ostinato at
the start of the symphony, and how it develops over the course of the work. The
A/C minor third could be taken as remnant of Classical thinking where ambiguity
plays a significant role, is it an F major or A minor chord, or D7, when will I
know which key I am in? No composer completely turns his or her back on the
past, in my opinion I am almost certain that it is impossible. Nielsen’s 5th
retains many aspects of Classical thought e.g. the repeat and development of material
is of considerable importance.
The second ostinato figure is for horns and
flutes, a scale and cadence figure, so simple that it is instantly recognisable
in its many transformations and tonal settings.
If we need a label on this figure we could describe it as pastoral. With
the introduction of the cello ostinato on open fourths the whole sound world alters
and the music becomes increasingly aggressive. If the attention was on detail a
case could be made for the evolution of each ostinato figure from the previous
one, the pastoral figure is rich in the use of the interval of the fourth,
which has been emphasized in the melody over the ostinato. With the flute and oboe ostinato on D, A
flat, G we have a second development of the ostinato figure, enhanced by the
augmented fourth and its resolution down a semitone, which is used as a
progressive tension builder. The following ostinato figure in crotchets is a
variant on the opening minor third character now on D and F with a change of
orchestration to follow with cellos and timpani paired. This takes us to the
rhythmic ostinato on snare drum which is later to become the driving force
behind the fist main climax of the work.
After the percussion figure there is a recap of
the ostinato figures. To begin the flute
and clarinets develop the first minor third figure, altering the semiquavers to
triplet semiquavers and playing with the minor third / fourth intervals uses D,
C, A, the woodwind are exchanged for violas to confirm the repeat, a tranquillo
passage follows where the pastoral figure returns now played by bassoons. The change of texture is a fine stroke of
orchestral colour made all the more striking because of the careful use of
repetition. As expected the open fourths
figure follows played by the horns.
Bar 220 has the timpani indicate a change is
afoot and a second rhythmic ostinato is taken up by the celesta. The five note figure (here on D) is sometimes
curtailed but its character is always instantly recognisable. In fact the repeated single note figure isn't
new but its significance is less prominent in earlier sections because of the
layering of several ostinato figures.
There is a complete change of character in the
next paragraph, expansive melodies and counterpoint dominate the music and the
momentum of the passage depends on harmonic rhythm and not the use of
ostinato.
The following paragraph reintroduces and extends
the opening figure and constantly interrupts the flow of the serene music and
the music develops the ostinato figures until they are played simultaneously,
from bar 358 to the first climax. This
is wonderful writing, and like the end of the first movement in Walton’s first
symphony one wonders if there is anything more to be said or could be said as
dramatically.
The whole of the drama up to this point is in
effect three large scale paragraphs; only when one gets to hear Nielsen this
way can the achievement of his planning be appreciated. I am leaving the commentary unfinished, or
perhaps open-ended would be better. Does
this mean that ostinato is not a feature of the remainder? There are examples, and reiteration is a
significant part of the thinking even in respect of melodic design, the best
way to determine the significance of the device is to enjoy the experience of
playing the music.
Gothenburg Symphony Orchestra
Conductor: Neeme Järvi
Conductor: Neeme Järvi
Going back to the professor, if I was asked now
which is the greater of the two symphonies I would answer "whichever I
heard last".
