Shostakovich Symphony nos. 9

During the 1900s, the piccolo flute was given a soloistic stance. This is evident especially in the works of Shostakovich. Unfortunately, in Italy, only a few of his works, which are generally the same, are performed. Luckily, the 9 th symphony is much performed and followed with respect to his other works, mainly because this needs quite a limited orchestral body. This symphony was written in August of 1945. In this symphony, Shostakovich abandoned himself to the great celebrations over Nazi Germany.

The 9 th symphony, contrary to the 8 th and 10 th symphonies of this composer, the piccolo flute appears as a soloist in small but significant parts. The first piccolo flute solo is found in bar 47 in the 1 st movement, where we can also hear the trombone. The piccolo flute is accompanied by a military snare drum, the pizzicato of the strings and timpani. This solo is brilliant, composed on staccato notes and written in the middle register. In this solo, the piccolo flute depicts a mocking character. The dynamic is forte for the soloist, thus one needs to project a full sound even though it is written in short notes. Generally it is difficult to give short notes their full sonority and nice quality of sound. If one tends to blow hard, there is also the tendency to rise in pitch. Hence it's important to give accents on the first notes by using the abdominal muscles (see example 1). It is very important that the air is pushed from below, without blocking the breathing process, i.e. the larynx must be open and relaxed. The art of breathing should be dealt in the flute teaching. The famous phrase “openness of the throat”, is useless if the student isn't aware of his body muscles and movements, while playing.

In the last part of the solo in bar 6a and in the successive ones , there are to be found 2 trills. These are to be performed in a crescendo, i.e. starting from a piano and giving an accent to the resolving note. In the other segments of semi quavers, it is important not to rush. These semi quavers must be played with a clear articulation. Always note that the accents are important in Shostakovich. In the last bars of the solo one must pay attention to the intonation of the C sharp and F sharp.

The second movement was written, during the atomic bomb explosion in Japan. The piccolo flute here is used to conclude this grand elegy. Its function is to recapitulate and transpose on a delicate plan the beautiful solo of the first flute in the middle of the movement. One must pay attention to tune the interval of a 5 th i.e. B to the F sharp. In the two bars before the long F sharp note, a rallentando is to be found, therefore one must breath before the up beat note (B note). Obviously the last note can portray fear but if the conductor decides on the appropriate tempo of 152 to crotchet, one would not find problems. Ideally one must finish with the strings pizzicato and finish the note without vibrato.

The solos in the third movement are not real solos since they are to be played together with the flutes and oboes. To play these solos, it is necessary to have a good air emission and by using a small embouchure whole. This will permit to play the first solo in a piano dynamic.