Dmitri Shostakovich - Violin Concerto No. 1 in A minor, Op.77: II. Scherzo (Score and Analysis)

The form of the second section also does not fit into known concepts. The music exhibits characteristics of both a rondo and a sonata with a mirrored reprise. In my commentary, I will refer to the form as a double ternary form with a developmental middle section A-B-A-B-A``.

Primary Subject:
00:00 Theme 1. B-flat minor. In a fast tempo, the melody is introduced by the flute and bass clarinet in octaves, accompanied by staccato and fragmented violin accompaniment. After a short passage, the violin takes over the theme, while the woodwinds recede into the background. At r.27, the violin enters with a bare counterpoint with bassoon. The passage concludes with characteristic devilish octave glissandos on the violin. At r.30, there is a brief passage based on the accompanying part in the violin, now played with sustained notes instead of short ones. The low strings and woodwinds play the theme. At r.31, the final presentation of the theme is predominantly entrusted to the strings.
1:05 Theme 2. B major. A wind orchestra introduces the major theme, from which one of Shostakovich's most famous motifs soon emerges. The violin accompanies statically for now. At r.35, the soloist takes over the theme with the foundation provided by the string basses. The winds contribute occasional short interjections.

01:36 R.37. Transition consisting of flowing fragmented motifs from the primary subject. The accompaniment of the first theme is particularly audible.

Secondary Subject:
02:24 Theme (orchestra). E minor. In an incredibly sharp contrast, accompanied by mechanized tolling of the bells and a massive tutti orchestral sound, the wind ensemble, together with the xylophone, ruthlessly plays a theme with vivid ethnographic (Jewish) characteristics in E minor, featuring a lowered fourth and a split fifth. The ostinato accompaniment, giving this theme hyperbolized genre features reminiscent of a polka or a galop, aligns it with the familiar imagery of the otherworldly element, particularly the "Dance of Death" from the finale of the second trio.
02:38 Theme (violin). Emerging abruptly from the previous thunderous passage, the violin presents its version of the theme in a much more modest texture, further emphasizing the theme's affinity with Jewish folk music. Occasional short bursts from the winds and strings can be heard.

Primary Subject ("development"):
03:23 The intricate counterpoint intertwines the intonations of both themes from the primary subject. Special emphasis is placed on the first theme, which is sequentially presented in all voices and timbres of the orchestra, imbuing this section with elements of a fugue. Each presentation of the theme is conveniently marked with numbers in the score:
R.49. The first theme is presented by the violin. The bassoon overlays the second theme.
R.50: The first theme is handed over to the string basses. In the horns, there is a blend of the accompaniment from the first theme and the second theme itself.
R.51: The first theme is transferred to the violin. In the oboes, there is a blend of the accompaniment from the first theme and the second theme itself.
R.52: The first theme is transferred to the flutes. In the low strings, there is a blend of the accompaniment from the first theme and the second theme itself.
R.53: The first theme is transferred back to the violin. In the flutes and bassoons, there is a blend of the accompaniment from the first theme and the second theme itself. Towards the end of the passage, the flute imitatively varies the intonations of the first theme.
R.54: The first theme is transferred to the flutes. In the cellos, there is a blend of the accompaniment from the first theme and the second theme itself.
R.55: The first theme is transferred to the cellos. In the oboes, there is a blend of the accompaniment from the first theme and the second theme itself.
R.57: The first theme is transferred to the clarinet and bass clarinet. In the violin, there is a blend of the accompaniment from the first theme and the second theme itself (NB: the texture is nearly identical to the beginning).
R.58: The first theme is transferred to the cellos and double basses. In the violins and violas, there is a blend of the accompaniment from the first theme and the second theme itself.
R.59: The first theme is transferred back to the violin. In the cellos and double basses, there is a blend of the accompaniment from the first theme and the second theme itself.
R.61: The first theme is transferred back to the violin. In the bassoons, there is a blend of the accompaniment from the first theme and the second theme itself. This final presentation concludes with characteristic glissandos from the exposition.
R.62: Finally, the theme is presented by the full orchestra. At r.63, the theme appears one last time on the violin, followed by an abridged passage.
(The recap section is in the pinned comment)

Видео Dmitri Shostakovich - Violin Concerto No. 1 in A minor, Op.77: II. Scherzo (Score and Analysis) канала Arne Korpen