Discuss Ss handling of the recapitulation of the 1st movement exploring the music from figure 29 to

39.

At figure 29 many we are still in the development section of the movement, however this is where
we first see a strong return of D minor which is reinforced a prominent dominant pedal at bar 204
and therefore in terms of how Shostakovich handles the recapitulation this is where we are
discussing from. At figure 29 the melody is in the horns, cellos and violas who play a falling sequence
of snarls whilst the wind play a rising scale (part of the 1st subject, 1D, figure 5) which provides
/forward drive and hints at D minor. The rising scale motif is followed by repeated As in the wind,
upper strings which suggest the return of D minor. At figure 30 there is a brutalised version of an
idea heard in the first subject (1B, figure 1) in E flat minor with a Phrygian F flat. This is played
against two ostinato patterns which form a D minor triad and reinforce tonal conflict heard in the
exposition (first heard in 1st subject between D and its dominant and E flat and its dominant). At
figure 31 there are chromatically descending lines (bar 211) in the brass and 2nd violins and violas
over an increasingly dissonant bass line. This is combined with a poco stringendo which creates
forward motion. At figure 32 the tempo increases to the fatest tempo so far which is a preparation
for the recapitulation. The first motif heard I the piece (motif I, from the 1st subject) returns in
fortissimo canon between the high wind/strings and the low wind/strings. Motif I becomes a
rhythmic ostinato. It is played at a different pitch to when it was first heard and is now played in
sequence giving the motif an ever-changing direction. From bar 239 all the parts playing motif I
come together onto an A (which is the dominant of the tonic key, D minor). Meanwhile the brass
play a monstrous, rhythmically augmented version of theme 2A (part of 2nd subject, figure 9) in
canon between trombones/tubas and trumpets/horns. This creates a double stretto. Motif i is in B
flat minor and B flat major meaning that this section sees a melodic recapitulation but because the
music is not in the tonic key the recapitulation does not actually start here. At bar 241 there is bare
5ths (D and A) in the brass which premepts the return of the tonic key (D minor) and creates a
tension which needs to be resolved.
At figure 36 there is the the 2nd part fo the main climax of thed development. This section could be
seen as the end of development or the start of the recapitulation as there is a moment of tonal
resolution here (a D minor chord) which is not conflicted by any other tonalties. This tonal resolution
suggest the start of the recapitulation where traditionally the 1st subject returns first in the tonic key.
However this tonal resolution is not simultaneous with the start of the 1st subject melody but instead
with a theme from the 1st subject (Theme 1c, figure 3). Threefore the recapitulation of this
movement is not conventional and there is afeeling of unresolution which perhaps reflects the
turmoil in shostakovcihcs life.

AT figure 36 the tempo slows and there is a huge restatement of part of the 1st subject. Theme 1c
(figure 3) is played. It has not been heard in the development which makes this moment even more
striking. It is not played at original pith and it is transformed into a passionate and lyrical style which
opposes the brutality of the development. It somewhat feels like just a continuation of
thedevelopent here de to 4 reasons. Firstly it is played in a very high register which is similar to the
rest of the development. Secondly Shostakovich uses sequential patterns which is a technique used
fereuently in the development. The tonal E flat and B flat tonality are still present which clouds the
resolution to D minor and the tonality of the melody. Finally the final phrase (figure 38) of this
section ends with a theme 1D (part of the 1st subject, figure 5) which has been used exensively in the
development. The theme 1c is played by upper wind, horns and strings across 4 octaves whilst the
timpan has the anacrusis figure based on motif I rhythm and this s followed by a roll and cymbal
crash to emphasize the return of the tonic. adnd just before fugre 37 is reached the melody is
punctuated by bare 5ths. The tonality of this section is primarily D minor. For a moment it is
unchallenged by the flat keys which creates the tonal resolution seen at the start of a recapitulation.
However there is no 3rd in the chords and bass line does not remain on the btonic note which means
that the harmony is unstable. The persisant A heard through the climax is hammered out at figure
38, and the A finally resolves to a D major chord at figure 39