Nordic Fifth Symphonies

Carl Nielsen - Symphony No.5

This piece is in an unusual two-movement format. The first starts with a two-note alternation from the violas, a sound which I find is often used in modern day film music. It is shortly joined by the bassoon and other woodwinds, and the sound created invites anticipation for the listener, as if some drama is forthcoming.

Approximately three and a half minutes into the work, an ominous three note fragment is heard from the woodwinds, then the strings counter with a similar idea. The listener becomes acutely aware something is about to happen, then the orchestra is interrupted by a persistent snare drum. The rest of the movement sees a battle between the drum and the rest of the orchestra, with both parties taking the spotlight at one time or another. There is a very interesting passage in the final minutes of the movement, where the snare drum is instructed to take an improvisatory approach, to derail the orchestra at any cost. This fails, with a flourish from the orchestra, then the music takes on a more tranquil mood similar to the beginning, with the snare reminiscing on its early taptaptaptapTAPTAP theme.

The second movement provides a stark contrast to the first, notably there being much less percussion than the first. It also starts in a different, much more energetic way. This movement feels very 'triumphant', which is apt as I later read that it is a representation of emerging victorious from the ashes of World War I. There are massive peaks and troughs in terms of tempo and dynamic in this movement, and the magnificent ending flourish, like R. Strauss' 'Also Sprach Zarathustra' evokes imagery of daybreak from behind dark clouds.

Jean Sibelius - Symphony No.5

This dramatic first movement has a pastoral sounding opening by the brass and woodwind, introducing us to musical ideas which are used throughout; the first four notes of the horn is a recurring motif. There is effective use of percussion, with a gradual increase of suspense with the timpani creating drama. Dynamically there are huge peaks and troughs in this movement.
The music suddenly becomes more dance-like as it enters the scherzo phase. The gloominess and tension has dissipated leaving a much brighter and livelier atmosphere. There is lots of character in this section, with the various instruments expressing jollity. The tempo and dynamics gradually increase towards the glorious end of the movement.

There is lovely pizzicato from the strings in the more serene, mostly major tonality, central movement. The music seems to be taking a breather after the dramatic first movement, and there is only a little use of percussion. Even though the mood is playful in parts, background brass harmonies add a little unexpected tension. This movement has a fairly steady tempo and dynamics, despite the occasional brass outburst. The music suddenly falls away, giving quite an abrupt ending.

The dramatics are back here, where the fast fluttering of the strings at the beginning of the third movement evoke the image of swans in flight, a 'soaring' image which is continued with the theme played by the horns.
At about three and a half minutes in, there are some extremely quiet dynamics, gradually increasing over the next couple of minutes until the mood darkens somewhat, but then brightening again, with a reiteration of the horn theme. This contrast of dynamics and mood helps to generate interest for the listener. The piece continues to gradually build dynamically towards the end where it opens up towards the final minute, until the piece exits with six huge chords, interspersed with silence.