Music Appreciation: Galop by Dmitri Shostakovich

Let’s take a look at another piece by our Russian friend Dmitri Shostakovich, a prolific

Dmitri Shostakovich, 1942

Dmitri Shostakovich, 1942.

composer who lived from 1906-1975. Galop is a short, frenetic piece from the satirical operetta Moscow, Cheryomushki. The plot of the work deals with housing issues in Moscow (specifically the Cheryomushki neighborhood) and follows a group of characters new to the housing development. Even though I’ve played this piece several times, I’d never really paid attention that it was part of a larger work. It was interesting to read up on the operetta. Apparently it was made into a movie version in 1963 – I’ll have to check that out sometime.

I’m having a hard time finding much else about this piece, such as when it occurs within the operetta and what exactly is happening during it. (Update: Thanks to a reader, Sue, I now know that this piece provides dancing music for a housewarming party. Watch this video around the 7-minute mark). It’s also a piece that seems to be far more popular in the band world than in the orchestral realm, at least that’s how it appears from my Google searching. So with that in mind, I’ll talk about the band version, which was arranged by Donald Hunsberger.

 

Hold on to your hats, because we’re in for a wild ride! A galop is just what you’d expect: a fast and furious piece. Don’t look for a soothing lullaby here.

We jump right in to theme A, no introduction necessary. Remember this theme, as it will come back more than once. I’d consider this piece to generally have a rondo form, which means that theme A alternates with other themes (i.e. A-B-A-C-A etc.).

Anyway, we burst out of the gate with the full ensemble, flying along at breakneck speed. We’re in a minor key despite the speed. Often times we like to distill major and minor keys into fast = happy = major, or slow = sad = minor (I’m guilty of it myself). This piece is a good reminder that music (and its keys) has many moods.

Theme A is repeated, then jumps immediately into theme B (0:19). The saxes and middle instruments take over the melody while the other sections interject statements throughout. The mood is somewhat different here, still not really happy, but a little lighter than theme A. The descending line at 0:23 has a bit of a laughter effect. As with theme A, theme B repeats.

Back to theme A at 0:31 (what did I tell you?), two times through.

Theme C (0:43) changes mood again. This time the high winds are fluttering about with a subdued oom-pah accompaniment underneath. This is probably the cheeriest part of the piece, which isn’t saying much. It sounds like a crazy polka to me. Like all the other themes, C is repeated.

And we come around to theme A again, repeated (0:55).

At 1:06, we get a new theme and a new mood. Theme D is more lyrical than the previous themes, though it’s disrupted by the descending laughter lines (such as the one at 1:11). We’re still at the same tempo, but it doesn’t feel quite as frantic here. Shostakovich changes to mostly eighth and quarter notes for this theme, compared to the eighth and sixteenth notes he’d been using before. So while the basic pulse stays the same, we’re changing how many notes are played during each pulse. He also changes the articulation to mostly slurred (smooth) lines. Up until now, we’ve heard choppier notes. Those types of things can change the mood of a piece, and we didn’t have to change the tempo to accomplish that.

After the second time through theme D, we don’t go back to theme A, which is what we’re expecting based on the pattern so far (1:31). I consider this more of a bridge than a theme E, partly due to it a) not strictly following the rondo pattern and b) it’s not a phrase of eight to fourteen measures that gets repeated like every other theme we’ve had. This feels like the break strain/dogfight section of a march, where there’s a conversation between the lower and upper ends of the ensemble. The low brass and winds finally decide they’re going to have their say here, as they’ve mostly been oom-pah-ing this whole time (with the exception of the laughter lines).

But despite the argument, the ensemble pulls together at 1:43 for one final round of theme A (repeated, of course).

At 1:55, we return to theme B. Or do we? Nope, Shostakovich is providing us with a coda (a finishing section of the piece). He uses the idea of theme B, but turns it into an ending instead of a way to lead into the next theme.

I hope you’ve enjoyed the gallop through the neighborhood of Cheryomushki. If anyone happens to know what exactly happens during this piece in the operetta, drop me a line in the comments!
Sheet Music Plus Homepage

Get a recurring 10% discount!

Save

Bonus Features: Overture to Candide

Looking for some sheet music or a recording of Candide? Visit Sheet Music Plus and support the blog!

This will be a fun bonus post for me!  I get to share more fantastic music from Candide.  One type of musical theater and opera overtures includes snippets of music from the full songs you’ll hear later in the show.  Bernstein employed this technique in the overture to Candide, although he also adds a theme that, to my knowledge, does not appear again in the show. That theme is the initial rippling string and woodwind melody.

It may be beneficial to read a synopsis of the plot of Candide.  Go ahead, I’ll wait.  I have popcorn.

1) Here is “The Best of All Possible Worlds”, from the Chicago production I saw a couple years back.  Can you hear what made it into the overture?  It’s very brief, but it’s there.  This song is at the beginning of the show.  It sets up the optimistic philosophical views of Pangloss the tutor.

2) Next up is the music from the “Battle Scene”.  You won’t hear the familiar part right away, but keep listening.  At 1:23, you’ll hear a theme that does double duty in the show.  Pay attention to that horn melody!

3) After that is “Oh, Happy We”.  This one should be fairly obvious, as Bernstein kept this theme intact and it’s featured prominently in the overture.  Remember the horn melody I told to you pay attention to? That’s the first part of this theme, although that setting sounds much harsher due to it being a battle scene. This song entertains me – the disparity between Candide and Cunegonde’s thoughts of what marriage will be like is just too funny!

4)  This might be my favorite song in the whole show (it’s hard to choose!) – “Glitter and Be Gay”.  Cunegonde has agreed to marry Don Fernando, the governor of Buenos Aires.  Of course, this is after she’s been violated by two other men earlier in the show, who then were slain by Candide.  So Cunegonde decides to marry this other dude, and is trying to reconcile her actions with how she had been raised.  Which leads to my favorite line of the song: “If I’m not pure, at least my jewels are!”  Listen for the laughter I hinted at in my previous post.

I’m giving you two versions for this song.  First up is by Kristin Chenoweth.  I feel she really embodies the essence of Cunegonde in this performance – remember Cunegonde’s lyrics during “Oh, Happy We”?  If you like this performance, there’s a DVD available of the entire show.

I’m so glad I stumbled upon this next one, and I would love to see the visuals of this performance.  Alas, all we get it audio, but I’m sure it will still entertain.  So how many of you knew that Madeline Kahn could sing?  I also wanted to add this one as her cause of death, ovarian cancer, is very personal to me, having lost both my mother and grandmother to it.  So here’s to all those wonderful ladies!

Before I close, I wanted to share this cool chart I found as I was researching this post.  It provides a nice visual of the themes of the overture and where they appear.  My only quibble is that the Fanfare is also part of “The Best of All Possible Worlds”.

Here’s one more piece from Candide, even though its melody is not present in the overture.  But it’s such a gorgeous piece that I had to include it.  Besides, it’s the last song of the show so it seemed fitting to put it here.  Enjoy “Make Our Garden Grow”:

Sheet Music Plus Homepage

Get a recurring 10% discount!

Save