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Shostakovich’s The Nose musical highlight: the percussion interlude

The young composer pulled out all the stops with this exuberant interlude, as musical as it is unmusical.

By Rachel Beaumont (Product Manager)

19 October 2016 at 12.03pm | 2 Comments

What a racket! Shostakovich punctuates his first opera, The Nose, with instrumental interludes, and the first of these is scored exclusively for unpitched percussion. An assortment of drums, cymbals and other motley instruments are bashed and rattled with explosive, feverish energy that builds to climaxes of nightmarish intensity. This ingenious movement is much more than a headache in aural form, though, as Shostakovich shows us that he can reflect the deadpan wit of his source material without needing to use either of those usually essential tools of the opera composer: words or melody.

The interlude is sandwiched between scenes that show men with hangovers having awful days. First the barber Ivan Iakovlevitch wakes up hoping to solace himself with some bread and onions. But lurking in the loaf is a nose – possibly belonging to an unlucky customer. His wife screamingly demands he dispose of it, which Ivan miserably slopes off to do. But how to manage that without attracting the interest of the police? Platon Kuzmitch Kovalov, painfully waking after the interlude finishes, has an even worse time of it. Worried about a pimple he noticed on his nose the day before, he goes to fondle it – and finds, instead of a nose, a smooth flat patch of skin. His nose has done a runner.

The source for this surreal story is Gogol’s tiny tale The Nose, considered one of, if not the best, short stories ever written. One of the things that Shostakovich admired most about this miniature masterpiece was how ‘Gogol states all comic events in a serious tone’, and the same unshakeable deadpan characterizes his opera. ‘I did not want to make a joke about the nose’, Shostakovich says. ‘Honestly, what is funny about a human being who has lost his nose? The Nose is a horror story, not a joke.’ Indeed. Horror is laced throughout the many different musical styles Shostakovich co-opts into his score, and has its first real outburst in this gruesome, percussive interlude. He doesn’t give us just a lot of noise, though: like the comedy, this is horror in a very serious tone.

As you would expect with a percussion ensemble, rhythm is the crucial compositional ingredient. Shostakovich marshals with ruthless precision the voices of his nine instruments. (Here’s the list: bass drum, castanets, clash cymbal, snare drum, suspended cymbal, tambourine, tam-tam, tom-tom and triangle.) Quite dissimilar to the music of his near-contemporary Stravinsky, which delights in changing time signatures, Shostakovich maintains a regular pulse throughout, fiercely emphasized by ‘ta-ta-TAH’ rhythms and jabbing syncopation – a foreteller of the ferocious marches that storm throughout the music of his later career. There is, inevitably, some of the same militaristic sense here in The Nose. But that’s far from being all that’s going on.

Cue the drum roll! Shostakovich instantly conjures a shadowy circus, and it’s a roll long enough to cover all kinds of alarming animal activities. It ends, though, with a cheeky cymbal crash, punchline to a vaudevillian routine. That marks the end of the interlude’s first half, but its mirror at the end of the second half has bombastic, unsettling jolts like shells falling on a battlefield. Connecting these two long assaults is music that starts off like a fugue, an intricate subject passed between each voice, and becomes something more impressionistic, expressed through muttered outbursts that are quickly stifled. Connecting all those different feelings together, taken as a whole the interlude can morph yet again and even work as a simple (if complex) parody: David Syrus, The Royal Opera’s Head of Music, hears a send-up of Wagner’s chorus of anvils from Das Rheingold, that track his gods’ descent into the grimy world of the Nibelungs.

A march, a chorus line, explosions with a punch line, death and comedy – it’s all there. In this three-minute interlude Shostakovich telescopes the vibrancy of the whole opera, hinting at the wealth of methodical musical madness that is to come, alluding to all of the different styles that make up this exuberant, show-off piece. And he does it all without sounding a single note.

The Nose runs 20 October–9 November 2016. Tickets are still available.

The production is a co-production with Komische Oper Berlin and Opera Australia and is staged with generous philanthropic support from Hamish and Sophie Forsyth, The Tsukanov Family Foundation and The Royal Opera House Endowment Fund.

This article has 2 comments

  1. Tim Walton responded on 21 October 2016 at 11:52am Reply

    Fantastic first night. Really enjoyed it. Glad I travelled all the way down from Birmingham. Arrived home just after 01.00!

    It is being filmed for DVD Release?

  2. Isla Baring OAM responded on 2 November 2016 at 4:11pm Reply

    It was one of the most intoxicating mad stories, production and singing I have ever heard and seen. What music for one so young.. Fantastic costumes. Director Barrie Kosky magnificent what a piece , more please not just 5 days. !

    well done Covent Garden

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