Well, the topic has switched to the Shostakovich 7.

I now see Mr. Schwartz's point, but I have to defend my beloved Bartok.
I believe that at the time of the Concerto for Orchestra's composition,
the Shostakovich 7 was widely looked on as a heroic symphony representing
the struggle of our "comrades" (in the war against Hitler) to fight back
a terrible foe. If the common interpretation at that time played up the
symphony's "bravado" (or bluster, if you will), can we really blame
Bartok for not recognizing Shostakovich's ironic point?  Well, maybe
some can.  But I won't.

It does begin to seem to me that Shostakovich gets a lot of credit for
heroic passages with a subversive, ironic twist - such as the D major
finale of the Fifth.  But I wouldn't say he gets too much credit for
that, because I have not had the misfortune of living in the sort of
totalitarian state in which he did.

Although I'm beginning to wonder...

Perhaps better not to pursue that thought.

C Mullins