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Shostakovich: Symphonies 1 & 15 - Gergiev

Shostakovich: Symphonies 1 & 15 - Gergiev

Mariinsky  MAR0502

Stereo/Multichannel Hybrid

Classical - Orchestral


Shostakovich: Symphony No. 1, Symphony No. 15

Mariinsky Orchestra
Valery Gergiev (conductor)


Over 45 years separate the composition of Shostakovich's first and final symphonies and yet both exude the same creativity and dark wit for which the great composer came to be known.

The First Symphony owes much to the influence of the composer's Russian predecessors including Tchaikovsky and Scriabin. However, it also reflects contemporary artistic life and the optimism of the early years in the Soviet Union. By contrast the final symphony is a much more bitter work, which draws on many of the themes that recur throughout Shostakovich's career, yet never resorts to melodrama.

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Review by Graham Williams - July 2, 2009

It is pleasing to report that the second release on the new Mariinsky label is just as impressive as the first (Shostakovich ‘The Nose’ Shostakovich: The Nose - Gergiev).


This coupling of the first and last of Shostakovich’s 15 symphonies presages a new complete cycle of these works by Gergiev and his Mariinsky orchestra on SACD. Gergiev has already recorded symphonies 4,5,7, 9 on SACD and 8 (RBCD only) for Universal, but this new cycle will be welcomed by all who value this conductor’s interpretations of Shostakovich’s symphonies and want performances of them in the best possible sound quality available.

The new recordings, made between 18 and 25th July 2008, immediately benefit from the excellent acoustics of the recently completed Mariinsky Concert Hall that provides outstanding clarity and detail, but still gives a fine ambience and depth to the sound. As these are based on live performances with patch-up sessions, the engineers have gone for a close balance in order to avoid extraneous noise and, apart from a few exhalations from the conductor, this has been most successfully achieved.

In the capricious first movement of Symphony No.1 Gergiev is less impetuous than many might expect. His reading is more thoughtful and questioning than many others. His handling of the march is light rather than dogged, while his insouciant handling of the second subject is quite delightful. By contrast, the second movement is taken at a cracking pace without any loss of articulation thanks to the players of the marvellous Mariinsky orchestra and the important piano part is also very cleanly played. Gergiev avoids sentimentalising the Tchaikovskian slow movement by opting for a restrained and flowing Lento, but one that emphasises its darker undertones. The widely contrasting moods and dynamics of the finale are handled with complete mastery; the timpani tattoo at its climax being preceded with a long and dramatic pause before the poignant cello solo and the eventual headlong rush to the final bars.

The performance of Symphony No. 15 is possibly the finest we have on record. Gergiev gives a swift and tautly athletic account of the enigmatic first movement and one is immediately struck by the crisp impact and accuracy of the Mariinsky percussion section, placed on the right of the orchestra, both here and throughout the symphony.
Gergiev captures an overwhelming sense of bleakness in the grave second movement while still successfully moving it inexorably forward to a searing climax. The weighty brass section of the orchestra deserves special mention both for its unanimity and the fine trombone solo from 7’. 56”. In the short sardonic scherzo the Mariinsky woodwind, punctuated by percussive outbursts, excel and Gergiev emphasises the black humour of the music (1’. 43” to 1’. 48). The finale, with its Wagner quotes and allusions to Shostakovich’s own works is surely one of the most difficult movements for a conductor to hold together convincingly, but Gergiev’s totally focussed reading succeeds in a way few others do.

The recording team of James Mallinson (producer), John Newton and Dirk Sobotka (recording engineers) have, as I have already indicated, achieved a vivid 5.1 multi-channel recording that makes one impatient for the next issue of what promises to be an outstanding cycle to appear. This, I understand, will be Symphony No. 11.

Copyright © 2009 Graham Williams and HRAudio.net

Performance:

Sonics (Multichannel):

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Review by Mark Novak - October 8, 2009

Oh My! What a fantastic orchestral recording we have here! Sonically this is among the very best I've heard in my home. It's got it all - natural, vibrant string tonalities, biting brass, startling percussion, full low-end bloom (tymps, bass drum and cellos/double basses), realistic soundstage. My previous reference for large-scale orchestra has been the Mahler 2 on Channel Classics and I think this one eclipses that by a small margin though the orchestra here is a bit smaller than in the Mahler (dictated by the scores of course). In my opinion, a true reference SACD sonically.

The performances are wonderful too. The first symphony, written at the tender age of 19, is rightly very popular. It is full of wit and excitement and Gergiev is in full sympathy with the notes. On the other hand, Symphony 15 is an enigma and one that I have not listened to much over the years. It is rife with references to other Shostakovich works as well as those of other composers (like Rossini and Wagner) making it a difficult work to bring off convincingly. Gergiev manages to cohere these disparate parts into a satisfying whole for the first time in my listening experience. Though still enigmatic, I was now able to appreciate it for what it is - a final orchestral testament from a complex man. Highly recommended!

Copyright © 2009 Mark Novak and HRAudio.net

Performance:

Sonics (Stereo):

stars stars