As with Shostakovich: Symphony No. 15 - Haitink, this is another "premium" release from RCO Live yet is not quite as musically succesful as both that and Shostakovich: Symphony No. 7 - Jansons.

Inevitable comparisons will be made with Shostakovich: Symphonies 3 & 10 - Gergiev and, even though there is no coupling here, this disc sounds to be far better value for money than their Russian competitors. The first movement in Jansons hands is only 3 seconds longer in duration (in nearly 23 minutes, that's practically the same) yet he finds different solutions to the musical questions than Gergiev. Jansons points up the tempo changes more markedly (with Gergiev being closer to the model of Karajan that so moved Shostakovich himself); some gear changes may be a little forced at first but repetition quickly acclimatises one to these quirks of interpretative choice.

In the brief but brutally savage Scherzo that follows, Jansons at 4'36 is slower than Gergiev's 4'26; both these are completely eclipsed by either of Karajan's miraculous accounts and both certainly are & sound a lot slower (4'12 & 4'15 respectively)! That aside, Jansons here completely eclipses Gergiev's forces who sound tame by comparison in both characterisation and weight of tone.

A similar weight of tone imbues the quasi-waltz of the third movement; here Jansons is markedly slower than most (over 1 minute slower than both Gergiev & Karajan) and in lesser hands the combination of weight with a languid tempo would threaten to cause the movement to collapse. The characterisation that the RCO provide Jansons prevent this from happening and in its own way is a thrilling example of magnetic playing; some may well find this too slow though for the most part. The grimly ironic "celebratory" incarnation of the melody finds the tempo undergoing a very marked change that many would consider is not exactly as Shostakovich indicated (nor the following return to the main tempo) - this is easily the most controversial aspect of the account and this would be the section I would encourage those wavering to audition.

A similar level of introspection though pays off enormously in the introduction to the finale; the playing of the woodwind soloists of the RCO is a joy to the ear throughout and time both stands still and is fleeting at the same time. The Allegro part of the Finale is taken at a brisk speed and Jansons allows his marvellous orchestra the freedom to express themselves musically and as virtuosos. Taken as a whole, this disc captures what would have been quite electrifying concert performances but what works "in the moment" may not always translate well to repeated listening for all listeners.

The sound is the typical Concertgebouw richness married to a wonderful level of detail. In this respect at least it leaves the Gergiev account completely in the shade. The changing timbre of the woodwind as they switch between caustic and coaxing is a joy to behold and almost worth acquiring for this factor alone. Unlike some earlier releases from this label, there is no applause included.

Recommended with some reservations.

Copyright © 2013 John Broggio and HRAudio.net

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