Shostakovich: Symphony No. 10 [CD]

Petrenko is really proving himself as a champion of Shostakovich with fantastic performances of the 5th, 8th, 9th and 11th symphonies already to his name. So this masterful recording of no.10 really puts his name in the same league as such Shostakovich interpretors as Mravinsky, Ashkenazy, Gergiev and Rostropovich.

The handling of the mysterious opening is perfection, there is much sensitive playing from the RLPO soloists with an excellent dynamic range and well thought - out articulation. The thrilling climax at the centre of this movement is absolutely breathtaking, and the melancholic ending of the movement is just sublime with sensitive playing from the two piccolo solos in particular.
The second movement is given a very energetic performance with impressive virtuosic playing from the RLPO. The anger in the movement is captured exceptionally, making the listening experience all the more exciting.
The sense of tragic mystery in the third movement is caught very well with fantastic handling of Shostakovich's genius hints of the DSCH motto theme.
The woodwinds of the RLPO give astonishing solos in the mysterious opening of the fourth movement, reminiscent of the first movement. This leads into the energetic allegro section with exceptional playing from the RLPO. The climax is astounding, extremely exciting. The brief string section which brings the last bit of melancholy of the symphony after the climax is played so beautifully. After that the ending is in sight and Petrenko really pushes the best out of his orchestra, bringing an exciting, enjoyable finale. After hearing those triumphant last few bars, with the DSCH motto in the timpani, I just wanted to listen to the whole symphony over again!

Throughout the whole symphony, the performance of the RLPO is impeccable and Petrenko's handling of this great orchestra is magnificent. The Naxos sound is fantastic and really allows the glorious orchestral tone of the RLPO to shine.

To me, it is better than Karajan's attempts, however great they were. This recording just contains so much more energy and beauty! So overall, this cd is highly reccommended.

Maybe one day after his Shostakovich cycle, Petrenko would turn to Mahler...I can only dream about how amazing that would be.

DH

The fourth issue in the Petrenko/RLPO cycle of Shostakovich symphonies reaches the composer's most accomplished work in this form, the monumental 10th. The controversy over Solomon Volkov's 'Testimony', in which much is said about its political implications, can blind one to its supreme virtue as a work rooted in a classical, abstract form, with simple themes that can be picked out and their development easily followed. For instance, in the first movement, the opening six-note motif, and the wedge-shaped second subject are developed,and then combined in a massive orchestral climax, to die away unresolved in an uneasy calm. The last movement gropes towards an optimistic conclusion, reaching an apotheosis in which the main theme, and the musical acronym of the composer's surname (D-S-C-H: D- E flat- C-B in British musical notation) combine to bring the work to a triumphant conclusion in the major key. It is a perfectly-formed symphony, travelling through the depths of despair to a final victory against the odds, and achieving what the composer's earlier exercises in this form did not quite bring off.

As in earlier issues, Petrenko adopts brisk tempi, and avoids lingering over the more introspective sections, especially in the third movement where he is obedient to the 'Allegretto' marking. His orchestra sustains the sheer momentum of the violent and angry second movement, in which the upper strings, woodwind and side-drummer play with great virtuosity. Nor is this at the expense of subtlety: in the well-judged start of the work, the lower strings emerge from nothing to set the tragic mood that defines most of this symphony. Naxos has provided the clear, rather clinical sound that a work of such searing intensity demands, as well as notes that give a background to the symphony, though the revelation that it appeared at the end of the year when Stalin died is sufficient explanation in itself.

Once more at bargain price, and recommended without reservation.

Additional Note (8 October 2011): this recording has just won an accolade as the 'Gramophone' magazine's best Orchestral recording for the past year, so this is another good reason for getting it

Shostakovich's Tenth has been open to many intepretations with the Solomon Volkov's contested Shostakovich memoirs, "Testimony" view of it being a portrait of Stalin being particularly popular. The letters kept by composition student, Elmira Nazirova from the time of the composition threw new light on it and help to explain some of the mysteries. Knowing that Shostakovich corresponded at length with this promising young, Azeri composer, led some to see a romantic link and thus a contradiction with the Stalin portrait view. There's no reason why it couldn't be both and more.

The allegretto third movement is at the centre of most speculation because it includes on horn a motive symbolising Elmira and another with the familiar Shostovich monogram DSCH. What is overlooked is that he explained the thematic link to her in his letters but also pointed out that her theme was identical to the opening theme of Mahler's Das Lied Von Der Erde - note for note this is true. He also wrote about dancing through a graveyard. The movement climaxes with an excitable waltz contrasting the two themes. Add to the mix that Elmira was of Jewish background and Shostakovich was taking a great deal of interest in their oppression - a symbol of wider soviet oppression; as his Jewish verses, Fourth Quartet and Piano Trio illustrate.

The cd sleeve notes are informative and extensive but tell little of this background or mention the prominent role of clarinet and woodwind in particular - a Jewish reference perhaps.

The first theme of the third movement is taken from the scherzo of his First Violin Concerto written in 1948. That movement included his monogram too and there were witnesses suggesting that work began many years before on the symphony - clearly he'd tried some of the material out in other works, of which the Violin Concerto is particularly symphonic in scope. As for any hints of romance with Elmira, he wrote obsessively to her but this ceased on completion of the symphony. It seems she might have been a conduit for what he had always intended.

The conclusion of the symphony is sometimes characterised as being nervous rather than joyous but it is impossible not to feel that there is a powerful feeling of triumph and relief as the DSCH pounds out on the timpani at the close - almost like he's dancing on Stalin's grave.

Whatever you make of the symphony's background and "programme" there is no escaping that this is one of Shostakovich's most powerful works and his most successful symphony - it's an extraordinary work regardless of any programme. It seems that this was hardly written at speed and had a long gestation period. His musical language had turned its back on Mahler towards the conscious Russianness of his later period identifying, in particular with Mussorgsky.

I've written more about the background however because, if you haven't noticed from all the reviews, this is a magnificent recording by Naxos with the most incisive and world class playing by the RLPO giving everything for a conductor who has a clear view of the symphony; both it's background and its architecture. No detail is lost along the way but that's not at the expense of tempo: the furious scherzo, regarded specifically as a portrait of Stalin's violence, is one of the quickest recorded.

The epic first movement is paced to perfection building the right tension to its climax - note, incidentally, the Jewish references in both the opening clarinet theme and the later clarinet duet.

The main themes of the third movement are clearly defined and set against each other leading to its dancing climax. You're left in no doubt as to there being something behind these notes. The finale after its slow opening brings a riotous conclusion again with the main themes etched out and contrasted right to the final pounding timpani.

I can't say this is the greatest ever recording of the Tenth - I've not heard them all. It is, however, extraordinarily good - a crystal clear recording, world class playing and interpretation at a Naxos bargain price. If you're even half serious about getting to know the symphony this recording is a must. Highly recommended.