DSCH CD Review<, Symphony No. 1 in F minor, opus 10/title> <meta name="copyright" content="© DSCH Journal 2009"> <meta name="robots" content="index,follow"> <script type="text/javascript"></script> <script src="../../wpscripts/jspngfix.js" type="text/javascript"></script> <script src="../../wpscripts/jsRollover.js" type="text/javascript"> </script> <script type="text/javascript">  </script> <link href="../../css/reviews.css" rel="stylesheet" type="text/css"> </head> <body text="#000000" style="background: #2a2a2a; text-align:center;"> <span class="Normal-P0"><span class="Normal-C4"><font face="Tahoma, Geneva, Arial, Helvetica, sans-serif" size="5" color="#FFFFFF"><b><a name="op10"></a><a name="index" id="index"></a></b></font></span></span> <div style="background: #2a2a2a; position:relative;width:750px;margin-left:auto;margin-right:auto;"> <div style="position:absolute; left:6px; top:100px; width:740px; height:250px;"><img src="../../wpimages/top_01.png" width="740" height="249"></div> <div style="position:absolute; 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Symphony No. 3 in E<i>b</i> major, <i>The First of May</i>, opus 20.<br> </b><b>Gennadi Rozhdestvensky, USSR Ministry of Culture Symphony Orchestra, Yurlov Russian Choir, Stanislav Gusev (artistic director), Rosalia Pergudova (chief choirmaster).<br> </b>Moscow Studio Archives MOS 19061. DDD. TT 66:56.<br> Recorded in 1984.</div> <p align="left">Gennadi Rozhdestvensky is one of the greatest proponents of Shostakovich's music and his enthusiastic performances, especially of unusual and little-known works, have always been a pleasure. This re-release of these two symphonies is a pleasure, allowing the rediscovery of Rozhdestvensky's talent in bringing out important aspects of Shostakovich's scores. These performances stress the joy and humour inherent in both symphonies - often underplayed or even left out - particularly in the Third. The melodic lines are clearly differentiated, which is partly due to the clean sound (almost too clean and lean in places).<br> <br> In the First Symphony, this leanness highlights the opening's sparkling freshness and opens up what are sometimes congested readings of the solo lines. Likewise, the piano's contributions are clear, whereas they have been muffled in many more recent recordings. However, the piano's loud whacks in the second movement and the solo timpani pronouncements in the fourth sound one-dimensional and overly shrill due to the bright acoustics.</p> <p align="left">Even with the stress on the sardonic and wit, the gravitas in the third movement is equally present with wonderfully played oboe, clarinet, trumpet, and violin solos. Rozhdestvensky does not stretch out the <i>Lento</i> (10:23) to get this effect, as he does in the massacre passage in the Eleventh Symphony (his being one of the best interpretations). In between the Finale's baleful introduction with its beautiful choral sound, the trio-like return to the <i>Lento</i>'s sorrow and later the timpani-heralded return of the same, the fourth movement is played with great gusto, undercut a little by the lean recording. The solo cello in the middle of the fourth movement, bringing back the <i>Lento</i> music, is a bit too maudlin for my taste - this is my only reservation about the musicians' playing here. The climactic music is theatrical and dramatic, with great trumpet trills and a terrific ending. Here, more than in any other recording, we feel the impetuousness of Shostakovich's youth and the excitement of experimentation. <br> <br> Rozhdestvensky's Third is a marvel to hear again after many years of experiencing other versions. He truly animates the score, rendering it exciting and full of edgy meaning. This is a performance to treasure, from the opening portentous clarinet solo developing into a duet, to the silly march, featuring horn, trumpet and snare. Note also the surreal <i>Meno mosso</i> with its ethereal background cut by sarcastic solos through to the overly serious choir finale. <br> <br> The violin solo in the <i>Lento</i> is gorgeously played and here there is an ambiance that adds suddenly developed reverberation to the recording venue's acoustic 'bloom'. The martial section following the <i>Lento</i> cannot, even in the best hands, feel anything less than choppy, which may have been exactly what the impressionable young composer was attempting to reflect, culminating in the powerful <i>Allegro molto</i> which Rozhdestvensky plays all-out, as if life depended on the outcome. His playing of the immediately-following <i>Andante</i> is full of uncertainty, with bizarrely anxious lower-string <i>glissandi</i> brought to a true <i>forte</i>, rising to brief string lines with intensely ominous vibrato - this is the highlight of the recording. No other version comes close to revealing the passion and inventiveness of the composer.</p> <p align="left">The concluding chorus is performed as almost an obligatory add-on and, as such, it is done with reservation and a certain shrillness in the singing. The concluding measures, for orchestra alone, are perfunctory, without any exclamation on the very last whole note, a held tremolo. It's as if Rozhdestvensky is saying, "This conclusion isn't so important; however what precedes it is - very." His attention to the composer's wonderful writing is what makes these recordings must-haves. <br> <br> The notes, by Andrew Farach-Colton, are quite informative and detailed. <br> </p> <p align="left"><i>Richard Pleak<br> <a href="#op10">Top</a></i></p> <P align="center" class="Normal-C4"> </P> <p align="center"><img src="../../wpimages/wp7b0d205b.png" width="677" height="8"><span class="Normal-C"></span></p> <div align="center"> <table width="677" border="0"> <tr> <td><div align="right" class="Normal-C">DSCH Journal © all rights reserved</div></td> </tr> </table> </div> </div> </div> </body> </html>