DSCH CD Review, Symphony No. 2 in B major, To October

DSCH Journal

DSCH CD Review

Jansons, Bavarian Radio Symphony Orchestra and Choir: Symphonies Nos. 2 and 12

Symphony No. 2 in B major, To October—a Symphonic Dedication, opus 14[a]; Symphony No. 12 in D minor, The Year 1917, opus 112[b].
Mariss Jansons, Symphonieorchester des Bayerischen Rundfunks, Chor des Bayerischen Rundfunks[a].
EMI Classics 0946 3 35994 2 0. DDD. TT 58:19.
Recorded at Herkulessaal der Residenz, Munich, 29-30 June 2004 and 10 January 2005[a], 26-28 June 2004[b].

This CD brings together the two Shostakovich symphonies dedicated to the Bolshevik Revolution. It is interesting to hear, back-to-back, the solo clarinet descending lines in No. 2 repeated in No. 12, which supposedly represent Shostakovich's sorrow at witnessing the death of a child in the revolution. This release has appropriately propagandistic cover art and brief but insightful notes by David Fanning.

I stress these positives, as there is otherwise little reason to purchase this release. I am disappointed by this CD, from which I had expected great things. I highly respect Jansons, and have heard him lead awesome live performances of the Seventh and Eighth Symphonies; however, these were with other orchestras, notably the Royal Concertgebouw Orchestra. Here, the Bavarian Radio Symphony Orchestra (or perhaps more so the recording) often sound indistinct, despite some excellent solo playing.

Jarvi, Gothenburg SO: Symphonies Nos. 2 and 3

Jansons takes the beginning of Symphony No. 2 without much distinction or elucidation, favouring muddy waters reminiscent of the drowning scene in Berg's Wozzeck. Yet there is so much more to this when played clearly, as a recent live performance under Gergiev shows. The remainder gets underway brightly but lacks enthusiasm. The 13-instrument collage section misses its relationship to the First Symphony, again evident with Gergiev. What makes me most reluctant to recommend this version is the factory whistle (Fanning reports this is "used here for the first time in the symphony's recorded history," which is inaccurate). Gergiev used a hand-cranked siren with a long decay that sounded great; here the effect is an unpleasant, unpitched electric humming (and no, we do not want a Philip Glass effect for this work). The chorus sound decent enough but less than excited about their banal lyrics. Alternative recordings of merit are those by Ashkenazy (Decca 436 762-2; deleted) and Järvi (Deutsche Grammophon 469 525-2; deleted). I am eagerly awaiting Gergiev's recording of Symphonies Nos. 2 and 3, sure to be released in the coming fall or winter.

Cox, LShO, Ayling: Cello Concerto No. 2, Symphony No. 12

In Symphony No. 12, Jansons' approach is again rather anaemic, lacking real drive and spark, and the sound is too diffuse. Contrast this with the plodding beginning of Cox's rendition with the London Shostakovich Orchestra (Dunelm Records DRD0234; reviewed in DSCH No. 24), which quickly leads to excitement and real drama until the hammered conclusion, or the vigorous approach of Järvi with the Gothenburg Symphony Orchestra (Deutsche Grammophon 459 415-2). The best part of Jansons' recording is the slow, thoughtful, Khachaturian-like Razliv, played with brooding dignity and respect. At the end of the work, Jansons doesn't hammer the repetitions to get across the point of deliberate heavy-handedness Shostakovich may have sardonically intended. Without this stress, the ending has insufficient meaning or emotion to carry off the rest of this often misunderstood and unloved symphony. Mravinsky (recently returned to the catalogue on the resurrected Melodiya label; MELCD1000770), Rostropovich (Teldec 0630-17046-2), Cox, and Järvi are good alternatives.

Jarvi, Gothenburg SO: Symphonies Nos. 11 and 12

Mravinsky: Symphonies Nos. 5, 6, 7, 8, 10, 11, 12, 15

Rostropovich: Complete Symphonies

Richard Pleak
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