Symphony No. 6 in B minor, op. 54; Khachaturian: Suite No. 2 from Spartacus; Barber: Violin Concerto[a].
Christopher Cox, London Shostakovich Orchestra, Adrian Varela (violin)[a].
Dunelm Records DRD0173. DDD. TT 77:19
Recorded live St Cyprian's Church, London, 19 May 2001.
Available for £10 plus P&P from the London Shostakovich Orchestra's website at http://www.shostakovich.com.

This is not a commercial recording, as Dunelm is a small private outfit that lends its services to non-professional musical endeavours such as this: a recent concert in which the London Shostakovich Orchestra tackle their namesake's deceptively simple Sixth Symphony.

Cox and his band of amateur and semi-professional musicians, probably having rehearsed after work, deliver a first movement that has all the weight and intensity that we have come to expect. The first climax (of the exposition), for instance, is frighteningly brutal, and the orchestra show an intimate knowledge of the power behind the music.

Although the opening Largo is impressive, the latter part of the symphony suggests that this dedicated amateur ensemble may have bitten off more than it can chew. Unfortunately, emotional maturity is not enough for the Sixth Symphony, for its fast movements are diabolical, and especially in the Finale the LShO's weaknesses show starkly. The Allegro and Presto demand razor-sharp precision lest the music fall apart, and the transparent scoring in many passages throws harsh spotlights on the players. The last moments of the symphony are laboured as the orchestra struggle to keep together, and the audience response is tentative, perhaps not out of a lack of appreciation but rather sheer suspense in seeing the orchestra come through intact.

It would be unfair to measure this release against commercial issues of an entirely different level of professionalism. All things considered, the recording is good, and the orchestra show plenty of promise and buckets-full of attitude. You will hear some very fine individual playing. The LShO's orchestral tone is quite impressive for their stature, and the power they can muster is certainly noteworthy. Where they disappoint is in their frequently shaky ensemble playing, and a lack of maturity in the technical arena when faced with a live audience.

Still, I found the performers managed to convey a true sense of commitment to the music, a redeeming quality that makes the Spartacus Suite quite a success. This is marred less by technical flaws than is the symphony, and despite a slight lack of subtlety, Khachaturian's score comes across as powerful and passionate. The Barber Concerto has its moments too, although the soloist's stoic composure comes across as cold and mannered, as if he is focused solely on getting the notes right. That this does not always happen is a shame, because the orchestra shine through with quite lovely playing.

The live concert, I imagine, must have been a memorable affair, and if you were there you might want to remember this occasion. But as a recording this is a good documentary effort at best, a milestone along the road to what is hopefully a better future for the orchestra. Serious collectors of the symphony may not be so forgiving in their verdict, especially since the asking price could pay for the best the market can offer.

CH Loh
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DSCH No. 16.
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