CD SACD

Theme and Variations in Bb major, op. 3; Popov, Symphony No. 1, op. 7.
Leon Botstein, London Symphony Orchestra.
Telarc CD-80642 or SACD-60642. DDD. TT 65:24.
Recorded in Watford Town Hall, England, 5-8 April 2004.

According to David Fanning's notes, Gavriil Popov began his studies at the Petrograd Conservatoire in October 1922, by which time Shostakovich may well have already completed his op. 3 Theme and Variations, composed in 1921-2 and dedicated to his recently deceased counterpoint teacher, Nikolai Sokolov. Despite the many parallels between the composers, it does seem a little unfair to pair such an early and overtly scholastic work of Shostakovich with Popov's more mature first symphony, composed over an extended period: 1927-34. The two works inhabit starkly contrasting sound worlds: that of Popov one of modernistic dissonant expressionism, and that of Shostakovich one of predictable tonal harmonic and cadential formulae more typical of the mid to late nineteenth-century. This diatonic narodnost sound world was one to which Shostakovich returned periodically during his career (mostly through coercion), for example in the 1950 score to the film The Fall of Berlin, op. 82.

Theme and Variations was never performed during Shostakovich's lifetime, which suggests that the composer would not have expected it either to be published (Collected Works, Volume 10) or recorded. Perhaps we are guilty of voyeurism (or its aural equivalent) by examining such a youthful work, but for those interested in the principle of variation, which is so central to Shostakovich's craftsmanship, this work is fascinating. The outer sections of his theme decorate the first five notes of the B-flat major scale, with a central section in the relative minor. Fanning suggests the slow movement theme of Beethoven's Emperor Concerto as a possible model, but the opening recalls for me Brahms' op. 24 Variations and Fugue on a Theme of Handel, whose B-flat major theme is a decorated version of the first 6 notes of the scale. In terms of length, the variations are quite unpredictable, with only two out of the eleven (the first and fifth) keeping to the original twenty-bar structure. Some of the variations are miniature Tchaikovsky-like dances, recasting the theme in different generic guises, for example as a waltz (fourth variation) or a Russian folk-dance over a drone bass (seventh variation); others are more subtle fantasy variations in which individual melodic motifs are developed, particularly the opening phrase of the theme.

The only other work in Shostakovich's opus list that features the word 'variations' in its title is Variations on a theme by Glinka (sans op. T), a collaborative set of piano variations including three by Shostakovich, composed for children in 1957 in commemoration of the centenary of Glinka's death. However, there are numerous examples where Shostakovich used theme and variations as a structural principle, including the second movement of String Quartet No. 1, the fourth movement of String Quartet No. 2 and the fifth movement of Symphony No. 8. More abundant are special applications of the variation principle, chiefly passacaglia form (as in Symphony No. 2, Lady Macbeth of the Mtsensk District, the fourth movement of Symphony No. 8, and numerous quartet movements) and thematic transformation, a skill invaluable to him as a symphonist and film composer, especially in the many transformations of his own 'DSCH' theme.

This new release is only the second ever recording of Theme and Variations for full orchestra (Shostakovich also prepared a version for piano, op. 3a, recorded by Rimma Bobritskaya in 1983; Melodiya LP C50 20749 006; deleted). Rozhdestvensky made the original recording with the USSR Ministry of Culture Symphony Orchestra in 1982 (Melodiya C10 19103 004, Album 2 of From Manuscripts of Different Years; deleted), subsequently reissued in 1988 on Olympia (OCD194; deleted) and in 1998 on BMG/Melodiya (74321 59058 2; deleted; reviewed in DSCH No. 11), with varying combinations of other early opus numbers.

In comparison to Rozhdestvensky's BMG/Melodiya reissue, Botstein and the Telarc sound engineers have created a more accurate reading of the op. 3 score in terms of dynamics, with some incredible pianissimo effects, subtle crescendos/diminuendos and superb audio quality. Rozhdestvensky's fortissimos however are brighter, particularly in the finale, which is mainly due to the prominence given to the upper woodwind and percussion. Both performances take approximately fifteen and a half minutes, but within that there are some tempo differences, and some may prefer Rozhdestvensky's more relaxed approach, particularly from the tenth variation onwards. Incidentally, track 18 in the Botstein recording, marked 'Coda: Presto', does not match up with the section marked 'Coda' in the score, but with the preceding Allegro section. The true coda begins about 40 seconds into the track.

If you are not a fan of Tchaikovsky ballet music or interested in the formal techniques of variation exhibited in Shostakovich's op. 3, then buy the CD for the Popov! Not having heard this symphony before, I was quite simply bowled over by its power. In a review of the last recording of this work (Gennadi Provatorov and the Moscow State Symphony Orchestra, Olympia OCD576, 1995; deleted), the late Ian MacDonald described the idiom as one of 'expressionistic catastrophism', detecting a distinct Mahlerian influence. This may have been one of the factors that so fascinated Shostakovich, who greatly admired this symphony. The appearance of Botstein's recording is quite timely, arriving shortly before the premiere recording of Shostakovich's Symphony No. 4, arranged for two pianos, performed by Rustem Hayroudinoff and Colin Stone (Chandos CHAN 10296; reviewed above). These two symphonies share not only some similarities in material, but also the dubious accolade of works suppressed because of their 'formalist' tendencies. In Popov's case, this suppression led to the obscurity of his First Symphony and the destruction of his talent. Botstein and Telarc are to be congratulated for giving Popov's First Symphony the attention it deserves, and with such astounding fidelity.

Fiona Ford
Top

DSCH No. 23.
Copyright © 2005 DSCH Journal.
All Rights Reserved.