Mark
Wigglesworth writes concisely and effectively on these works
in the booklet notes to this release. However, other than showing
his understanding of the social and historical context of these
symphonies, he doesn’t reveal any of his personal feelings towards
them. With the 9th anticipated as a paean to the
glory of Stalin and the Soviet Union’s victory in World War
II and the 12th commissioned as a commemoration of
Lenin and the 1917 revolution, Wigglesworth points out the difficulties
with which Shostakovich was presented, treading the line between
satisfying public and political demands and trying to avoid
compromise in his own artistic expression. In the end, Shostakovich
created an abstract musical statement in the 9th;
a deeply programmatic one in the 12th – the two works
contrasting well on a single disc.
The
Bis recording is one of admirable depth and scale, and with
truly excellent playing from the Netherlands Radio Philharmonic
Orchestra – with 115 players the largest orchestra within the
Foundation Music Centre of Dutch Radio and Television – this
release comes with an almost automatic recommendation. With
other releases in this growing series receiving high praise
in most quarters collectors need have no qualms about supplementing
their collection with this one. The only question really remaining
is how this particular release stands in relation to some of
the others on the market.
With
the big ‘wow’ factor ringing in your ears with a spectacular
new recording like this I’m always a bit suspect – it always
seems a bit too easy, the best recording being the last one
has heard – wonderful, bravo, more of same please! Recalling
the performances on the complete set conducted by Kondrashin
and I can at least say that these new performances don’t have
quite the gut-wrenching grit of those Moscow recordings which
are in a category all of their own, with their own problems
as well as advantages. I can also say that I prefer Wigglesworth
over Haitink. Those Decca recordings – the first complete cycle
recorded by Western forces – do hold a special place in the
catalogue, but there must be a reason I ditched mine over the
years. Haitink’s 12th is reckoned by some to be one
of the best in his set, but this new one is in most regards
more than its equal, and just picking out the quality of the
brass and percussion in the opening Revolutionary Petrograd
movement one gets a taste for something with that bit of
extra zip.
Every
record label confronting these works has the looming spectre
of Rudolf Barshai’s complete set on the bargain Brilliant Classics
label breathing down their neck. Barshai is still hard to beat
at the price, but, note for note, Bis has by far the greater
clarity, a more sympathetic acoustic, a more realistic balance
with the percussion - and better tuned timpani - greater refinement
in winds and brass, more accurate strings – need I go on?
Well,
yes. There’s a sense of fun and energy in the Barshai recordings,
especially in the 9th, that I miss with Wigglesworth.
Admittedly, perhaps its not ‘fun’ as such that we should be
looking for, but where Barshai is irrepressible in the Symphony
No.9 Wigglesworth is light, refined, even gentle by comparison.
Just take those solo trombone notes in the first movement which
keep coming back – that interval of a fourth. With Wigglesworth
they have the character of a motif, with Barshai they are a
statement – a black twig upon which the whole wobbly edifice
of the rest of the orchestra sits like a sick toad. The NRPO
has plenty of weight to give later on, and with such tremendous
playing it seems mean to complain. The more solemn movements,
with some gorgeous instrumental solos are certainly of a very
high order. Without chopping and changing between versions I
suspect most of you will be more than happy, but to me this
version doesn’t quite push enough beyond the comfort zone. This
9th also has to compete with Gergiev
on Philips, which I can’t say I’ve heard, but would also seem
a hard act to follow, knowing Gergiev.
Comparing
the Symphony No.12 and there is more of an argument in
favour of Wigglesworth. Here, the quality of his band, the recording,
and the conductor’s approach to the nature of the music do a
great deal to elevate what many regard as one of Shostakovich’s
weaker if not weakest symphonies to a level beyond which it
is impossible to ignore it as a powerful symphonic gesture.
With the SACD circuits helping out it is possible to discern
most of what is going on, even when Shostakovich’s orchestration
demands that the pots and pans are flying about all over the
place, all at full volume. Wigglesworth seems to favour the
broader sweep of this work, and the intensity of impassioned
strings and the rich bite of the brass and percussion are given
plenty of leeway – drawing the best out of both long swathes
of atmospheric wandering and heavy climaxes. I particularly
like his sense of the phrasing and dynamic in the last movement,
The Dawn of Humanity, which has all of that sense of
redemption which I’m sure Shostakovich intended.
Summing
up, if, like the Gramophone ‘Good CD Guide’ you are looking for
a neat package which deals with Shostakovich’s least popular symphonies
in one distinguished recording; the two they consistently overlook,
then here is your solution, and a very good one it is too. If
however your shelves are already groaning with versions of Shostakovich
symphonies, I suspect these new recordings will not provide that
‘road to Damascus’ revelation, which conjures hidden secrets from
the depths. Collectors of this cycle will already have their standing
order at their local shop, and they need have no qualms about
adding this disc to their shelves. Fans of spectacular sonics
can also have a ball, and while the music may not always hit the
highest of Shostakovich hot-spots this disc is certainly well
up to the high standards we have come to expect from Bis.
Dominy Clements