Something special would have to make me recommend a CD containing
two of Shostakovich’s most popular symphonies, especially
the ubiquitous Fifth. Before doing some comparisons with a few
recordings of the past, I can state outright that these performances,
as part of Petrenko’s continuing cycle, are more than competitive
with their illustrious predecessors. Petrenko indeed has the
measure of both works and he has the Royal Liverpool Philharmonic
sounding a world-class ensemble. Furthermore, the recorded sound
is full and vibrant, leaving little to be desired.
My introduction to the Shostakovich Fifth was sometime in 1959
or 1960 when I heard the Leonard Bernstein recording, fresh from
the orchestra’s successful Moscow performances. I was blown
away by that recording. What a shock, then, to hear it a number
of years later as performed by the USSR State Symphony under
the composer’s son. It sounded like a different work, especially
the finale which I thought ridiculously slow and pompous. The
orchestra sounded rough - especially next to the sleek New York
Philharmonic - and the recording was frankly awful in the pressing
I heard. Of course, this was before the so-called Shostakovich
memoirs as related by Solomon Volkov came out. Nowadays Bernstein
sounds ludicrously fast, if still brilliant. Living in the Washington,
DC area I had the opportunity to get to appreciate Mstislav Rostropovich’s
interpretations with the National Symphony Orchestra. Petrenko’s
account of the finale reminds me of Rostropovich’s with
the coda hammered out as slowly as possible and a forced “triumph” that’s
hard to endure. It is extremely powerful and very convincing
on its own terms. I compared this new version with three others,
not having one of Rostropovich’s to hand: Bernstein’s
(1959), Haitink’s, with the Concertgebouw Orchestra, Ashkenazy’s,
with the Royal Philharmonic, and Maxim Shostakovich’s,
with the London Symphony. Here are the timings:
| |
I |
II |
III |
IV |
| Bernstein |
16:13 |
4:54 |
15:33 |
8:55 |
| Haitink |
17:59 |
5:23 |
15:36 |
10:32 |
| Ashkenazy |
16:36 |
5:19 |
14:45 |
10:59 |
| M. Shostakovich |
18:57 |
5:21 |
17:06 |
12:16 |
| Petrenko |
18:01 |
5:12 |
15:34 |
12:50 |
As you can see from the above, there is no consensus on tempos
for the individual movements, except maybe the second movement,
Scherzo. Nor should there necessarily be. This is what makes
having different interpretations of the standard repertoire valuable.
Tempos do not tell the whole story by far, but comparing Bernstein’s
and Petrenko’s timings for the finale is very telling!
Another characteristic that distinguishes this new account is
the huge dynamic range, from the softest pianissimos to the loudest
fortissimos I have ever heard in this symphony. Part of this
may be due to the recording, but I think most of the credit must
go to the conductor and orchestra. Next to Petrenko, Haitink
seems rather urbane but still convincing and beautifully played.
Ashkenazy, whose recording was my preferred CD version until
now, presents more of a middle-of-the-road view, blessed by vivid
sonics on his Decca recording. However, I now find the added
horn and trumpet swoops, à la Mahler, in the second movement,
irritating on repetition. Maxim Shostakovich’s account
is rather odd, I think. After his unrefined, but idiomatic USSR
Symphony version, he smoothed out all the edges when he recorded
it with the London Symphony. It is no doubt wonderfully played,
with especially gorgeous horns in the Scherzo, but leaves little
impact. The recording is also more distant than the others and
may contribute to this impression. I have not heard his more
recent account with Prague Symphony, but others have found it
an improvement over the London version. Right now, having heard
the Petrenko quite a few times, I would place it at or near the
top of the heap. It will be the one I will listen to now whenever
I’m in the mood for this particular work, which is not
all that often.
The Ninth Symphony, though, is one of my favorite Shostakovich
symphonies. Here my basis for comparison, and my favored CD version,
is Neeme Järvi’s with the Scottish National Orchestra
on Chandos. Järvi brings out the humor in the score as well
as I have ever heard it. Drawbacks are the less than perfect
tuning of the trombones in the fourth movement and the reverberant
recording which has a longer decay than is optimal for this symphony.
Right from the beginning, I was impressed with the sound on the
new Petrenko recording of this symphony. It is very clear, yet
not at all clinical and with plenty of warmth where required.
Also the orchestra performs here at least as well as it does
in the Fifth. I should especially mention the outstanding clarinetist
in the second movement, and equally outstanding trombones (with
tuba) and bassoon in the fourth. No tuning problems there. Where
I still have a preference for the Järvi is in the gruff
humor he finds in the symphony. Petrenko’s is a more subtle,
classical account without the humor being as obvious. His tempos
are also more extreme. For example, his second movement Moderato takes
8:47 whereas Järvi gets through it in 6:31. It is marked moderato,
after all. Still, Petrenko does not sound slow and is convincing.
His third movement Presto, on the other hand, is faster
than any version I have heard - truly presto. It is exhilarating
and the orchestra manages to keep up miraculously well. Järvi’s
is only 12 seconds longer, but seems noticeably slower. Petrenko
is as light as a feather here and the music just breezes by.
So again, Petrenko has given us a good alternative to other favorite
versions.
To sum up: at the level of musicianship present in this new recording,
we definitely need another Shostakovich Fifth and Ninth Symphony
pairing, particularly at Naxos’ bargain price. I must also
mention the excellent notes by Richard Whitehouse that not only
discuss the works at hand, but also trace the composer’s
symphonic development.
Leslie Wright
Royal Liverpool Philharmonic Orchestra/Vasily
Petrenko 
