This disc preserves a London performance of one of Shostakovich’s
greatest symphonies by the Prague Symphony Orchestra and Václav
Smetáček. It’s a performance that has a good
deal to commend it. However, some six months later London heard
an altogether extraordinary performance of the same work and,
unfortunately so far as this recording is concerned, that too
has made it onto CD. I refer to the performance given at the
Proms on 21 August by the USSR State Symphony Orchestra and
Evgeny Svetlanov. In his review of that disc Dan Morgan rightly draws attention
to its historic significance: the concert took place on the
very night that Soviet tanks rolled into Czechoslovakia, sparking
vociferous protests in the Royal Albert Hall from some of the
audience. That must have created a frisson and Svetlanov
and his players went on to give an incandescent reading of the
Tenth symphony. However, I should say that I remember the Melodiya
LP from the same forces; that studio recording was pretty visceral
too.
I don’t think, however, that it was just the sense of
occasion that made the Svetlanov performance so much more intense
than this Smetáček reading. What really differentiates
the two - and so disappoints me in the Smetáček
performance - is the first movement. The Czech conductor has
a very different view of Shostakovich’s Moderato
marking and to my mind the fairly flowing pace that he sets
is too fast. It’s the main reason why he takes 20:25 against
Svetlanov’s 22:44. Indeed, at this speed the first four
notes we hear sound brusque rather than ominous. Smetáček
doesn’t have the brooding introspection of Svetlanov and
later on he can’t bring the same menacing power. Furthermore,
I don’t sense the willingness to engage in slight, subtle
tempo modifications that other conductors have done in my experience;
it’s a bit unyielding. Just out of interest I looked out
the very fine 1955 DG studio performance by Karel Ančerl
and the Czech Philharmonic. Ančerl’s timing is almost
identical to Smetáček’s - he takes 20:48 -
and his basic speed isn’t very different but you sense
much more probing with Ančerl and there’s more give
and take in the pulse. It helps also, I’m sure that while
Smetáček is at the helm of a good orchestra Ančerl
has a great one at his disposal. So, within a similar time frame
Ančerl delivers a more searching reading of this huge first
movement and while the movement is dismissed in a mere sentence
in the booklet note - which is no more than serviceable - it
is, in fact, one of Shostakovich’s deepest symphonic movements
so the way it’s delivered matters hugely in assessing
a performance of the work as a whole. Sad to relate, I think
Smetáček sounds superficial when compared with either
his distinguished compatriot, Ančerl, or with Svetlanov.
To be fair to Smetáček the other three movements
fare much better. The acerbic scherzo has the necessary punch
and bite; it’s probably the age of the recording that
blunts the weight of those powerful string chords at the start.
The third movement is done well. There’s a distinct East
European timbre to the first horn’s tone, which I like
- and the player is good. Smetáček and his players
unfold the andante introduction to the finale eloquently
and then despatch the allegro with good vigour. The performance
is greeted with vociferous applause by an audience which, hitherto,
had been commendably unobtrusive.
The sound of this recording is not at all bad for 1968 though
I think there’s more depth and body to the BBC recording
of the Svetlanov performance. This disc offers rather short
measure at just over 47 minutes of playing time.
This is a decent account of Shostakovich’s masterpiece
but the great is the enemy of the good and I feel duty bound
to say that if you want a live recording then Svetlanov offers
a significantly more compelling experience.
John Quinn
see also review by Jonathan
Woolf
Masterwork Index: Shostakovich Symphony 10
See also review by Jonathan
Woolf
Prague Symphony Orchestra/Václav Smetáček
