Shostakovich: Symphonies Nos. 5 and 9
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Canadian Music Store CD DetailsBrand: HAITINK,B/LONDON PHComposer: Dmitry Shostakovich Conductor: Bernard Haitink Orchestra: London Philharmonic Orchestra Orchestra: Royal Concertgebouw Orchestra Edition: Music CD Format: Original recording reissued CD Release Date: 2000-07-18 Music Label: Decca Soundtracks:
Music reviews of Shostakovich: Symphonies Nos. 5 and 9Music Review: Lots of attention to structural detail
I'm at a loss to explain some of the other reviewers' comments about Haitink's 5th. Finale too fast? Largo too slow? "Largo" means broad, and that's exactly how Haitink takes this very gradual spiritual movement, at about the same tempo as the slow movement of Dvorak's 9th, another famous Largo. As for Bernstein and Temirkanov being yardsticks, these fellows (or ladies) need to listen to more Shosty 5ths. Haitink brings out the epic tragedy in the gradually-unwinding first movement, which builds brilliantly toward the menacing second (march) subject. For once this odd second subject is integrated logically into the structural whole rather than seemingly tacked on. The recap is tremendous and can threaten plaster if you have the volume on your stereo up too high, and the chimes in the coda are downright spooky, with icy muted strings underneath. The second movement could do with more satire and menace, and the thick vibrato of the concertmaster in his solo is more suited to a Viennese New Years Eve, methinks. Then we go to the disc's highpoint--that "too slow" Largo. Everything here is just right, and Haitink's concentration is not what's faultering here...it's the reviewer who couldn't keep up with him. (You think BH takes a day with it, listen to Kurt Sanderling, the only conductor who can surpass Haitink in this movement.) The oboe solo will make your skin crawl, as will the brilliantly restrained but chillingly effective triangle and buzzy lower reeds. (Dig those clarinets!) The climax is tremendous--big and heavy and yet transparent at the same time. The finale could use more bite and menace, but the slow interlude is magnificent, aching with passion. The coda is NOT too fast...it's actually on the slower side, though both Maxim Shostakovich and the aforementioned Sanderling are the way to go if you want s-l-o-w (Sandering doesn't quite pull it off for me; I don't need it highlighted quite that much) and Bernstein is the way to go for fast. Bernstein is the Great Strikeout in this piece for me, and I don't know why his 1959 recording has the reputation it does, other than hype and listeners not knowing the score. He takes the ending's triumph very literally. In his early days especially Lenny was lambasted for using big orchestral works like this to show off rather than get to the composer's soul, and in this case the criticism is justified. And NYPO skates over some of the most soul-seraching music ever written, with rather ratty-sounding brass. But enough about that performance; as for this performance, my only reservation is sometimes the forces are *too* cool and suave--some of the savagry is lost, and dissonances in the brass are underplayed. But overall this is a great performance, the sound is stunning and the Concertgebouw Orchestra play at their peak. Another great, revelatory recording of this work is Sanderling's, but the Berlin Symphony (and not Philharmonic...if only it were) aren't up to the task, especially in the brass, though the strings are incredibly expressive in the (even slower) slow movement. Among the more mainstream recordings, however, Haitink reigns supreme for me. His DSCH 10th is pretty spectacular as well. Grab both of these before they go out of print (again!).
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