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Site review by Polly Nomial August 14, 2006
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Performance: Sonics (MC): |
This disc of Shostakovich's Symphony No. 8 couldn't be more different from the competing Pentatone issue with Berglund and the Russian National Orchestra: Shostakovich: Symphony No. 8 - Berglund
Even though the tempi are similar overall, Rostropovich is marginally quicker in the first movement before relaxing a little (and quite distinctly in the Largo fourth movement) so that Berglund comes in about 2 minutes quicker overall - not much, you might think for a work that lasts nearly 70 minutes. However, the approach Rostropovich applies does not work in his favour outside of the concert hall - I can readily accept that this could be quite thrilling for the first time especially with the added benefit of being able to watch the LSO & Rostropovich but robbed of this extra atmosphere, the interpretation doesn't quite stand up for me.
Strangely, the quicker pace in the first movement has moments where one feels that Rostropovich don't always know what or how he wants to communicate to us, the listeners - something which is completely lacking in Berglund's reading. That said, there are moments of drama that (couldn't fail to?) come across but unfortunately, rather than a symphonic structure, the first movement is delivered as an episodic tone poem. As shall be seen, this is not a problem confined purely to this movement but to the symphony as a whole.
The demonic opening of the Allegretto is played with such ferocity that one can almost imagine the players & Rostropovich tearing the notes from the score. However, on the first occurence of the driving motive in the woodwind, Rostropovich makes the LSO play at half speed. I've never heard this done before and for me, and I suspect others, it completely robs the motoric energy of the passage; the sardonic sections are well characterised though. Also, just as you forgive the early woodwind passage, the final notes from the timpani are distressingly out of tune (and surely, care could have been taken to get this right on at least one of the concerts).
The central Allegro non troppo has thrilling moments, particularly from the woodwind and brass but the lower strings (viola's down) sound curiously uninvolved & uninvolving. A tremendous climax is built to the attacca Largo. After all that has gone before, this is totally lacking in tension and a sense of direction despite the dedicated playing the LSO give Rostropovich; here a relaxed approach has relaxed too far for my liking.
The curious finale (Allegretto) emerges as a fugal movement from the dying embers of the Largo (which unfortunately never really got set alight here) and, in the wrong hands, can sound completely out of place with the rest of the symphony. Rostropovich partially redeems himself here with a convincing reading that seems to inspire the whole of the LSO forces. The sometimes fragmentary reading is a convincing (yet questioning) withdrawal from the trouble and turbulence that preceded and convinces the listener that this movement is an organic part of the remainder of the score.
The recording is dry and lacking in atmosphere as with many Barbican discs from LSO Live but the instruments are clearly laid out and the dynamic range is thrillingly large; indeed some might well find this approach disturbingly large. If only the reading were more consistently involving, then this would have been very recommendable indeed.
(Purchased)
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Copyright © 2006 John Broggio and SA-CD.net
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Review by stvnharr October 23, 2005 (5 of 6 found this review helpful)
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Performance: Sonics (S): |
I really liked the first two LsoLive releases of Shostakovich 5th and 11th by Mstislav Rostropovich, and I anticipated more of the same with this release of the 8th. I have the Teldec rbcd box set of these symphonies, and like them all. This recording of the 8th however is just not quite up to the same quality as the other LsoLive recordings. The reading of the symphony is okay, though the tempos are slow. This works well in the 5th movement Allegretto, but the 3rd movement scherzo is a little too slow, and seems to lack the energy that usually is built up and released into the 4th movement Largo.
But the sound on this recording is what really sets in apart from the other two Lso releases, and in a lesser way. The dynamic range here is typical for Lso releases, no compression whatsoever, and I’ve always liked that, and do so here as well. But the big crescendos are just too much “in your face” and just plain loud. Could be the mics being too close, the hall, I don’t really know. But on repeated listenings, I tended to like the loud crescendos less and less. The string sound of the violins is not the best at times, as well.
So, sound a bit disappointing, performance okay.
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Review by jlaurson October 10, 2007 (3 of 3 found this review helpful)
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Performance: Sonics (S): |
Shostakovich 8th with Rostropovich on LSO live
Even if you know how to approach and appreciate Dmitry Shostakovich’s works, it might take quite a few repeat experiences with any particular symphony in order to have a modest grasp of it. The 8th symphony is no different in that regard. “Unhealthy individualism” and “pessimism” were terms attributed to this stubbornly tragic work when it was singled out for criticism at the 1948 conference of culture-apparatchiks that condemned Russia’s best composers. (It was to have celebrated the turn of the tide in the war - and it just didn't sound like much of a celebration...)
The opening upward fifth after a few introductory bars teases with expectations of the 5th symphony, but neither the younger sister-symphony’s increasingly propulsive character nor her final (if disingenuous) victory march are to be had in the 8th. There is much tumult in the long first movement, as well as the short and fast second and third movements. But the Largo and the final Allegretto are calm and cold in comparison.
Rostropovich knew Shostakovich (though they were perhaps not such “dear friends” as the booklet claims) and he seems to be setting out on a second cycle of DSCH’s symphonies with the London Symphony Orchestra on their own label. (A good idea, because the first cycle was largely forgettable. So far, a fine 5th and 11th are out. My copy of the latter has a dynamic level far to low and I not figurged out if my copy came from an an-off batch or if it is a more widespread problem.)
The overall structure of the 8th may be put into words easily enough, but it is difficult to understand ‘from the inside’, partly because of the meandering first movement, the Adagio-Allegro non troppo. The latter part of the movement has a rather typical Shostakovich buildup of force (with repeated themes and small musical cells, rhythms, xylophone- and timpani-supported marches, and many mini-climaxes) but then ends in a long, quiet, and reflective (or numb?) cor anglais melody that takes you out of the movement’s greatest upheaval.
The resonant and forceful second movement (Allegretto) may be grim and sardonic, but the inner ear can grab a hold of it, and with the Allegro non troppo of the third movement (both are about seven minutes long, compared to over 20 minutes for the first movement and around 15 for the last two) it is one of the keys through which the symphony reveals itself.
Despite slightly recessed sound that is lacking that last bit of clarity (everything very dry, not quite muffled though), Rostropovich brings this live performance off most impressively. I like the sound of the Barshai (Brilliant – West German Radio SO) and Jansons (EMI – Pittsburgh SO) recordings a smidgen better (Barshai’s clear but cool, Jansons rich but not damp), and the third movement is more resistible with Rostropovich. But the cellist-turned-conductor holds more than his own in this symphony. BBC magazine for one, though they might have to be excused for their British bias, thinks that this is the new reference recording of the 8th. I myself would have a difficult time rating any of the three versions I compared as significantly better than another – all three satisfy. If pressed, I'd go with the CHOC winning Jansons. Gergiev’s version of the 8th is about to be re-issued and should make for interesting comparison. Like the Rostropovich recording, a new Wiggelsworth recording on BIS will be available in the SACD format.
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