Anne Ozorio has already
reviewed
these discs with great enthusiasm and
I should make it clear straightaway
that my reactions are similar. This
was a recording of the month in November
and it is now too late to consider it
for the 2006 recordings of the year.
So there seem to be no more accolades
to offer though I have made a mental
note to put it on the shortlist for
2007. Although it is appropriate that
this was issued in the composer’s centenary
year it seems amazing that this is the
first complete recording of such a major
work. Most of the music was entirely
new to me although I am familiar with
a recording of the short suite made
by Bernard Haitink around 1980 – I think
that was originally issued in conjunction
with the Dutch conductor’s recording
of the First Symphony. Interestingly,
on that disc it was apparently entitled
The Age of Gold, which implies
something rather different to me. Knowing
not a word of Russian, I can’t comment
on translation issues but The Golden
Age surely makes more sense.
As Anne’s review implies,
after the composer, much of the credit
for the success of the disc must go
to the Royal Scottish National Orchestra
players and particularly conductor José
Serebrier. Heretofore I have tended
to regard him as a bit of a peripheral
figure (possibly a "this side of
the pond" bias) but no longer.
There is an interesting article by him
on the Naxos
website reproduced from a recent
issue of the International Record
Review. Of humble origins in Uruguay
his big break came through Leopold Stokowski.
He is also a composer although I can’t
recall having heard any of his music.
What is apparent listening to the discs
is that their making must have been
a labour of love for orchestra and conductor
alike – there is a real buzz that is
maintained for the best part of two
and a half hours. The recording is splendidly
lucid and presentation excellent with
good notes and a space-saving single-size
jewel case.
The recording is based
on the version given at the 1930 première
in Leningrad (as it then was) and therefore
includes Shostakovich’s transcription
of Vincent Youman’s song Tea for
Two as an Entr’acte between Acts
II and III. The story is based on Dynamiada
by Alexander Ivanovsky. A Soviet football
team is visiting a Western town at the
time of an industrial exhibition. After
a brief but jaunty prelude, Act I is
set at the exhibition and politics is
the main theme. After numbers entitled
General confusion, the embarrassment
of the Fascists and A rare case
of mass hysteria, the concluding
catchy foxtrot offers some relief but
still has dark undertones. Act II has
scenes in the street and then in the
stadium. The match itself comes right
at the end of the first disc and is
one of the more serious numbers. I am
not clear who won but have my suspicions!
Some of the most delightful music comes
in the Music Hall scene in Act III which
includes the memorable Polka with prominent
xylophone part which Shostakovich included
in the suite, a slinky Tango and a riotous
Can-can. The final scene is set in a
prison. Prisoners are freed, the bourgeoisie
are in panic and there is a Final
dance of solidarity.
This music is Shostakovich
at his most inimitable. It is alternately
serious and full of humorous twists,
and invariably wonderfully orchestrated.
One wonders just what the youthful composer
was really poking fun at. I have no
idea how well this works as a staged
ballet but the music stands alone as
fine entertainment. I was going to say
that it will surely now take its place
in the line of great Russian ballet
music after Tchaikovsky and then Prokofiev’s
Romeo and Juliet. But, hang on
a minute, this was written several years
before Prokofiev’s masterpiece! A potentially
perfect surprise present for any music
lover, make sure you pick up a copy
for yourself as well. Perhaps there
is another accolade I can suggest –
Bargain of the Century.
Patrick C Waller
see also Review
by Anne Ozorio Recording
of the Month - November
Royal Scottish National Orchestra/José
Serebrier
