Comparisons:
Barshai/Brilliant Classics
Fedoseyev/Moscow Studio Archives
Mravinsky/BBC Legends
Kondrashin/Aulos
Composed in 1943, Shostakovich's
Symphony No. 8 is generally considered
a musical representation of the horror
and devastation of World War II. Given
its extra-musical themes, a highly concentrated
tension permeates this five-movement
work punctuated by a host of tremendous
climaxes. Of course, Shostakovich's
biting and grotesque satire rears its
head as well, most clearly in the third
Movement.
Recorded versions from
the legendary conductors Evgeny Mravinsky
and Kiril Kondrashin have been the standards
for decades. For comparison listening,
I have also added the excellent versions
conducted by Rudolf Barshai and Vladimir
Fedoseyev. There are also a few other
stirring interpretations including those
from Bernard Haitink on Decca, Mariss
Jansons on EMI, and Mstislav Rostropovich
on Teldec.
My primary reason for
providing the above list of recordings
is to indicate that the 8th Symphony
is certainly not lacking for exceptional
representation on record. Therefore,
a new performance of the work must possess
many of the traits exhibited by these
excellent recordings or present new
insights into the Symphony to deserve
a place in one's music library.
Unfortunately, the
performance conducted by Bychkov offers
nothing in the way of new insights nor
does it match the best aspects of alternative
recordings. Yes, the orchestral playing
is of the first rank, and the recorded
sound is splendid in all respects. Further,
Bychkov's climaxes are definitely of
great power. However, the consistency
of coiled tension found in the best
versions is lacking when listening to
Bychkov's performance, resulting in
a much reduced depiction of the devastation
and intense despair inherent in the
score. Perhaps most significant, Shostakovich's
biting satire has little sting in Bychkov's
interpretation.
The interpretative
stance taken by Bychkov in the 3rd and
4th Movements readily displays his weaknesses
and strengths. The Third Movement is
in ABA form with one of the most powerful
codas ever written. The first section
is built on a machine-like ostinato
in toccata form that travels from the
violas to the first violins, and eventually
to the entire orchestra; it is a concentrated
and relentless force that could symbolize
a very unattractive futurist environment
as well as the never-ending horrors
of war. The addition of shrieking winds
and grinding bass supports the grisly
picture. The second section presents
a circus-like atmosphere where Shostakovich
seems to be making a mockery of the
serious themes he gave us in the first
section.
For the first section
to be effective, the listener needs
to feel that an inhuman and unstoppable
power inhabits the musical scenery,
one that has no soul. Bychkov doesn't
get to this point, because the machine
rhythm is not sharply etched and the
concentration of energy takes on a diffuse
character. His second section is even
less successful, sounding like an exuberant
day at the park with brass solos that
don't come close to having the bite
of the brass for Mravinsky. Essentially,
Bychkov offers us a rather sane and
restricted view of war, while Shostakovich's
score captures its wild, dysfunctional
and inhuman aspects. In Shostakovich's
sound world, the capacity to go 'over
the edge' is ever-present. This is the
quality entirely missing in Bychkov's
interpretation of the third Movement
and the work as a whole.
The fourth Movement,
marked "Largo", is a Passacaglia having
a series of diverse variations over
a ground bass. Featuring solo parts
for horn, piccolo, and clarinet, this
is the most poignant movement in the
work and reflects the despair and desolation
resulting from war. Bychkov conducts
this movement excellently with a keen
sense of the extra-musical associations
and the dialogue among the musical lines.
Still, the comparative versions, particularly
the Fedoseyev, convey a greater intensity
of desolation than the Bychkov.
In conclusion, Bychkov
does not delve into the heart of the
8th Symphony's themes. Considering its
premium price, I recommend that readers
investigate the alternative recordings
in the heading. This rich vein of exceptional
performances renders the Bychkov superfluous
unless your primary interest is merely
excellent sonics.
Don Satz
WDR Symphony Orchestra of Cologne/Semyon Bychkov
