This
has been something of a “Golden Age” for The Golden
Age, with a gala, fully-staged new production at the Mariinsky
Ballet, which was repeated a fortnight later in London. The
Mariinsky was where the ballet was first produced, and where
it has been revived in previous years, so it can claim a certain
pedigree. However, if the St Petersburg was played as poorly
as it was in London (see review)
I doubt anyone would be enthused to listen to it as music.
This new recording, on the other hand, conducted by José
Serebrier, makes a wonderful case for The Golden Age
as stand-alone music, for its own sake. Serebrier gets straight
into the exuberant spirit of the music, inspiring the RSNO so
much so that they produce an incandescent performance which
eclipses the Mariinsky, at least as heard at their London performance.
Indeed, it’s executed with such panache that it even challenges
the far more sophisticated LSO (with no less than Gergiev, at
the 2006 Proms) and the Hallé (with Elder at Aldeburgh 2006).
Music written for ballet is by nature episodic because it must
allow for set-pieces for dance. It therefore needs an underlying
thrust to convince as a musical whole, particularly if it is
ever heard purely as music, as is the case with this recording.
Shostakovich had recently returned from a first visit
abroad. He was fascinated by jazz, modern dance, agitprop cabaret,
indeed the whole creative, chaotic buzz of 1920s Germany. Shostakovich
could disguise his discoveries by working them into the plot
of the ballet, pretending to be mocking them. That is perhaps
why the music still rings true with a sense of enthusiastic
commitment. A rapid succession of tableaux unfolds – a waltz,
a polka, a tango, jerky, angular rhythms that evoke the spirit
of social subversion that the “jazz age” represented, even in
the decadent west. Shostakovich employs what were in 1920s Russia,
daring, “modern” instruments, like the xylophone, woodblocks,
and something known as a “flexitone”. He’s able to incorporate
witty snatches of foxtrot and Charleston, and can’t resist a
wicked variation on “Tea for Two” complete with saxophone.
This recording comes extremely well documented in that
the booklet describes the ballet scene by scene, so you can
follow the action while listening and use your own imagination
to create visual images. It’s a rewarding exercise – try it
! On the other hand, you can also listen simply as music because
it’s so expressive. Serebrier wisely realizes that, without
the constraints of having to be in synch with dancers, the music
is “freed” so to speak to take on a life of its own. Thus he
uses fast tempi, which propel the music on at a heady pace.
It’s exciting, because it challenges the orchestra, and they
respond with enthusiasm. Dancers might have a problem keeping
up, but Serebrier knows the orchestra can do so, and will. They
respond with alacrity, as if they were enjoying themselves hugely.
The heady atmosphere and fast pace might conceivably
unravel after two and a half hours of playing, but in Serebrier’s
hands, the orchestral textures are never compromised. Everything
is kept in sharp focus, clearly delineated and lucid. Even in
a studio recording it’s not that easy to keep up such intensity,
but Serebrier and his players don’t show any sign of flagging.
Tiny details like the piccolo symbolizing the football coach’s
whistle, remain clear above the tumult. There’s a real whistle,
too, in the actual football match scene. Every note of the xylophone
rings pure and clear. There’s so much in this music that Serebrier
must have had to be very quick and minimal with his signals.
Yet the orchestra sounds as if they were bristling with anticipation,
executing each entry with extreme precision. There’s no margin
for error at these tempi. Leopold Stokowski, Serebrier’s mentor,
called the young conductor “the greatest master of orchestral
balance”. This performance shows why.
Similar clarity illuminates the slower sections. The
Entr’acte Tea for two is quite magical. In the Music
Hall scenes, the transitions between different sections are
deftly handed, changes of direction turning on a pivot with
the grace of a prima ballerina twirling en pointe. Serebrier
stretches the dissonances convincingly – just distorted enough
to remind us of the undercurrent of serious thought that runs
beneath the exuberance. This Can Can isn’t really as
carefree as may seem. In the ballet, the final scene depicts
the triumph of the Soviet system over its class enemies. Ostensibly
the music celebrates too. But Serebrier notes the shrill wail
of the flute that ends the swaggering march. It heralds a surprisingly
disturbing interpretation of the sections that follow. Trumpets
and trombones here subvert the ostensible imagery, and the crackling
staccato tension that infuses the penultimate piece is perhaps
closer to Shostakovich’s real feelings than the rictus grin
he was forced to present to the official world. Serebrier has
thought through his interpretation carefully and sensitively.
He’s not restrained by the dangers the composer faced, so he
can give voice to the darker, more despairing subtext. This
Final Dance of Solidarity is far more equivocal and more
questioning than would have been possible in Soviet times. Quite
frankly I got infinitely more from this recording than from
hearing it with ballet, or other performances. Serebrier makes
a powerful case for The Golden Age as serious music on
its own terms.
This is a breathtaking recording in many ways. It’s also
complete and uncut and the notes are good. Don’t hesitate –
this is one that needs to be listened to, even in this crowded
year of Shostakovich revelations.
Anne Ozorio
Tracklisting
CD1
1. Prelude 01:58
2. Act I Scene 1, The Golden Age of Industry Exhibition: Procession
of the Guests of Honour 02:37
3. Act I Scene 1, The Golden Age of Industry Exhibition: Inspection
of the Display Windows 02:02
4. Act I Scene 1, The Golden Age of Industry Exhibition: Demonstration
of Important Exhibits - Appearance of the Soviet Football Team
02:56
5. Act I Scene 1, The Golden Age of Industry Exhibition: Magician
- Advertising Agent - Dance of the Hindu 03:54
6. Act I Scene 1, The Golden Age of Industry Exhibition: Boxing
as an Advertising Stunt 02:03
7. Act I Scene 1, The Golden Age of Industry Exhibition: Scandal
during the Boxing Match - Entrance of the Police 02:17
8. Act I Scene 2, Exhibition Hall: Dance of the Golden Youths
03:58
9. Act I Scene 2, Exhibition Hall: Dance of Diva: Adagio 10:05
10. Act I Scene 2, Exhibition Hall: Appearance of the Soviet Football
Team and Diva's Variations 02:16
11. Act I Scene 2, Exhibition Hall: Soviet Dance 02:17
12. Act I Scene 2, Exhibition Hall: Diva asks the Leader of the
Soviet Team to Dance with Her 01:10
13. Act I Scene 2, Exhibition Hall: Dance and Scene of the Diva
and the Fascist 05:56
14. Act I Scene 2, Exhibition Hall: Dance of the Black Man and
2 Soviet Football Players 03:46
15. Act I Scene 2, Exhibition Hall: The Supposed Terrorist, "The
Hand of Moscow" 03:17
16. Act I Scene 2, Exhibition Hall: General Confusion - The Embarrassment
of the Fascists 01:47
17. Act I Scene 2, Exhibition Hall: A Rare Case of Mass Hysteria
02:58
18. Act I Scene 2, Exhibition Hall: Conversation between the Director
of the Exhibition and the Fascist 01:11
19. Act I Scene 2, Exhibition Hall: Foxtrot ... foxtrot ... foxtrot
04:59
20. Act II Scene 3, A Street in the Same City: Mime of the Agents
Provocateurs, Provocation and Arrest: Galop 08:17
21. Act II Scene 4, Workers' Stadium: Procession of the Workers
to the Stadium - Dance of the Young Pioneers - Sports Games 01:51
22. Act II Scene 4, Workers' Stadium: Football March 05:06
CD2
1. Act II Scene 4, Workers' Stadium: Intermezzo, "Everybody
amuses oneself in one's own way" 01:50
2. Act II Scene 4, Workers' Stadium: Dance of the Western Komsomol
Girl and 4 Sportsmen 06:39
3. Act II Scene 4, Workers' Stadium: Sports Contests - Joint Sports
Dance 03:44
4. Act II Scene 4, Workers' Stadium: Scene and Exit of the Soviet
Team 02:07
5. Act III: Entr'acte, "Tea for Two" 03:28
6. Act III Scene 5, Music Hall: Chechotka, "Shoe Shine of
the Highest Grade" 04:51
7. Act III Scene 5, Music Hall: Tango 03:18
8. Act III Scene 5, Music Hall: Polka, "Once upon a Time
in Geneva" - Polka, "Angel of Peace" 02:14
9. Act III Scene 5, Music Hall: The Touching Coalition of the
Classes, slightly fraudulent 04:25
10. Act III Scene 5, Music Hall: Entrance of Diva and the Fascist
- Their Dance 03:36
11. Act III Scene 5, Music Hall: Can - can 06:21
12. Act III Scene 6, Prison Building: Prelude 02:38
13. Act III Scene 6, Prison Building: Scene of the Freeing of
the Prisoners 09:20
14. Act III Scene 6, Prison Building: Total Unveiling of the Conspiracy
- The Bourgeoisie in Panic 06:42
15. Act III Scene 6, Prison Building: Final Dance of Solidarity
05:49
Royal Scottish National Orchestra/José
Serebrier
for
details 
