This
disc is a reissue of two early Shostakovich recordings on
Capitol (No. 1) and Angel (No. 5) LPs.
Efrem Kurtz’s recording of Symphony No.
1 has gained widespread recognition for its vivacity and
energy. There is a clear influence here of Kurtz’s experience
of working with dancers; the fast movements are light and
move with ease and grace. The slower sections too have a
well judged sense of poise without over-indulged sentimentality.
Throughout, Kurtz retains the sense of freshness that one
would expect in a work composed by a talented 19 year old
student. There is no stuffiness here. The tempi are generally
on the fast side - Kurtz overall almost 7 minutes faster
than Vladimir Jurowski's Pentatone
recording
(see review).
| |
I |
II |
III |
IV |
| Kurtz |
7:49 |
4:20 |
7:16 |
8:30 |
| Jurowski |
8:38 |
5:15 |
9:54 |
10:19 |
I feel, however,
that these speeds
work well, especially in the hands of an orchestra as capable
as the Philharmonia, who take the technical challenges in
their stride and give a dazzling rendition.
The Fifth Symphony is perhaps Shostakovich’s
most well known work. It is surrounded in controversy as
a result of the criticism he received for his opera
Lady
Macbeth of Mtsensk in 1936. Described as ‘a Soviet artist’s
response to just criticism’ one cannot help but wonder how
it would have been different had he not been compelled to
respond to political pressure. Perhaps the fourth symphony
is our best guide to this? Recordings of the Fifth abound,
with varying interpretations of tempo and character. The
end is particularly open to discussion – does the symphony
close triumphantly at a fast pace or at half the speed as
an enforced celebration? This recording was made by Previn
and the Chicago Symphony Orchestra in 1977, shortly after
Shostakovich’s death. The energy is unquestionable, and the
driving accelerando towards the climax in the first movement
is electrifying. The brass section comes into its own here,
punctuating the strings with well balanced chords. The unison
melody that follows has strength and weight, maintaining
the power that has been allowed to develop through the movement.
The grotesque scherzo is fast paced but
not rushed, although it perhaps lacks the refinement of some
recordings I have heard. The slow movement is also faster
than many versions, particularly in the climaxes. It retains
a sense of space though, and Shostakovich’s dark and mournful
harmonies are given space to breathe. The finale is energetic
and driving, but with just enough control to maintain an
even pulse and build tension. The euphoric moments are short-lived,
tempered by the entry of militaristic influences which follow
almost immediately. The slow-moving music that follows is
tinged with nostalgia for happier times, and Previn handles
this well, ensuring the continuing direction while allowing
time for reflection. And so to the ending – Previn chooses
the fast option, choosing to interpret the metronome mark
as crotchet = 176 rather than quaver. Triumphant celebrations,
therefore, end this excellent recording of what is, in my
opinion, one of the finest symphonies of the twentieth century.
Carla Rees
Philharmonia
Orchestra/Efrem Kurtz (1)
