Lokshin’s Symphony No. 4 and Sinfonia Stretta: Tabery’s Captivating Voice with Bremen Philharmonic’s Dynamic Performance

Composer: Alexander Lokshin
Works: Symphony No. 4, Sinfonia Stretta (1968), Trois Scènes du Faust de Goethe for soprano and orchestra (1980)
Performers: Vanda Tabery (soprano), Philharmonisches Staatsorchester Bremen, Michel Swierczewski (conductor)
Recording: July 2000, Gutsscheune Varrel, Bremen, Germany, DDD
Label: BIS

Alexander Lokshin, a prominent figure in the Soviet musical landscape, created a compelling body of work that often grappled with the tensions between personal expression and Soviet ideology. His Symphony No. 4, composed in 1970, stands as a testament to his unique voice, characterized by a blend of dissonance and lyricism. This latest release from BIS also includes the Sinfonia Stretta and Trois Scènes du Faust de Goethe, illuminating the evolution of Lokshin’s style and thematic preoccupations, particularly his inclination toward the existential and the metaphysical, as drawn from the evocative works of Goethe and Baudelaire.

The performance of Symphony No. 4 by the Philharmonisches Staatsorchester Bremen under Michel Swierczewski is notable for its clarity and depth. The orchestra navigates the complex textures with precision, allowing Lokshin’s intricate orchestration to shine. The first movement opens with a stark, almost austere theme, marked by sharp contrasts and rhythmic tension. Swierczewski’s direction brings out the underlying emotional currents, with the strings articulating a sense of longing that permeates the symphonic fabric. The brass section, particularly in the climactic moments, injects a powerful energy, juxtaposing the delicate woodwinds, which adds to the overall dynamism of the piece.

In the Sinfonia Stretta, composed in 1968, the orchestra’s execution reflects a balance between spontaneity and structural rigor. The work’s episodic nature is handled adeptly, with each section distinctly characterized yet seamlessly integrated into the whole. The strings exhibit a rich warmth in the lyrical passages, while the percussive elements punctuate the work with a visceral intensity. The engineering quality of the recording enhances this effect; the spatial separation of instruments allows for an immersive listening experience, capturing the nuances of Lokshin’s orchestration.

Vanda Tabery’s interpretation of the Trois Scènes du Faust de Goethe is particularly striking. Her soprano voice is both ethereal and commanding, adeptly conveying the dramatic intensity required by Lokshin’s settings. In the third scene, her soaring lines resonate with a haunting beauty, effectively juxtaposed against the orchestral backdrop. The conductor’s sensitivity to the textural interplay between voice and orchestra is commendable, ensuring that the intricate dialogues do not overwhelm the lyrical content. The engineering quality here maintains a delicate balance, allowing Tabery’s voice to shine without overshadowing the orchestra’s contributions.

This recording stands out not only for its interpretive depth but also for its technical sophistication. The clarity of the sonic landscape allows listeners to appreciate the subtleties of Lokshin’s compositional techniques, particularly his skillful use of counterpoint and orchestration. Compared to other recordings of Lokshin’s symphonic works, such as those by the Moscow Philharmonic, this interpretation offers a fresh perspective, revealing layers of meaning that may have previously gone unnoticed.

The amalgamation of these works provides a profound insight into Lokshin’s artistic vision, showcasing his capacity to blend traditional forms with innovative harmonic language. This recording serves as a vital contribution to the understanding of 20th-century Russian music, reaffirming Lokshin’s place in the canon. It is a compelling invitation for both seasoned listeners and newcomers to explore the rich emotional tapestries woven within these symphonic landscapes. The BIS label’s commitment to high-quality recordings is evident, making this a significant addition to any serious classical collection.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.