Dmitri SHOSTAKOVICH (1906 – 1975)
Prelude and Scherzo for Octet, Op. 11
Concerto for Piano, Orchestra and Trumpet, Op. 35
Chamber Symphony, Op. 110a
Fred Mills, trumpet
Damon Denton, piano
The ARCO Chamber Orchestra / Levon Ambartsumian
Recorded: Georgia, USA, 2001
PHOENIX PHCD 151 [58: 31]
In this remarkable recording of Shostakovich’s earlier and later works, the ARCO Chamber Orchestra under the baton of Levon Ambartsumian immerses the listener in a profound exploration of the composer’s stylistic evolution. Shostakovich’s Prelude and Scherzo for Octet, matured during his formative years, is a testament to his burgeoning talent and complex emotional palette. Written between 1924 and 1925, these pieces reveal a young composer already grappling with the weight of Russian tradition while simultaneously forging his unique identity.
The Prelude unfolds with an enchanting lyrical quality, its long, exploratory viola and violin themes suffused with a deep yearning that is both introspective and evocative. The strings, under Ambartsumian’s deft direction, navigate the emotional landscape with a nuanced touch, capturing the oscillation between romanticism and the darker undercurrents that permeate Shostakovich’s oeuvre. The Scherzo, in stark contrast, erupts with frenetic energy; here, Shostakovich’s clever use of dissonance is both playful and disconcerting. The sharp accents and rhythmic vitality reflect an almost mischievous spirit, reminiscent of the Russian folk influences that often inform his work.
Transitioning to the Concerto for Piano, Orchestra and Trumpet, Op. 35, the listener encounters a youthful exuberance and an unmistakable wit. The playful dialogue between piano and trumpet, particularly in the first movement, is laced with jazz-inflected rhythms and military motifs, revealing Shostakovich’s engagement with contemporary influences. The trumpet, played by Fred Mills, offers a bright, assertive presence, albeit at times lacking the robust tonal weight that one might desire in such a dynamic work. This is a minor flaw, as Mills’ delicate touch in the quieter moments brings forth the concerto’s inherent charm. The second movement, with its contemplative yet buoyant character, juxtaposes moments of introspection with lively interjections, demonstrating the composer’s ability to intertwine humor with pathos.
The recording culminates with the Chamber Symphony, a poignant reworking of Shostakovich’s String Quartet No. 8 in C minor, Op. 110. Engendered in the shadow of World War II, this late work stands as a haunting meditation on human suffering and existential despair. The transformation of the original quartet into a chamber symphony serves not merely as an orchestral expansion but as an emotional deepening. Ambartsumian’s interpretation strikes a balance between starkness and lyrical beauty, particularly in the Adagio, where the somber thematic material resonates with an aching poignancy.
The work’s historical context cannot be overstated; it emerges from Shostakovich’s personal reflections on the devastation witnessed during the Dresden bombings, and its musical language is rife with allusions to both despair and resilience. The stark contrasts between the light-heartedness of earlier compositions and the gravitas of the Chamber Symphony encapsulate the evolution of Shostakovich as both an artist and a chronicler of human experience.
Recording quality is commendable, with the ensemble achieving a clear, resonant sound that allows the intricate interplay of strings and winds to flourish. The engineering captures the warmth of the strings while maintaining clarity in the more complex polyphonic passages. However, one might wish for a slightly more pronounced presence of the piano and trumpet in the concerto, as their contributions occasionally recede into the background.
In comparison to other notable recordings, such as the renowned interpretations by the Borodin Quartet for the string quartet version of the Eighth or the dynamic renditions of the concerto by the likes of Martha Argerich and Sergei Nakariakov, this recording stands out for its cohesive interpretation of Shostakovich’s stylistic breadth. Ambartsumian’s command over the orchestra and his deep understanding of Shostakovich’s inner world make this a commendable addition to the burgeoning catalogue of Shostakovich’s chamber works.
In conclusion, this recording not only highlights the diverse emotional landscapes within Shostakovich’s music but also showcases the ARCO Chamber Orchestra’s remarkable artistry under Levon Ambartsumian’s insightful leadership. The journey from youthful exuberance to profound existential reflection is both compelling and evocative, affirming Shostakovich’s enduring legacy as a composer who speaks to the human condition with unparalleled depth and clarity.
