Composer: Dmitri Shostakovich
Works: Symphony No. 1 in F minor (1925), Symphony No. 2 “To October” (1927), Symphony No. 3 “First of May” (1929), Symphony No. 4 in C minor (1935-6), Symphony No. 5 in D minor (1937), Symphony No. 6 in B minor (1939), Symphony No. 7 in C major “Leningrad” (1941), Symphony No. 8 in C minor (1943), Symphony No. 9 in E flat major (1945), Symphony No. 10 in E minor (1953), Symphony No. 11 in G minor “The Year 1905” (1957), Symphony No. 12 in D minor “The Year 1917” (1961), Symphony No. 13 in B flat minor “Babi Yar” (1962), Symphony No. 14 (1969), Symphony No. 15 in A major (1971)
Performers: WDR Symphony Orchestra, Cologne; WDR Radio Chorus; Choral Academy Moscow; Sergei Aleksashkin (bass); Alla Simoni (soprano); Vladimir Vaneev (bass)
Recording: Various (1992-2000)
Label: BRILLIANT CLASSICS
Dmitri Shostakovich’s symphonic output reflects a profound engagement with the tumultuous socio-political landscape of 20th-century Russia. His symphonies traverse the spectrum of human experience, from the exuberant optimism of the early works to the harrowing depths of despair in the later pieces. The complete symphonies recorded under the baton of Rudolf Barshai present a comprehensive overview of Shostakovich’s evolving style, captured in a set that, while not without its imperfections, offers significant insights into the composer’s artistic journey.
The first symphony, a youthful exuberance composed at just 19, is delivered with a freshness that reverberates through Barshai’s interpretation. The WDR Symphony Orchestra’s sound is well-balanced and vibrant, with woodwinds particularly shining—a hallmark of Shostakovich’s orchestral writing. This performance avoids interpretative intrusions, allowing the symphony’s playful character to emerge naturally. However, the recording quality reveals its strengths in the Cologne Philharmonie’s acoustics, with a deep bass resonance and crisp treble that enhance the listening experience.
Barshai’s approach to the subsequent symphonies demonstrates an admirable fidelity to Shostakovich’s intentions. The Second Symphony, though often dismissed for its overtly propagandistic tone, benefits from Barshai’s careful pacing, particularly in the atmospheric opening. The choral forces exhibit commendable precision, especially in their spirited delivery of the text celebrating October Revolution. Yet, the Third Symphony feels somewhat less effective; despite its frenetic energy, it risks being overshadowed by more substantial works, lacking the dramatic weight found in the later symphonic narratives.
The Fourth Symphony, a stark reflection of Shostakovich’s internal struggles amidst the oppressive political climate, is delivered with fervor, though it suffers from moments of imbalance, particularly in the percussion’s presence. The recording here hints at its origins from a live setting, as page-turning and audience noises occasionally intrude, detracting from the symphony’s intended impact. Nevertheless, Barshai’s interpretation remains compelling, especially as the work builds toward its climactic conclusion.
Turning to the Fifth Symphony, often regarded as Shostakovich’s response to state criticism, one finds Barshai delivering a powerful interpretation. The strings open with a potent intensity, setting the stage for the conflict inherent in the score. The slow coda, marked by its dichotomy of exultation and underlying despair, showcases Barshai’s understanding of the work’s emotional complexity, though rival interpretations—such as those by Maxim Shostakovich or Sanderling—may provide alternative insights worth considering.
The Eighth Symphony’s adagio is strikingly deliberate, a choice that may polarize listeners. Barshai’s measured approach imparts a sense of gravitas, yet some might argue it could benefit from a dash more spontaneity to capture the drama of the unfolding narrative. The Ninth Symphony marks a refreshing departure, with Barshai navigating its lighter textures deftly, showcasing a playful spirit that contrasts with the surrounding works.
Barshai’s handling of the Tenth Symphony is notable for its high wind writing, which, while presented consistently, lacks the visceral thrill found in other performances. The stark portrayal of the second movement’s portrait of Stalin remains effective, yet it is the subsequent movements where the WDR Orchestra truly excels, with an admirable blend of power and nuance.
The choral symphonies, particularly No. 13, reveal Barshai’s depth in conveying Shostakovich’s poignant themes, although the absence of sung texts in the recording detracts from the overall impact. Despite this oversight, the commitment of both soloist Aleksashkin and the chorus is palpable, particularly in the emotionally charged “Babi Yar” movement, which resonates with urgency and depth.
Barshai’s interpretation of the Fourteenth Symphony showcases a fine balance between the soloists and orchestra, though it may not surpass other notable recordings in terms of emotional heft. The Fifteenth Symphony, while executed with skill, feels rushed at times; the orchestra’s occasional lapses in cohesion suggest the challenges of live performance recordings.
This comprehensive set presents a rich tapestry of Shostakovich’s symphonic evolution, with Barshai capturing the essence of each work, even if certain performances—such as the Fifteenth—do not reach the heights of others. The engineering quality varies, with some recordings revealing the rawness of live performances, yet the overall sound is more than adequate for a deep exploration of Shostakovich’s legacy. For collectors and newcomers alike, this set stands as an essential entry point into one of the most significant symphonic cycles of the 20th century, offering a compelling blend of historical context, emotional depth, and musical integrity.
