Composer: Dmitri Shostakovich (1906-1975)
Work: Symphony No. 14, Op. 135 (1969)
Performers: Joan Rodgers, soprano; John Tomlinson, bass
Orchestra: BBC National Orchestra of Wales
Conductor: Mark Wigglesworth
Recording Date: 18-19 March 1999
Label: BIS BIS-CD1173
Duration: 56:34
Dmitri Shostakovich’s Symphony No. 14, composed in 1969, presents an introspective meditation on mortality, drawing from a selection of eleven poems that articulate the human experience of death. This latest entry in the BIS discography, featuring the BBC National Orchestra of Wales under the baton of Mark Wigglesworth, offers a compelling interpretation that merits close examination, especially in the context of earlier recordings.
Wigglesworth’s interpretation is notable for its careful pacing and nuanced dynamics, which are essential to conveying the symphony’s somber themes. The work opens with a delicate orchestral introduction, marked by a hauntingly sparse texture that evokes an atmosphere of foreboding. However, this recording presents a slight challenge with its initial dynamic levels, which are set at an almost inaudible volume. This peculiarity may disconcert listeners accustomed to a more assertive sonic presence, yet it underscores the introspective nature of the opening movement, “Lament,” where the muted strings and muted brass serve to heighten the sense of dread that permeates the work.
The choice of soloists in this recording—Joan Rodgers and John Tomlinson—proves astute, as both artists deliver performances that are both idiomatic and deeply expressive. Tomlinson’s bass voice has a gravitas that brings to life the weighty texts by Lorca, Apollinaire, Küchelbeker, and Rilke, rendering the existential anguish palpable. His articulation is particularly impressive in the fifth movement, “The Suicide,” where he navigates the text’s emotional landscape with both power and restraint, drawing upon the subtleties inherent in Shostakovich’s vocal lines.
Rodgers complements Tomlinson’s performance beautifully, her soprano voice soaring in the ethereal “The Death of the Poet.” Here, her phrasing captures the fragility of life, particularly in the poignant line, “But the poet dies, and the song remains.” This moment encapsulates Shostakovich’s juxtaposition of despair and transcendence—qualities that define the symphony as a whole. The interplay between the soloists and the orchestra is masterfully handled, with Wigglesworth ensuring that the orchestral textures support rather than overwhelm the vocal lines.
Historically, the Symphony No. 14 emerges from a period marked by personal and political turmoil in Shostakovich’s life. The composer, recovering from a heart attack and grappling with the aftereffects of polio, infused the work with a sense of urgency and reflection. The historical context surrounding its composition adds layers of meaning to the performance; the irony of a critic dying during the premiere, while discussing death, speaks to the often fraught relationship between art and the artist’s existence. This recording does justice to that irony, embodying the tension between despair and the will to create that characterizes much of Shostakovich’s oeuvre.
Comparatively, this recording stands out among previous interpretations, particularly those by conductors such as Bernstein and Haitink, whose versions, while powerful, sometimes veer into the maudlin. Wigglesworth’s approach is more restrained, allowing the emotional weight of the text to surface organically without heavy-handedness. This is particularly evident in the climactic moments of the final movement, “The End,” where the orchestral contribution swells dramatically, yet remains anchored by the restraint of the vocal lines.
As for the recording quality, BIS has delivered a clear and well-balanced sonic experience, despite the noted issues with dynamic levels. The clarity of orchestral textures allows for a detailed listening experience, with individual instrumental contributions easily discernible throughout the performance. This clarity is crucial for a work that demands close attention to the interplay of voices and instruments.
In conclusion, this recording of Shostakovich’s Symphony No. 14 by Wigglesworth and the BBC National Orchestra of Wales is a commendable addition to the discography of this profoundly introspective work. The performances of Rodgers and Tomlinson are exemplary, effectively capturing the essence of Shostakovich’s exploration of death and existence. While minor recording issues may detract slightly from the overall experience, they do not overshadow the interpretative depth and historical resonance that this performance achieves. Thus, it stands as a worthy addition to any collection of Shostakovich’s music, inviting listeners to engage with the haunting beauty of his late style.
