A Subtly Dynamic, Individualistic Live Recording of Shostakovich’s Symphony No. 7,
For the last few years, the London Symphony Orchestra under Gianandrea Noseda have been releasing live recordings of the complete Shostakovich symphonic cycle, with frequently transcendent results.
Their performance of Symphony No. 4 is as savage and venomous as the composer could have possibly wanted. Their live album with No. 10 is among the most grimly picturesque in recent memory (it’s packaged as a twofer with an aptly deadpan, witheringly cynical version of No. 9).
Interestingly, Noseda’s take on Symphony No. 7, recorded on December 5, 2019 and streaming at Spotify, is much more sleek. Fans of more rugged versions, as Valery Gergiev and the Mariinsky Orchestra have dug into in recent years, may find this lightweight, possibly superficial. But if you love Shostakovich, you may hear things here that you won’t elsewhere.
The backstory is both grim and colorful. The score was smuggled out on microfilm on an American warship; the New York Philharmonic’s North American premiere helped solidify the composer’s reputation here. Back in Stalingrad, in the early days of the siege, Shostakovich joined his local volunteer fire department, but eventually fled the city before the eventual Soviet victory. The party line at the time was that this was more or less a straight-up narrative, Shostakovich’s 1812 Overture. But as we know, he had both barrels aimed at Stalin in just about everything he wrote. Noseda and the orchestra bring to life a lot more here beyond those two general plotlines.
What Noseda has done is to dial up a vast dynamic range that errs on the side of caution. There are moments where the orchestra are no more than a whisper, The first movement here comes across as more of a “what happened to my city” tableau, most notably via Daniel Jemison’s poignantly reflective oboe solo toward the end. For New Yorkers in particular (and until recently, Londoners), this carries enormous if quiet emotional resonance. The dialogue between blithe flute and chuffing cellos is muted, but Noseda uses that as a springboard to wring irresistible humor from the oboe/bassoon conversation immediately afterward. And it doesn’t seem snarky, although that seems more of a possibility in the Gershwinesque fugue that follows.
Noseda finally brings out the artillery for a strange pageant of a march, more of a war movie than an actual war and an interpretation that the cinephile composer probably would have loved. One plausible interpretation that’s been widely promoted over the years is that the theme is a paraphrase of a song from one of Hitler’s favorite operas.
The string section takes over the distant drum riffage in the second movement, Olivier Stankiewicz’s plaintive oboe bringing back a visceral sense of absence and loss. From there we get one of Shostakovich’s signature danses macabres, executed with considerable grace, then a return to wistfulness with the exchanges between harp and bassoon.
Hypnotically circling brass and warmly enveloping woodwinds almost subsume the persistent, bellicose rhythm deep beneath the third movement: this is where it would have been most beneficial for Noseda to pump up the volume a little. But the eerie chromatic theme afterward – which the composer recycled for maximum horror in his String Quartet No. 8 – makes a grisly contrast. Similarly, sotto-voce Romantic escapism gives way to a more sober, windswept, wintry reality.
Noseda and the orchestra finally raise that dichotomy to an efficiently robust if not overwhelming angst in the final movement, up to a surgically spiraling mountainscape straight out of Moussorgsky. In the dream sequence that follows, the drums of war slow to halfspeed and the intruders seem to slink off without much fanfare. The heroic coda is so straightforward that it’s suspicious.
Revisiting an Iconic Moment in the Creepy Classical Canon
Over the course of thirteen years here, you would think that at some point, a recording of Moussorgsky’s Pictures at an Exhibition would have made an appearance. No dice. The Chelsea Symphony‘s performance of that staple of the horror-classical canon got a big thumbs-up...but that was in January of 2016.
Fast forward to 2021: the Chelsea Symphony’s beloved executive director has moved on and the group are as imperiled as any other performing arts organization outside the free world. But there is a very straightforward, energetic 2018 live recording at Spotify by the London Symphony Orchestra conducted by Gianandrea Noseda (both featured here earlier this month) which has plenty of creepy moments.
For those unfamiliar with the suite, the composer wrote it as a requiem for his painter friend Victor Hartmann, inspired by a posthumous retrospective of his work. It’s a wildly successful attempt to bring those paintings to life within the context of a leisurely, pensive gallery tour. In reality, Moussorgsky’s memory of several of the pictures on display was either fuzzy, or he deliberately gave them a much creepier interpretation. The original suite is for solo piano; Maurice Ravel orchestrated it in 1922. That’s what the orchestra are working with here.
The creepiness doesn’t start immediately, Noseda leading the listener into the gallery via a firmly reverential stroll. Ravel’s genius is in highlighting every available bit of phantasmagoria. Case in point: the twinkling second segment, The Gnome, which Noseda picks up boisterously at the end.
Fueled by the low brass and deliciously fluttery, ghostly strings, this broodingly waltzing take of The Old Castle is a keeper for anybody’s Halloween party playlist. Those cattle in the pasture? Definitely up to no good, beneath an increasingly stormy sky.
The Ballad of the Unhatched Chicks is on the goofy, cartoonish side of Halloween music. But Samuel Goldenberg and Schmuyle, the two Jews out for a Shabbat stroll, are definitely keeping an eye out for trouble. Interestingly, Noseda’s interpretation of the catacomb scene is much louder and emphatic – and less haunting – than other conductors usually portray it. Maybe that choice was to set up the distant ominousness of the land of the dead – and then a rise to the bellicose menace of Baba Yaga’s Hut afterward.
The rest of the suite is relatively more lighthearted: proto-ragtime Tuileries, an anxious Limoges market scene and a dynamically rich, stately portrait of the (completely fictitious) Great Gate of Kiev.
This album opens with a similarly dynamic, persistently restless concert recording of Tschaikovsky’s Symphony No. 4. The fateful angst and moody balletesque variations of the first movement, moments of gorgeous bittersweetness and torment of the second, unexpectedly carnivalesque touches in the third and boisterous swirl in the conclusion all testify to how sensitively Noseda and the orchestra approach it.
An Iconic Horror Film For the Ears
Here’s one of the alltime great horror movies for the ears. Dmitri Shostakovich wrote his Symphony No. 4 in 1936, when he first earned the wrath of Josef Stalin for daring to create interesting and relevant music that didn’t glorify the genocidal Soviet regime.
Sound familiar?
Censorship and totalitarianism existed long before the lockdown, the needle of death, Facebook and Google. The Leningrad Symphony Orchestra was pressured not to premiere the symphony, which wouldn’t see the light of day until 1961. The composer reputedly called it his favorite.
As political satire, it’s one of the most withering pieces of music ever written. It’s a mashup of Stravinsky, Tschaikovsky, Grieg’s In the Hall of the Mountain King and Schoenberg, but more venomously political than anything any of those composers ever wrote. There’s a spellbinding live recording by the London Symphony Orchestra conducted by Gianandrea Noseda, streaming at Spotify, that you should hear if you can handle savagely troubled music right now.
This particular album is taken from two concerts at the Barbican in November 2018. Noseda’s dynamics are vast and dramatic to the extreme, as they should be. Whether explosive, or shuddering with horror, or ruthlessly parodying Stalin’s campy pageantry, the orchestra are a force of nature.
The first movement comes in with a shriek, a pulsing post-Sacre du Printemps dance of death and all kinds of foreshadowing of how Shostakovich would expand on this kind of phantasmagoria, far more politically. All the strongman themes in Shostakovich’s symphonies, from the third on, are phony: he never lets a tyrant, whether Stalin or Krushchev, off the hook.
Coy cartoons suddenly appear livesize and lethal. This is a cautionary tale, the composer telling us not to take our eye off the ball, or else. A rite of the dead of winter, intertwined with terrified individual voices, rises to a vicious crescendo. The first of many references to Anitra’s Dance, the Grieg theme, appears. Concertmaster Roman Sinovic and bassoonist Rachel Gough become plaintive and persistent witnesses to history.
Movement two is nothing less than an indictment, a sometimes ghostly, pervasively anxious waltz wafting in and out, the ruthlessness of the regime baring its fangs to a terrorized citizenry. The concluding third movement begins too casual to be true, as the orchestra calmly allude to another macabre Russian classic, Moussorgsky’s Night on Bald Mountain. The chase scene early on doesn’t have quite the horror of the KGB pursuit theme in Shostakovich’s String Quartet No. 8, but it’s close.
The ensemble offer a twisted parody of a Germanic minuet as a spitball at the entitled Russian collaborator classes, Noseda getting maximum cynical gossipy fervor out of the strings. Stormtroopers gather and wreak havoc, the orchestra building a devastatingly phantasmagorical parody of Tschaikovsky’s Nutcracker. Clashes of ideologies, musical and otherwise, grow more combatively surreal. The seemingly ineluctable, gruesome march out doesn’t get to fade down without a series of accusatory ghosts.
As with all of Shostakovich, there are innumerable other details that could take up ten more pages to chronicle: buckle up for this carnival of dead souls. The London Symphony Orchestra’s ongoing series of live albums comprise some incredible performances and this might be the very best of recent years.
A Symphonic Malian Mashup
Of all the strange and beguiling orchestral cross-pollinations of recent years, kora player Toumani Diabaté’s live album Korolen with the London Symphony Orchestra under Clark Rundell is at the top of the list. You could call this six-part suite a harp concerto, the kora being one of that instrument’s ancestors and sharing a ringing, rippling upper register. The music is calm, expansive, unhurried, sometimes warmly playful, sometimes meditative.
This archival 2008 concert – streaming at Spotify – begins with a Diabaté solo, introducing the spare, warmly expansive pastorale Hainamady Town. Then strings and winds enter and add lush, sweeping ambience. Diabaté’s spur-of-the-moment arrangements are strikingly uncluttered and atmospheric: an oboe sailing here, a brassy echo there. Diabaté turns more and more of the melody over to the orchestra as the layers grow more pillowy.
Diabaté’s lively solo introduction of Mama Souraka seems improvised; the decision to pair the kora with xylophone and pizzicato strings along with gentle staccato accents seems completely logical. Yet so does the doppler-like sweep later on.
Elyne Road opens with a windswept British folk ambience over an understated waltz beat; Diabaté’s clustering riffs shift the music into even sunnier African terrain. The ensemble return to the solo intro/orchestral crescendo model in Cantelowes Dream, with a Diabaté joke that’s too ridiculously funny to give away. A Spanish guitar delivers a spiky Malian solo; Diabaté’s conversations with high woodwinds grow more animated and gusty.
Moon Kaira is the most lushly dancing piece yet ultimately most hypnotic segment here, with a triumphant interweave of voices. The bassoon matching Diabaté’s intricate doublestops is a trip. The ensemble close with Mamadou Kanda Keita, a pulsing, vamping salute to the griot tradition with expressive vocals by the late Kasse Mady Diabaté, and a guitar/kora duet on the way out.
The Last-Ever Orchestral Album Made in the UK?
What a creepy coincidence that two of the most harrowing British orchestral works ever written would be recorded on two of the nation’s most fateful dates in recent history. December 12, 2019 was election day. It’s impossible to imagine that anyone involved with the London Symphony Orchestra had any idea of the horrors that would take place the following year, but there’s a bristling intensity, a sense of dread and desperation in their performance of Vaughan Williams’ 1935 Symphony No. 4 at the Barbican that night.
Antonio Pappano also led the orchestra through Vaughan Williams’ much differently dark Symphony No. 6 there on March 15 of last year, the final day of freedom in that country. To date, this chilling, riveting performance – streaming at Spotify – is the last live orchestral album ever recorded in the United Kingdom. Some rock bands have recorded clandestinely since then, but it’s hard to imagine that a full orchestra could pull off such a feat. And this isn’t just a powerful, insightful interpretation of two iconic works: these performances will rip your face off.
There’s a franticness to the introduction of the first movement of Symphony No. 4, leaving no doubt that the gusting pulses afterward do not bode well. The brass is particularly strong here, enhancing the effect, especially as the chromatics grow more macabre. By contrast, the lull afterward seems more conspiratorial – or more enigmatically suspenseful – by comparison to most recordings (the BBC Symphony under Martyn Brabbins also put out a noteworthy, grimly colorful recording of this last year).
Pappano’s dynamics are just as rich in the second movement, from the initial stalker bassline, to methodically pulsing portents, the morose flute theme overhead. a crashing coda and then the lustrously sweeping yet relentless unease afterward. The leaps and bounds of the third movement become more of a chase scene than danse macabre, notwithstanding a momentary cheery, Tschaikovskian interlude. Brisk as this may be, all hands are on deck and primed for battle.
Likewise, the faux-martial bombast of the fourth is downright Shostakovian, which becomes even more striking considering how low Pappano brings the lights down for the deep-space reverie midway through. Few ensembles allow themselves to channel the kind of sheer terror this orchestra does at the end. To call this music prophetic is an understatement: where so much of the world was oblivious, Ralph Vaughan Williams obviously had his eye on the ball.
Where Symphony No. 4 is a prelude, No. 6 is a dystopic postlude, composed in 1947. The opening movement’s series of crashing collapses – the ultimate epic fail, and possibly a Battle of Britain portrait – give way to a witheringly cynical, bounding, vaudevillian theme that follows, Pappano reaching for fullscale phantasmagoria. This could be Hitler, or someone closer to home. The aching, bittersweet longing that emerges immediately afterward will break your heart. When are we going to get back to normal, he asks. Will we ever get back to normal?
Movement two strongly echoes both the stalking menace of Symphony No. 4’s second movement and the vastness of the third, along with a bit of famously bellicose Tschaikovsky. Is this the composer trying to remind us that we’d better remember our history so as not to repeat it?
What’s with that tenor sax weaving in and out of the third movement’s mashup of the work’s initial bustle and striding cynicism? Pillorying postwar optimism, or for that matter any kind of optimism, it would seem: Hitler may have been toast, but the Soviet Union was as much a horror as ever and the Chinese Communist Party’s genocidal campaigns would soon be underway. Like the third movement of Symphony No. 4, this is on the fast side, but the impact is unescapable.
As is the utterly eerie, funereal hush throughout the fourth movement: Vaughan Williams slows down his signature interweave so we can watch the gears’ fateful motion up close this time, and Pappano has the orchestra locking in their long-range sights. An oboe solo channels longing and disappointment; the shivers from the strings go on and on and bring a chill that never lifts. You could call this a musical counterpart to Simone de Beauvoir’s The Mandarins.
The London Symphony Orchestra have released a ton of live recordings since the lockdown, and most of them have been fantastic. One suspects that they have many more lined up on the runway, but so far this is the very best of them all. In fact, this may be the best album of 2021 in any style of music.
Savagely Brilliant Shostakovich Symphonies From the London Symphony Orchestra
In a time when global tyranny and repression have reached levels of terror not seen since the Middle Ages, it makes sense to revisit two great antifascist works from a composer who narrowly managed to survive under one of the world’s most evil regimes. Only Dmitri Shostakovich’s popularity saved him from the fate so many of his friends suffered under Stalin. Fortuituously, maestro Ginandrea Noseda and the London Symphony Orchestra have just released a live album of two completely different but equally relevant Shostakovich symphonies, No. 9 and No. 10, streaming at Spotify. The former is from 2018, the latter from performances at the Barbican in January and February of 2020, just a few weeks before music there was banned by the Boris Johnson regime.
During his lifetime, Shostakovich explained away the savage irony, caricatures and stricken horror in his music as reflecting on the evil of the Tsarist regime, even though it was clear that he was taking shots at Stalin and then Krushchev. Symphony No. 9 is an oddball, the only one of its kind in the composer’s repertoire. It’s a goofy little piece of music whose sarcasm is almost completely deadpan. It’s impossible to imagine a more dispassionate celebration.
Written ostensibly in tribute to the Soviet victory over the Nazis, the blithe little flourishes of the first movement seem to ask, “So we aren’t going to find out if life under Hitler would be any better than it was under Stalin? It couldn’t be any worse.” Ultimately, history would validate that gruesome premise. Noseda leads the orchestra through a very individualistic interpretation, muting the turbulent undercurrent and practically turning it into a concerto for flute and violin.
The conductor takes the second movement slowly, letting the brooding reflection of Juliana Koch’s oboe speak for the weariness of millions of Russians. This depleted, exhausted waltz really drags. Then in the third movement Noseda really picks up the phony pageantry, a familiar trope in the Shostakovich playbook: trumpeter Philip Cobb’s facsimile of a martial Russian victory riff is a hoot.
But it doesn’t last. Timothy Jones’ sotto-voce, lightly vibrato-laden horn brings back the sullen atmosphere in movement four. The sober oboe introduction to the conclusion foreshadows a familiar, troubled hook from Symphony No. 10. The coda is appropriately rote, a whole nation bustling through the motions.
No. 10 might be the greatest symphony ever written: Noseda and the ensemble go deep into its innumerable layers for gravitas and historical impact. Grounded in the low strings, the vast expanse of pain and anguish in the first movement is visceral, a requiem for the victims of Stalin’s reign of terror. Noseda’s choice to mute the flickers of hope against hope, as a pulsing sway grows more and more harrowing, is an apt template for the rest of the recording.
The furtive chase scene of the second movement gains coldly sleek momentum as it morphs into a danse macabre: holocausts throughout history are always carefully orchestrated. Movement three, in contrast, seems especially restrained in its most desolate moments, setting up the iconic, eerily syncopated, Scheherezade-like theme at the center.. Individually voices of mourning rise over a grim hush in the fourth movement: that brief, bubbly respite may only be a coded message to the composer’s girlfriend at the time, and it isn’t long before it becomes a completely different kind of pursuit theme.
Ultimately, Shostakovich’s best-known symphonies are cautionary tales. Look what happened in my country, he tells us. Don’t let this happen in yours. How crushingly ironic that an orchestra from the UK – sufffering under one of the most sadistic totalitarian regimes in the world at the moment – would be responsible for such deeply insightful performances.
An Individualistic, Alternate Take on a Rachmaninoff Classic
If you’re looking to hear Rachmaninoff’s foundationally haunting, sweeping Symphony No. 2 for the first time, the London Symphony Orchestra’s latest live recording, with Simon Rattle conducting from memory – streaming at Spotify – is not the place to start. Rattle has built a hall of fame career: his recording of Sibelius’ Symphony No. 3 with an earlier version of this orchestra is arguably the best ever. But this record is strictly for the diehards.
The skeleton key that unlocks the angst and grandeur of Rachmaninoff’s vindictive response to those who said he couldn’t write a symphony is a late 70s recording by the Russian National Opera Academy Orchestra with Yevgeny Svetlanov conducting. There have been plenty of insightful and enjoyable interpretations released since then: try Leonard Slatkin and the St. Louis Symphony’s version, if you can find it on vinyl, for a silkier, less ruggedly Russian take. But a battered cassette reissue of Svetlanov and his ensemble on the Russian Melodiya label remains a prized possession, something a worn-down subway rider could spin on a walkman week after week and find sustenance in every time.
This album, from concerts at the Barbican in London on successive September nights in 2019, occasionally emphasizes underlying harmonies, sometimes in the least likely places, like a remix. If you’ve listened to this symphony hundreds of times, or even a few times, they may strike you as fascinating, sometimes as odd or maybe fussy. If you haven’t listened to it hundreds of times, or even a few times, these comments may strike you as maybe marginally interesting, or odd or maybe fussy. Just keep in mind that music like this is why diehards exist.
Getting through to those moments is undeniably fun but occasionally maddening. Rattle has this in his fingers, literally, setting the bar low, volumewise to accommodate the explosive peaks. Listen closely as the first movement develops, through that exhilarating rise from wounded exchanges of strings to a first guarded triumph, and you’ll notice that Rattle is leading on the offbeat. Also, the brass and reeds – often complementary textures throughout this piece – are more prominent than usual. That’s ok – it never hurts to think outside the box.
Except when meaning is subsumed. It’s great to get that momentary violin cadenza in the first movement in high definition. But why, for example, are the horns signaling that crushing coda at 12:44 so far back in the mix? They ought to be front and center. And the ending is rushed, as is the second movement: the Dvorakian rumors of war across the plains are more of a battle among the scouts to see who can get back to the base first. Yeah, it’s a thrill to play.
Then there’s a turning point in the third movement where a furtive string riff sinks behind sustained brass, in an otherwise thoughtfully rapturous, transcendent interpretation of what could be the most beautiful portion of any symphony ever written. And there are a couple of places early in the fourth movement when a signal of crushing irony, as the composer’s ha-ha, told-you-so theme blusters in, simply goes AWOL. Under the right circumstances, this symphony should become the part of your DNA which immunizes you against pain. And this doesn’t.
Leading the Way for Women Composers at Lincoln Center
To celebrate one hundred years of women voting in this country, the New York Philharmonic have launched Project 19, a major initiative to feature women composers in their regular programming. That’s a genuine paradigm shift, in the wake of the ugly confirmation from a Baltimore Symphony Orchestra survey confirming that as recently as 2015, the major orchestras in this country have been performing works written by women less than two percent of the time
Dovetailing with the Philharmonic’s long-overdue move, the Juilliard School are staging an unprecedented series of free concerts the last week of this month, with both semi-popular and obscure works by women from over the past two hundred years. The first is on Jan 24 at 7:30 PM at the conservatory’s Sharp Theatre, with a student ensemble playing music by Jacqueline Fontyn, Ursula Mamlok, Ruth Crawford Seeger, Elisabeth Lutyens and Galina Ustvolskaya. Free tiix are currently available.
For what it’s worth, Helen Grime is not one of the composers featured during this marathon week, possibly because she’s one of the better-known women in new classical music. There’s a fantastic London Symphony Orchestra recording of her Woven Space triptych conducted by Simon Rattle streaming at Spotify that you should hear, if staying on top of what’s happening in that world matters to you…or if you love John Barry or Bernard Herrmann suspense film scores.
The orchestra pounce on Grime’s sharp, anxious, Rite of Spring-ish introduction and swing its swirling variations around, brass and percussion dancing amid the strings as the first movement gains momentum. A distant horn sounds over a momentary lull, the angst returning with a vengeance anchored by low, sustained bass.
The second movement begins with disquieting chimes and disorienting, acidic resonance, nebulous strings in the background. There’s a sense of horror rising as sudden accents puncture the stillness, receding momentarily for an elegantly circling call-and-response. Sprightly dancing riffs interchange with bright brass, then ominous bass introduces a brooding reflecting pool of sound. The dance returns furtively – a celebrarion of the human spirit amid constant surveillance?
A tensely gusty circle dance kicks off the concluding movement, delicately churning amid heavy, stern percussion accents. A brief, eerily starry interlude rises and morphs into a series of bracing echo phrases. Grime’s low-high contrasts and reliance on percussion have Stravinsky’s fingerprints all over them; the dance ends suddenly and without closure.
Lucid Culture 