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Shostakovich's 10th dates from 1953, the year of Stalin's death, and represents one of the composer's very ambitious efforts, lasting about an hour, and featuring a massive opening allegro. Aside from its obvious quality, the symphony is significant because it has been rumored to be a summa of the bitter era under this tyrant's deranged rule. It is also one of the most obvious instances of Shostakovich being influenced by Gustav Mahler, among other things because of a quote in the Allegretto that is close to direct.
I wanted to compare three prominent recordings of the 10th as a guide for the listener. All three are good but the Rostropovich and Petrenko interpretations stand out as achievements.
Rostropovich/London Symphony (Teldec, 1991): Mstislav Rostropovich's conducting often is what I'd describe as relaxed. Which doesn't mean he lacks intensity. Rather, he is willing to take pauses and let up from a metronomic pace more than many other conductors. That could represent a problem in the massive architecture of the 10th symphony, but he keeps hold of the overall pacing to present a beautiful interpretation, like in the opening Moderato, which builds beautifully from somber darkness. I'd describe Rostropovich's vision as more humanistic than the other performances reviewed here. Particularly memorable are the two big orchestral "sighs" towards the beginning of the first (2' in) and third movements (4' in), moments that I think of as a passage of recollection and grief for what has come before. Each is done very movingly, as if to step away from the tragedy. Rostropovich's attention to detail and musicality are heard throughout, for example, in the very musical sloping of the opening paragraph of the finale. There is obvious emotion in the playing and a vision of what the music means. Despite the flexible and relaxed tempo, Rostropovich builds to a very exciting and well paced conclusion in the finale. This superb performance is helped by excellent work from the LSO and audiophile-quality sonics. It would be a clear reference for most other 20th-century works, except that...
Petrenko/Royal Liverpool Orchestra (Naxos/2005): except that young Russian émigré Vasily Petrenko presents a very different and riveting vision of the 10th. While Rostropovich and Rattle take similar approaches to the 10th, Petrenko is the outlier. If Rostropovich is relaxed, Petrenko emphasizes speed, architecture and long-term coherence. The opening allegro is boiled down to 22 minutes of stress, a full 5 minutes shorter than the Rattle. It is fast, entirely coherent. Interestingly, Petrenko manages like Rostropovich an exceptional ending to the finale, but approaching it from a different place. All this focus on architecture doesn't cause Petrenko to gloss over details. In the Allegretto, Petrenko's has the orchestra play louder and faster than the other two conductors, but the result is nonetheless haunting. He also nicely transitions from the more active klezmer-like theme louder into the hushed portion. I also found that Petrenko accents the lower registers of the orchestra more. This is my first experience with Petrenko and the quality of this performance ensures that I will need to listen to all of his Shostakovich releases. The orchestra plays well and, like the Rostropovich, the sound quality is audiophile level.
Rattle/Philharmonia (EMI/1985): With two outstanding performances like the Rostropovich and the Petrenko, where does that leave a good but not great release like Rattle's? In a bit of a halfway house. The interpretations from Rostropovich and Rattle are similar, but Rattle is something of a poor mans version. I had pointed to the opening paragraph of the finale as an example of Rostropovich's musicality; Rattle is pretty good there but there isn't Rostropovich's level of nuance. Over long spans of music, this difference in quality also comes out. Rattle's opening Moderato is the slowest and comes off as a tad sluggish, although the individual phrases are often very expressive. Rostropovich's interpretation at first seems close to it in character but the Russian builds more powerfully so that the first ten minutes of the Moderato seem to tells one, unified story. Now Rattle is generally very good in Eastern European repertory and he does well here, with an ably-presented and musical rendition. But it doesn't have the vision of Petrenko or Rostropovich. Dating from 1985, the sound is good for the era but less strong than the two alternatives. I'm assigning it 4 stars, because this is by no means shoddy work, but it can't be recommended as an alternative due to the stunning strength of the others.
Hope this is helpful.
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Shostakovich 10ths from Rostropovich/Rattle/Petrenko compared
2014年9月22日にアメリカ合衆国でレビュー済みAmazonで購入
