Review: Shostakovich – Symphonies No. 4-6

The Oslo Philharmonic sounds wonderful in this new set of Shostakovich symphonies, reflecting, at least in part, their training under previous Music Directors Mariss Jansons and Vasily Petrenko. The playing is incisive, weighty, and full-throated with characterful solo work. Decca’s engineering ensures that even the densest passages (such as the climax of the fourth symphony’s opening movement/track 2, 2’13”) have clarity and depth to the sound. And the orchestra’s technical prowess is noticeably better when compared to its earlier recording of the sixth symphony under Jansons (EMI/Warner Classics).

Buy on Amazon

Discussions of Mäkelä’s interpretations of Shostakovich’s symphonies often provoke debate. One perspective, informed by Solomon Volkov’s controversial memoirs “Testimony,” suggests that Shostakovich’s music is a hidden critique of the Soviet regime. This interpretation, while disputed by some scholars, has influenced many listeners. Mäkelä, however, seems to approach these works from a different perspective, interpreting them as primarily absolute music. This divergence in interpretive approaches can create a disconnect for those who subscribe to the view that Shostakovich’s music is deeply rooted in political and social commentary.

For example, in the opening minutes of the fourth symphony, from the opening woodwind scream, the music must have implacable menace. But Mäkelä approach is lyrical, the sound warm and refined. At 7’02” there is a string threnody that breaks into a brash, anguished outburst, here played with an unexpected (and unwelcome) richness.

When the music reaches the Presto fugal passage (track 2) the Oslo strings are magnificent, and the playing has impressive precision and clarity. Yet Shostakovich does not intend an opportunity for technical prowess. Turn to either Gergiev reading (Universal or Mariinsky), or Chung’s Philadelphia recording (DG) or Rattle in Birmingham (Warner Classics) and the same passage is wildly maniacal, threatening to go off the rails at any moment. That is exactly Shostakovich’s brilliant intent: to use one of the most ordered musical forms to represent the collapse of order.

The lighter music of each symphony is more convincing. The fourth’s Moderato con moto (track 3) has a pleasing buoyancy (as does the Scherzo of the fifth symphony). And yet when Shostakovich turns from playful to sarcastic, doubts creep in. The composer’s sarcasm is edgy, it bites and snarls – but Mäkelä seems uncomfortable with such nastiness. The sixth symphony’s Scherzo is simply too fast; kudos to the Oslo players for playing the music so well at Mäkelä’s chosen speed, but too much inner detail is under characterized, and it negates the difference in mood between this movement and the final Presto. Paavo Jarvi’s Alpha recording gets it right, and it makes a significant difference.

Join The Classical Newsletter

Get weekly updates from The Classic Review delivered straight to your inbox.

The slow movements are effective: the fourth comes off best, and the fifth’s, beautifully sculpted, features some exquisite string playing. But it never reaches the emotional depths Bernstein reveals in his New York performance (Sony). And while the sixth’s opening Largo is well controlled and again, beautifully played, it does not have the same spiritual engagement as Barshai (Brilliant Classics), Petrenko (Naxos) or the more recent BBC National Orchestra of Wales performance led by Steven Lloyd-Gonzalez (First Hand).

Similar concerns could be expressed about the final movements, though I have no doubt that in concert the playing of the fifth and sixth finales would generate thunderous applause.

The symphonies are undeniably well played, shaped with attention and care, and make most of the expected rhetorical gestures. You may well have a different perception of the music than I do – if that is the case, you may enjoy these readings a great deal more.