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The selections on Yuja Wang’s new Shostakovich release—his two piano concertos and a handful of Preludes and Fugues—trace a path through the composer’s life and influences. His early work as a silent film accompanist, his collaborations in theater and cinema, and his output under an oppressive regime are all reflected here. But the core tension running through these works lies in the composer’s struggle between conventional form and a more radical musical imagination—a conflict that helped shape his distinctive voice.
The Op. 35 Concerto for Piano and Trumpet is a good example of Shostakovich’s attempts to push boundaries. While the concerto broadly follows a traditional structure, the music resists conformity. The tug-of-war between tonal stability and harmonic disruption—between the home key of C minor and more dissonant digressions—plays out in vivid contrast.
Wang and the ensemble emphasize this interplay by assigning distinct characters to each section. The first movement (track 1), for instance, alternates between Romantic lyricism and nervy, helter-skelter energy, making the music feel both dynamic and unpredictable. While this Allegro moderato offers ample opportunity for virtuosity, Wang doesn’t draw attention to technique for its own sake. There’s levity, sardonic wit, and even a lurking menace in her touch.
Thought the trumpet may not share equal billing with the piano, its role still contributes significantly. In the slow movement (track 2), its muted sound introduces a surprising and atmospheric texture. More striking, though, is Wang’s control of the softest dynamics—minute gradations of piano and pianissimo that evoke an unsettling, secretive mood. Her ability to create a sense of instability within a seemingly stable framework brings tension to a movement that otherwise risks stasis.
Piano Concerto No. 2 in F major Concerto (Opus 102), written for Shostakovich’s son Maxim, stands apart in its brighter tone, though traces of anxiety remain. The orchestral opening spins the martial character of the first movement (track 5) into something crisply articulated—perhaps overly so. While the bassoon solo is well-shaped, the woodwind staccatos that follow are clipped to the point of near inaudibility. In comparison with Bronfman and the LA Philharmonic under Salonen, which better balances rhythmic bite and fullness of sound, Wang’s entrance here feels underpowered. Some of the quieter passages similarly lack presence. That said, her playing takes on a more commanding force from 2’21”, and she isn’t hesitant to unleash a full and powerful sound when needed.
The central Andante (track 6) highlights the lyrical aspect of Shostakovich’s writing. The Boston Symphony strings create a beautifully translucent opening, even in the lower registers. The shift to a major key introduces the piano, and Wang’s restrained phrasing lends the moment an understated warmth. Some might find her approach too subdued, but it draws attention to a more inward, less familiar side of the composer. The Allegro finale (track 7) reintroduces the snare drum and martial rhythms, and Wang’s precision and articulation generate real excitement, driving the music toward a spirited conclusion.
Yuja Wang (image: © Rolex/Hugo Glendinning)
The Op. 87 Preludes and Fugues offer a more private glimpse into Shostakovich’s world. In the A minor Prelude (track 9), Wang shapes the textures with clarity and nuance, though it’s the Fugue (track 10) that leaves a deeper impression. Her sharp attack and handling of dissonance lend the music a disquieting edge. The weightier D-flat major pairing moves further into a space of manic energy—chaos barely held in check beneath Wang’s finely controlled surface.
This release is part of Andris Nelson and the BSO’s full Shostakovich cycle, sold separately and as a box set which includes the complete symphonies, Lady Macbeth, violin, cello and piano concertos. The strength of this album lies in how Wang, Nelsons, and the Boston Symphony illuminate so many facets of Shostakovich’s music. With informative liner notes and well-balanced engineering to match the caliber of the performances, this release will likely appeal to both long-time admirers and those exploring the composer’s work afresh.
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Album Details |
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|---|---|
| Album name | Shostakovich – The Piano Concertos, Solo Works |
| Label | Deutsche Grammophon |
| Catalogue No. | 4866956 |
| Artists | Yuja Wang, Boston Symphony Orchestra, Andris Nelsons |
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