Dmitry Shostakovich Yevgeny Mravinsky Leningrad Philharmonic Orchestra - Shostakovich Symphony No 5 (4 tracks) +Album Reviews

An exceptionally strong interpretation

Call Me Ludwig | San Diego, CA United States | 07/05/2002

(5 out of 5 stars)

"At a recent performance of the Shostakovich Symphony No. 5, the person in the next seat turned to me and asked, dismissively, why the Fifth was the most popular of Shostakovich's symphonies. Perhaps had he listened to Mvravinsky's interpretation, he would have understood why.There is an excitement about this performance that announces itself from the beginning. In typical Russian style, Mravinsky gives the work plenty of breathing space (in contrast to the famed Bernstein interpretation), which allows the colors and textures of this work to emerge. In lesser hands, the symphony would fall apart with such spaciousness, but Mravinsky holds the orchestra's attention (perhaps despotically, but nevertheless effectively), and hence ours, throughout the work.The highlight of this performance is clearly the fourth movement, the Allegro Non Troppo. The first half is probably more allegro than non troppo, but he establishes a clear drive that adds weight to the second half of this monumental movement, which is slower but much more assured than typical. In particular, he achieves some dramatic phrasing, as when the main theme is reintroduced (with the snare drum behind it). His handling of the fugue element that follows is gorgeous, with shades of wind ensemble sound, and the chromatic chords that follow. The ending is much slower and broader than normal, but the weight and power he brings to it is a revelation; it makes faster interpretations seem deprived, rushed, missing something important."

Mravinsky, the original interpreter of Shostakovich

R. Hutchinson | a world ruled by fossil fuels and fossil minds | 10/09/2003

(4 out of 5 stars)

"There is something extraordinary about hearing Mravinsky conduct Shostakovich -- beyond the fact that he was the original conductor of many of the symphonies, I can't get over the realization that *this is the way Shostakovich first heard his own works*.

The first performance of the 5th Symphony was by the Leningrad Philharmonic, Mravinsky conducting, on November 21st, 1937. It was met with a prolonged standing ovation, and there are those who believe it was only this popular acclaim that saved Shostakovich. He wrote it after withdrawing the phenomenal 4th at a time when he was under attack by the regime for his "modernist, formalist" tendencies. So the 5th was his attempt at rehabilitation, and the subtitle was "a Soviet artist's answer to justified criticism." In retrospect, it seems that Shostakovich was unrepentant and that his answer was a work that spoke ("to those with ears to hear") plainly of the horrors of Stalin's regime. But Stalin and & Co. apparently chose to project all the grotesquerie and evil in the music onto Hitler and interpret the finale, a triumph of evil power, as Soviet heroism. The music of Shostakovich's 5th, as well as its social context, make it one of the great works of the 20th century.

Shostakovich afficionados view recordings by Mravinsky as being in a class of their own given his role in establishing the interpretations in the Soviet Union. Unfortunately these recordings are mainly obscure and difficult to locate (see the dschjournal online for information). This recording is from Mravinsky's last years -- April 4th, 1984, four years before his death. I have read that Mravinsky's interpretations tended not to change much over time, and so it seems we can hear an echo of what Shostakovich first heard even with this recording from nine years after DSCH's death. It is a superb performance -- the strings and horns of Leningrad especially. The live recording from the Leningrad Philharmonic Large Hall is interrupted frequently, though, by loud coughing. That is one reason for the 4 star rating. The other reason is that I have heard a more powerful performance, for which I reserve my 5th star. Rostropovich recorded the 5th in 1983 with the National Symphony Orchestra of Washington D.C. for DG, and he captures the tragedy and the terror in a way unparalleled by any other version I have heard (see my review). Mravinsky takes the 5th at a brisk tempo. Clearly Bernstein was influenced by this. Rostropovich gains emotional power throughout by slowing down the tempo. Mravinsky just storms the allegro non troppo -- at first it struck me as far too fast, but I had to keep in mind this is the original interpretation! A crucial difference between Mravinsky and Bernstein emerges in the finale, though, one that makes all the difference in the world -- Mravinsky slows the tempo at the end, making clear that the triumph is hollow. Rostropovich takes it even slower, and with great force. Bernstein, though, rushes right through, missing the tragic element entirely.

This is not an ideal recording, but if you are a serious Shostakovich devotee it is essential until a superior, earlier Mravinsky recording becomes available.

This recording was reissued in 2006 by Elatus, paired with a recording of Shostakovich's 6th Symphony, conducted by Rostropovich.

"

Troubled waters

Wayne A. | Belfast, Northern Ireland | 07/14/2005

(3 out of 5 stars)

"Just a note for folks who may be looking at choices for this symphony. The sound of this recording--a live one--is less than par with plenty of coughing. The orchestra makes a fair number of flubs. That alone hardly makes for a huge problem. The real issue here is if this performance is all that it's alleged to be. Personally, just my opinion mind you, I find it forced and a tad shallow. Mravinsky may have premiered many works but that doesn't immediately make him the best interpreter of the music--keeping in mind the convoluted cultural politics of Soviet Russia. He may have just been the best man available at the moment.

Honestly, I'd had a tough time finding the right performance of this for myself until someone decided to throw me a spitball and force the Ormandy version on me. It won, easily. What particularly impressed me was his restraint--he let's the music speak for itself--and the eerie magic he conveys, correctly I feel, during the end of the first movement. There's a point there--and many who know and love this symphony will know exactly what I'm talking about--where a chill should run down your spine. It's subtle and Mravinsky rolls over it like it isn't there. In the Ormandy performance it's to me one of the great moments in recorded music.

It may seem strange to focus on one detail in a work but sometimes a small section of a large piece, like the prelude to Act III of Wagner's Siegfried, or the dissonant horns in the development of the first movement of Beethoven's Eighth, can be the key to sensing if the conductor truly, deeply, clearly, understands the music he or she's recreating. The Wagner prelude sums up all that's come before it, from the first notes of Rheingold on, and represents the point in the cycle where the entire universe shifts on its axis. It's amazing how many conductors play it as if it's just another orchestral prelude--busy-work while they prepare to raise the curtain--and so far as I've found only Solti gets it right. Those Beethoven dissonances are bursts of sparkling chaos by a battered genius at the very top of his skills--to bury them is to deny Beethoven's spirit and frankly that's a criminal offense. Listen to Harnoncourt and feel the delirious joy. To reach the end of Shostakovich's first movement and not, for a harrowing moment, feel, in the worst way, ice cold Death pass by your cheek, is to miss the essence of this great symphony entirely. Ormandy nails it. I get the impression Mravinsky never even knew the reaper was in the room."

Mravinsky-Shostakovich a special rapport!

Hiram Gomez Pardo | Valencia, Venezuela | 07/18/2004

(5 out of 5 stars)

"It's just to recognize the invisible ties between Mravinsky and Shostakovich . In fact , from the first notes not only that record but any othr one , you feel a dramatic background and teluric forces that lay underneath the score.

In this special case , the Fifth is a powerful work , loaded with dark shadows about the horror and the political nightmare that surrounded the URSS at those times .

The second movement in which you listen a macabre evil waltz , is underlined by Mravinsky with the highest idionmatic accent . Mravinsky never uses this work to make fireworks or exhibition manners about the possibilities of this ensamble which , has been always the best of the USRR , but he emphasizes rhe inner demons the opression , the hopeless and the anguish scream that seems to come from all the different orchestal voices .

The last movement is a tramp for the most of conductors. tHink in Bernstin's version with the New York from th last fifties , for instance . You can never to start with kinetic outrage from the same beginning , because if you do , you have nothing tio express in the dramatic climax . Mravinsky , literally builds progressively the dramatism , keeping in mind the sforzandos and avoiding all kind of effectism . This is the key , because in the right momnt you feel all the wildness and fury falling with all its force , creating the essential intention .

Acquire this version. And compare with others . Obviously you have several options : Termirkanov , Stokowski (fifties), Howard Mitchell or Rhodesvensky , but this is my favorite , by far."

Which Mravinsky version is the best?

Santa Fe Listener | Santa Fe, NM USA | 04/18/2008

(4 out of 5 stars)

"Mravinsky's recorded legacy is one of the most confused that anyone could hope to untangle. Dates and performances are often jumbled or not provided at all; numerous duplications are in circulation; Soviet originals get licensed to a hodgepodge of Western import labels. But since he is so closely identified with the Shostakovich Fifth, I thought it worthwhile to describe the four versions I know personally.

Melodiya/BMG (April, 1954) -- This performance, the only one done in the studio that I own, was included in the second box set of Mravinsky recordings licensed by Melodiya to RCA/BMG. The sound is Soviet-era mono, but not of the worst sort. The bass isn't overly tubby, and the highs don't shriek. But the performance, surprisingly, is the tamest of the four at hand. There's a certain "official" quality that leads to a lack of intensity. Note that Mravinsky's trademark presto to begin the finale (later adopted by Leonard Bernstein in his famous live MY Phil. account from 1959) hasn't appeared yet. The tempo is Allegro non troppo, as indicated by the score.

Russian Disc (Nov. 1965) -- By comparison with his studio recording, this concert broadcast is more fiery and intense. The sound is a bit shrill and off-putting in the highs, yet the microphone placement takes us right inside the orchestra, adding to the impact of the performance. For a long time I was fooled into thinking that this was in stereo due to the wide soundstage, but on closer examinaiton it's defnitely mono. The racing start to the finale hasn't quite blossomed, but the Largo has sped up -- and yet Mravinsky finds more mystery and longing in it. Unless you must have stereo, this is one of the conductor's greatest Shostakovich recordings.

Russian Disc (1966) -- Another concert broadcast, also in mono, but the microphone placement is further away and has less impact than the one from the year before. The sound overall is a bit dull, but the piccolo shrieks, and the upper strings tend to be gritty. Mravinsky slows the first movement down by a minute and applies less fervor in the phrasing. That tends to be true throughout, until we get to the racing finale, now in full flight. It's confusing that Russian Disc offers duplicate live recordings of the Fifth -- this is decidedly the lesser of the two.

Erato (April, 1984) -- This stereo account joins a number of broadcasts licensed to the West that attempt to offer Mravinsky in best sound. One still faces audience noise (about equal on all three live discs and not overly disturbing). I may be wrong, but I believe this is the same performance once imported by Chant du Monde. The sound is reasonably good, but the stereo separation is narrow and rather distant. Except for clarity, I don't hear such a huge improvement as to make this a decisive choice. Mravinsky is fairly intense -- he hasn't lost his grip 47 years after premiering the symphony - and the racing finale is as exciting as any he ever set down.

Overal, my definite preference is for the 1965 Russian Disc version, paired with Mravinsky's equally riveting account of the Shostakovich 6th from 1972. Second choice would be the 1984 Erato stereo version. As a reading it's middle-of-the-road for Mravinsky, but modern sound has to count for something. And my favorite Shostakovich Fifth outside Mravinsky? I'd divide the honors between the first Bernstein recording (Sony) and Stokowski's stereo remake with the Stadium Sym. of NY on Everest -- once you look past the confusing name, these are both with the NY Phil."

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	Dmitry Shostakovich, Yevgeny Mravinsky, Leningrad Philharmonic Orchestra Shostakovich: Symphony No. 5 Genre: Classical Track Listings (4) - Disc #1 Symphonie No. 5, Op.47 In D Minor: Moderato Symphonie No. 5, Op.47 In D Minor: Allegretto Symphonie No. 5, Op.47 In D Minor: Largo Symphonie No. 5, Op.47 In D Minor: Allegro non troppo
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