This outstanding performance enjoys excellent sonics from the Bavarian Radio engineers, lacking only that last bit of vividness that would have given an extra bite to the contribution of the orchestra’s superb winds at the opening of the finale. As we might expect, Mariss Jansons leads a straightforward and exciting account of a work that asks for little from its interpreters other than a willingness to let the climaxes rip and to keep the music moving relentlessly forward. In the first movement Jansons does just that, allowing the big moments to erupt naturally and with great force. The brass certainly don’t hold back, and the strings manage a thrilling account of the headlong fugal nightmare that launches what passes for a recapitulation.
The scherzo has never been better played or paced, full of irony with just the right, light touch of sinister percussion at the end. In the finale, aside from the fine wind playing previously mentioned, Jansons builds the great chorale at the close impressively within the context of the movement as a whole (though the percussion could be louder), and he keeps the momentum going right through to the enigmatic ending. In the final analysis this might not have quite the juggernaut-like quality of, say, Järvi or Kondrashin, and fine as the orchestra is, the Chicago brass (Previn) are unbeatable; but as recent recordings go this is sonically and interpretively far ahead of the recent Gergiev on Philips. Certainly it ranks among the best versions available. It’s good to see this crazy symphony taking its place among Shostakovich’s masterworks; he wrote nothing else quite like it, and Jansons clearly understands and succeeds in projecting its special qualities. Easily recommended. [12/14/2004]
