Here we have four late Shostakovich song cycles juxtaposed with two of the composer’s large-scale chamber masterpieces, plus two selections from the Op. 87 Preludes and Fugues. As the list of works in this review’s header confirms, Alpha is never at a loss for stimulating program ideas. If only the performances were more consistent. Bass Petr Megunov’s clear diction, excellent pitch, and attractive, focused timbre truly vivify the Op. 121 and Op. 146 cycles. Conversely, Nadja Smirnova’s louder singing is hampered by wide and wobbly vibrato. The tricky string harmonics in the Op. 87 Trio are judged with care, although the Allegretto’s terrifying climax sounds wan and understated next to the Borodin Trio’s unsurpassed ferocity. Save for flagging energy in the central Allegretto, the Op. 134 Violin Sonata showcases solid and sustained work from both violinist Graf Mourja and pianist Arthur Schoonderwoerd. The latter’s monochrome, slightly shapeless accounts of the two Preludes and Fugues go in one ear and out the other. If you mainly care about the song cycles, try Delos’ ongoing complete series. For Op. 67, the Borodin Trio remains the reference, while Oistrakh and Richter still rule over the Violin Sonata.
