Boston SO, Andris Nelsons - Dmitri Shostakovich - "Under Stalin's Shadow": Symphonies Nos. 5, 8 & 9; Suite From "Hamlet" (2016)

The Latvian conductor Andris Nelsons came of age in the 1990s and was trained in Russia; he has the music and the emotional content of Shostakovich's symphonies in his DNA. The present double album is the second in a series titled Under Stalin's Shadow and devoted to the music from the middle of Shostakovich's career, when the interference of Soviet dictator Josef Stalin in artistic affairs could easily have cost the composer his neck. The light, cheeky Suite from Hamlet that opens the second CD is a representative, if little-heard, piece in the style Shostakovich explored when Stalin was coming to power in the early 1930s, while the three symphonies embodied differing responses to the totalitarian environment: responses that have continued to resonate in cultures far beyond that of the Soviet Union. The Symphony No. 5 in D minor, Op. 47, was titled "A Soviet artist's creative response to just criticism"; it was, perhaps, a flight into hyper-emotionalism. The Symphony No. 8 in C minor, Op. 65, came like the Symphony No. 7 ("Leningrad") from the heart of the Soviet wartime experience; it was condemned for its violent and inward mode of expression, just as the Soviets were beginning to turn the tide against Hitler. But it explores the psychological state that war leaves. Sample one of the two inner fast movements (CD 2, tracks 9 and 10), nervous in the extreme, both to experience Nelsons' deep grasp of the mood of the work and to marvel at the incredible, almost febrile woodwind work he gets from his new band, the Boston Symphony Orchestra. The Symphony No. 9 in E flat major, Op. 70 that followed was a total reversal, an almost neoclassic work, and Nelsons gives it the proper lightness. These recordings were made live in 2015 in Boston's Symphony Hall, and they have both energy and clarity. Highly recommended Shostakovich that can stand with any British or Continental readings.

Review by James Manheim, Allmusic.com

After their scorching performance of the Tenth Symphony (8/15) raised the bar unassailably high, the question loomed as to whether or not this next instalment in Nelson’s Boston Shostakovich cycle could possibly measure up to such an impressive start. In the case of the Fifth Symphony, yes, undoubtedly; in the case of the Eighth, less so.

The Ninth, of course, was (along with the Sixth) a calculated surprise on the part of the composer – a piece clearly designed to wrong-foot the establishment, whose expectation was for something ‘other’: in this case something which might pointedly celebrate the Soviet victory over the Nazis. But Shostakovich wasn’t about to wave the flag for Stalin under any circumstances and the quirky Ninth is a V-sign (the other kind) to oppression rather closer to home.

Nelsons is spry and precisioned and his insistence on super-keen rhythm pays off big-time. Really notable in the first movement is the way in which he deploys accents and subito fortes – the aural equivalent of tongues irreverently poked out at any and every authority. The wistful understatement of the second-movement Moderato is then countered by an absolutely blistering Presto – a dazzling display of orchestral juggling skills, not least from the tumbling Boston woodwinds. I love, too, the way the ensuing trombone proclamation (sonorously over-egged here) seems to portend an epic slow movement when in fact the solitary bassoon’s failure to encourage others to join in his lament leaves him no alternative but to send in the clowns. They arrive with the pompous Red Army Band in tow and Nelsons again really underlines the cynicism.

Tom Stoppard’s Rosencrantz and Guildenstern would have recognised the coarse irreverence of Shostakovich’s Elsinore – this being the first of the composer’s brushes with Shakespeare’s tragedy in the shape of Nikolai Asimov’s farcical 1932 Moscow production of Hamlet which predictably annoyed Party officials almost as much as it might have amused the author. Even Ophelia skips off to her watery grave, pathos reduced to bathos as the body count rises. Nelsons lends the Suite from that score a rollocking irony so that even the appearance of the ‘Dies irae’ in the closing ‘Requiem’ sounds like a bad joke.

So to the great Eighth Symphony, repeatedly shaken as it is by the remorseless thunder of war. The Soviets thought it irredeemably gloomy but Nelsons finds beauty in its hopefulness. The long cor anglais solo emerging from the seismic upheaval of percussion in the first movement shows just how this consolation in adversity can work and the alliance of cellos and basses in this performance repeatedly finds poetry in the searching bass-lines. It’s amazing how tender a sound so sombre can be.

But it has to be said that Nelsons never quite goes to that dark place that the old guard like Mravinsky recognise so well, and at times one simply wants more of the trenchancy that Nelsons’s account of the Tenth Symphony’s Scherzo gave us in spades. The ferocious third-movement Allegro non troppo is implacably deliberate (non troppo) and there is a wicked bite to the trombones when they take up the Toccata – but surely the first trumpet needs to be coarser in the Trio and surely that timpani-driven crescendo should threaten to rip the piece apart at the seams? It doesn’t – quite.

The Fifth Symphony is quite marvellous, though, and like the Tenth should dominate the catalogue for a long time to come. I love the way the first subject sounds for all the world like a remnant of Tchaikovsky’s legacy as opposed to ‘a Soviet artist’s reply to just criticism’. The romantic nature of the piece is lushly served – nowhere more so than in the ravishing Largo, infused as it is with the spirit of star-crossed lovers (Shostakovich almost invoking the fragrant world of Prokofiev’s Romeo and Juliet) and quite wonderfully chronicled by the Boston Symphony strings – as downy in repose as they are intense in extremis. The entire movement sounds ‘headier’ than I’ve ever heard it since the famous Previn/LSO recording from the 1960s. The hushed celesta-flecked coda is breathtaking.

There is high drama as well as beauty, though, and the first movement is ripe with bold contrasts. Out of the seraphic second subject comes the militaristic development, wildly exciting with trumpets flaring thrillingly at the transition into the goose-stepping march – a real volte-face – and Nelsons is masterly in screwing up the tension right through to the crushing trombone inversion of the opening bars. The finale, too, brings thrills and spills – a rip-roaring central climax for one (just listen to the trumpets’ sforzando fanfares) – and now that interpreters have finally sorted out the metronome marking we continue to get the colossal irony of the ‘oppressively’ triumphal coda. To say that it brings the house down is something of an understatement.

Review by Edward Seckerson, Gramophone

Exact Audio Copy V1.3 from 2. September 2016

EAC extraction logfile from 11. November 2017, 17:05

Boston Symphony Orchestra, Andris Nelsons / Shostakovich - Symphonies Nos. 5 & 9

Used drive : PLDS DVD-RW DU8A6SH Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 5:22.38 | 0 | 24187
2 | 5:22.38 | 8:07.54 | 24188 | 60766
3 | 13:30.17 | 2:53.23 | 60767 | 73764
4 | 16:23.40 | 3:34.31 | 73765 | 89845
5 | 19:57.71 | 6:42.39 | 89846 | 120034
6 | 26:40.35 | 16:34.45 | 120035 | 194629
7 | 43:15.05 | 5:36.09 | 194630 | 219838
8 | 48:51.14 | 15:25.22 | 219839 | 289235
9 | 64:16.36 | 12:26.37 | 289236 | 345222


Range status and errors

Selected range

Filename C:\temp\Shostakovich - Symphonies Nos. 5, 8 & 9 - Boston SO, Nelsons\CD1\Shostakovich - Symphonies Nos. 5 & 9.wav

Suspicious position 1:16:40 - 1:16:42

Peak level 97.4 %
Extraction speed 4.2 X
Range quality 100.0 %
Test CRC 2790BCF5
Copy CRC 2790BCF5
Copy finished

There were errors


AccurateRip summary

Track 1 accurately ripped (confidence 34) [50DE2825] (AR v2)
Track 2 accurately ripped (confidence 35) [F9CBF3ED] (AR v2)
Track 3 accurately ripped (confidence 35) [76E7D170] (AR v2)
Track 4 accurately ripped (confidence 35) [8DDC00DA] (AR v2)
Track 5 accurately ripped (confidence 35) [21397B57] (AR v2)
Track 6 accurately ripped (confidence 35) [13F4CD22] (AR v2)
Track 7 accurately ripped (confidence 35) [A07FF568] (AR v2)
Track 8 accurately ripped (confidence 35) [D2DE9603] (AR v2)
Track 9 accurately ripped (confidence 35) [FA0BF787] (AR v2)

All tracks accurately ripped

End of status report

==== Log checksum 0E94211CB29743A93299C410E8A84D419C5D9C5F5CB52A73335E7B9C7EB9F9C8 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2017-11-15 17:59:33

––––––––––––––––––––––––––––––––––––––––
Analyzed: Boston Symphony Orchestra, Andris Nelsons / Shostakovich - Symphonies Nos. 5 & 9
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR17 -0.37 dB -23.39 dB 5:23 01-Symphony No.9 in E flat major, Op.70 - I. Allegro
DR13 -10.44 dB -29.62 dB 8:08 02-Symphony No.9 in E flat major, Op.70 - II. Moderato
DR15 -3.10 dB -23.55 dB 2:53 03-Symphony No.9 in E flat major, Op.70 - III. Presto - attacca
DR12 -6.79 dB -27.03 dB 3:34 04-Symphony No.9 in E flat major, Op.70 - IV. Largo - attacca
DR15 -0.46 dB -23.36 dB 6:43 05-Symphony No.9 in E flat major, Op.70 - V. Allegretto
DR16 -1.42 dB -23.41 dB 16:35 06-Symphony No.5 in D minor, Op.47 - I. Moderato
DR16 -1.74 dB -23.71 dB 5:36 07-Symphony No.5 in D minor, Op.47 - II. Allegretto
DR15 -8.09 dB -30.48 dB 15:25 08-Symphony No.5 in D minor, Op.47 - III. Largo
DR14 -0.22 dB -19.73 dB 12:26 09-Symphony No.5 in D minor, Op.47 - IV. Allegro non troppo
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 9
Official DR value: DR15

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 558 kbps
Codec: FLAC
================================================================================

Exact Audio Copy V1.3 from 2. September 2016

EAC extraction logfile from 11. November 2017, 17:52

Boston Symphony Orchestra, Andris Nelsons / Shostakovich - Symphony No.8; Hamlet

Used drive : PLDS DVD-RW DU8A6SH Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:44.53 | 0 | 12352
2 | 2:44.53 | 1:31.66 | 12353 | 19243
3 | 4:16.44 | 2:22.34 | 19244 | 29927
4 | 6:39.03 | 1:58.34 | 29928 | 38811
5 | 8:37.37 | 1:31.11 | 38812 | 45647
6 | 10:08.48 | 1:24.27 | 45648 | 51974
7 | 11:33.00 | 2:40.02 | 51975 | 63976
8 | 14:13.02 | 26:44.03 | 63977 | 184279
9 | 40:57.05 | 6:31.62 | 184280 | 213666
10 | 47:28.67 | 6:37.52 | 213667 | 243493
11 | 54:06.44 | 10:33.73 | 243494 | 291041
12 | 64:40.42 | 16:11.67 | 291042 | 363933


Range status and errors

Selected range

Filename C:\temp\Shostakovich - Symphonies Nos. 5, 8 & 9 - Boston SO, Nelsons\CD2\Shostakovich - Symphony No.8; Hamlet.wav

Suspicious position 1:16:40 - 1:16:42

Peak level 99.8 %
Extraction speed 4.2 X
Range quality 100.0 %
Test CRC 9A6C5458
Copy CRC 9A6C5458
Copy finished

There were errors


AccurateRip summary

Track 1 accurately ripped (confidence 33) [577DA710] (AR v2)
Track 2 accurately ripped (confidence 34) [B39A950B] (AR v2)
Track 3 accurately ripped (confidence 34) [FCE8DBDB] (AR v2)
Track 4 accurately ripped (confidence 34) [7CCBB043] (AR v2)
Track 5 accurately ripped (confidence 34) [3BDF7270] (AR v2)
Track 6 accurately ripped (confidence 34) [F0279E55] (AR v2)
Track 7 accurately ripped (confidence 34) [CDEF1DC6] (AR v2)
Track 8 accurately ripped (confidence 34) [87029397] (AR v2)
Track 9 accurately ripped (confidence 34) [66ACF2CC] (AR v2)
Track 10 accurately ripped (confidence 34) [9F3729F9] (AR v2)
Track 11 accurately ripped (confidence 34) [F4F4414F] (AR v2)
Track 12 accurately ripped (confidence 34) [C708CEC0] (AR v2)

All tracks accurately ripped

End of status report

==== Log checksum 7B868027CCD3E31AB318482FCF65DD9E833572E527ED4A13796596F4A88022B6 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2017-11-15 18:00:04

––––––––––––––––––––––––––––––––––––––––
Analyzed: Boston Symphony Orchestra, Andris Nelsons / Shostakovich - Symphony No.8; Hamlet
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR17 -0.10 dB -23.92 dB 2:45 01-Suite from 'Hamlet', Op.32a (excerpts) - I. Introduction and Night Patrol
DR11 -2.34 dB -18.15 dB 1:32 02-Suite from 'Hamlet', Op.32a (excerpts) - II. Funeral March
DR10 -0.14 dB -27.09 dB 2:22 03-Suite from 'Hamlet', Op.32a (excerpts) - III. Flourish and Dance Music
DR14 -0.38 dB -17.78 dB 1:58 04-Suite from 'Hamlet', Op.32a (excerpts) - IV. The Hunt
DR14 -5.96 dB -27.08 dB 1:31 05-Suite from 'Hamlet', Op.32a (excerpts) - IX. Ophelia's song
DR11 -19.91 dB -37.33 dB 1:24 06-Suite from 'Hamlet', Op.32a (excerpts) - X. Cradle Song
DR11 -6.22 dB -24.02 dB 2:40 07-Suite from 'Hamlet', Op.32a (excerpts) - XI. Requiem
DR16 -0.10 dB -22.33 dB 26:44 08-Symphony No.8 in C minor, Op.65 - I. Adagio
DR16 -0.10 dB -20.33 dB 6:32 09-Symphony No.8 in C minor, Op.65 - II. Allegretto
DR15 -1.26 dB -22.13 dB 6:38 10-Symphony No.8 in C minor, Op.65 - III. Allegro non troppo
DR20 -0.02 dB -27.13 dB 10:34 11-Symphony No.8 in C minor, Op.65 - IV. Largo
DR16 -0.01 dB -22.52 dB 16:12 12-Symphony No.8 in C minor, Op.65 - V. Allegretto
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 12
Official DR value: DR14

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 541 kbps
Codec: FLAC
================================================================================