Shostakovich: Symphony No. 13, "Babi Yar" (CD review)

Mariss Jansons, Bavarian Radio Symphony Orchestra and Chorus; Sergei Aleksashkin, soloist. EMI 7243 5 57902-2.

Basing his 1962 Symphony No. 13 in B-flat minor"Babi Yar" on a series of poems published by Yevgeny Yevtushenko the year before, Russian composer Dimitri Shostakovich (1906-1975) designed the five movements of the work mainly to deplore Russia's anti-Semitism. He recalls everything from the massacre of several tens of thousands of minorities in Bielostok in 1905 to the killing of untold numbers of Jews, Russians, and Ukrainians by Nazis and Russian collaborators in the valley of Babi Yar during the Second World War (considered the largest single massacre in the history of the Holocaust).

In addition to the subject of the Jewish issue in the USSR, the poems also reflect the question of how Russia was dealing in 1962 with past crimes against all of its own people. Shostakovich presents these tragedies to the listener in huge, almost overwhelmingly somber tones, and any conductor's approach to them must be straightforward and dead serious. The words and sound are enough to convey the spirit and intent of the piece.

Maestro Mariss Jansons and the Bavarian Radio Symphony Orchestra and Chorus communicate well the sorrow and anguish of the work, as does the soloist, Sergei Aleksashkin. Just don't expect a conventional symphony if you haven't heard it before. Three of the work's five movements are Adagios, meaning that most of the music is slow and in this case appropriately gloomy, with only a hint of light in the final movement. Nor does the work hold up as a conventional symphony in structure, as the composer based each movement on a separate poem, supported by soloist and chorus. So the work is really a series of choral-vocal-orchestral tone poems closely enough connected for one to call it a symphony. But call it what you may, it is undeniably a powerful piece of music and a powerful political statement.

EMI engineers provide the work with a suitably dark yet detailed sonic atmosphere that appears a little narrow to my ears and a tad thick and soft. Other than that, the soloist sounds quite natural, and the mid bass is especially dynamic. The only "however" in the affair is that EMI also offer an alternative recording of the work in a mid-priced two-pack along with the Tenth Symphony, made about twenty years earlier by Andre Previn and the LSO in a slightly wider, more open, and more clearly defined acoustic. To my mind, the Previn is the better bargain, but I cannot say I disapprove of this Jansons entry, either.

JJP

1 comment:

  1. In my opinion, the Kurt Masur recording of the 13th is much better. This recording is much too slow and heavy.

    ReplyDelete

Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For over 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me--point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, as of right now it comprises an Onkyo C-7030 CD player, Legacy Audio High Current preamplifier, AVA FET Valve 550hc or Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com.

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa