Uploaded 13 May 2005

Shostakovich, Dmitri. Symphony No. 4 in C-Minor, Op. 43.

Symphony No. 10 in E-Minor, Op. 93.*

The Philadelphia Orchestra, Eugene Ormandy, Conductor.

Sony Classical  SB2K-62409 (Analog Stereo).

Recorded 17 February 1963 and 10, 18 April 1968.*

Anyone who agrees with Igor Stravinsky's assessment of Eugene Ormandy - that he was the ideal conductor for Johann Strauss, Jr. - should check out this unbelievable two-cd set. The recordings of these two thorny Shostakovich works date from the 1960s, when Ormandy and his phabulous Philadelphians were at the absolute peak of their development. These may be among the very best examples of their often spellbinding recorded output.

The Fourth Symphony was written in the early 1930's, when the once highly-esteemed composer was under siege for displeasing the Soviet authorities with his recent compositions, specifically the still controversial Lady Macbeth of Mtzensk. He withdrew the Fourth from the rehearsals intended for its premiere, then composed the famous Fifth Symphony, which then restored him to favour. The Fourth was not heard until over a quarter-century later. After its world premiere in the Soviet Union, it was left to Eugene Ormandy to present the American premiere with his Philadelphia forces. The recording reviewed here was made at around the same time.

Listening to this curious, yet awe-inspiring, mess of a masterpiece, it is easy to see why Shostakovich feared having it performed in front of Stalin, especially given his problems at the time. Here is Shostakovich at his most forward-looking, uncompromising best, with grinding dissonances, massive orchestral forces, and an unusual structure (the work consists of two very long outer movements sandwiching a short, decidingly Mahlerian scherzo) which has no precedent in Shostakovich's or anyone else's oeuvre. At times, one senses that even the composer is in awe of the material he has created;  the last movement features many pages of repeated sequences which seem to indicate that Shostakovich himself was not sure where his work was headed. The same last movement is also the most poignant. After a strongly martial opening, followed by a longer section of feverish activity, the music becomes a series of ballet fragments sometimes featuring solo instruments such as  trombone and bassoon, which may well represent portrayals of the composer's friends and acquaintances. Then, out of nowhere, the tympanist spearheads a bombardment of orchestral pummeling as all these delightful characters are crushed out of existence (it has been stated elsewhere that this passage may represent the secret police staging one of its periodic arrests), and the work closes in gloomy and pathetic fashion. Setting aside the political implications (and who knows what Shostakovich was really intending - should everything involving him be political?), the main challenge for the conductor is to make all these chunks of sound cohere while never letting the direction and intensity flag.  The orchestral parts are as demanding as any found elsewhere - every instrument is put to the test here.

Ormandy and company are all more than equal to the task. The famed strings are in full bloom from start to finish, the woodwinds as characteristic and fruity as can be imagined, the percussion demonstrative and devastating. One cannot ask for better brass playing either (Philadelphia's brass section was better than Chicago's even at that time), with special distinction going to the solo trombonist for his accompanied recitative in the finale.

But it is Eugene Ormandy who makes it all work. No histrionics here - just great, solid conducting with each section given its proper weight and proportion within the whole. It is also difficult to imagine a more sinister rendering of the short scherzo, with its wonderfully ghoulish conclusion which never fails to give this reviewer goose bumps.  Also, the listener should savor the fugal fast section in the middle of the first movement - the clarity of line achieved here is nothing short of a miracle. Other great performances of this work exist (Järvi comes to mind), but Ormandy's is difficult to beat - and unlike today's conductors, the maestro had no records or concerts of this work at his disposal!

In addition, for the same price of single disc of the Fourth on a more expensive label, this release comes with the more familiar Tenth Symphony on a second disc. Again, Ormandy's reading is a triumph. The master knew better than to drag the slower sections of the first movement intermibly (check out the appalling Simon Rattle for comparison) and in his hands, the music sings and dances with a delivilsh lilt similar to that which can be heard on Ormandy's definitive Mahler's Tenth. The scherzo, supposedly a portrait of Stalin, is overpowering in its intensity, the third movement, properly sardonic in the waltz sections, serene in its quieter moments (the horn solo is clearly a nod to Mahler's Fifth). In the finale, Ormandy perfectly captures the mood of manic triumph as the music races to its conclusion. As is always the case, the Philadelphians completely outclass the competition. In both recordings, sonics are ideal.

Ormandy was one of the best at light music, as his Tchaikovsky, Russian showpieces and, yes, his Johann Strauss Jr. recordings attest. But the present release is hardcore music-making at its best - unpretentious, unassuming, near-perfect musicianship. Ormandy does not seem to be saying "I am giving a great performance!" He just selects perfect tempi, injects just the right amount of intensity, lets his orchestra bask in its own beauty and - voila! - a masterpiece is born.

Readers of this review should grab this two-cd set if they haven't already. You can purchase it at amazon.com.