Compared with the rest of his relatively well-recorded compositions, the works featured on this
Shostakovich disc can be lumped into the "all-but-forgotten" category. In fact, further investigation reveals that for all three of the works on this disc, the number of recordings currently available can be counted on two hands. Forgotten does not mean unworthy, though; anyone who has yet to hear
Shostakovich's grippingly dark, late work the Suite on Words of Michelangelo can certainly testify to that. This recording provides an excellent introduction.
So, if the more-or-less rarity of the compilation sells this disc, then surely it is the excellent performance given by Italian conductor
Gianandrea Noseda, bass
Ildar Abdrazakov, and the
BBC Philharmonic Orchestra that helps sweeten the deal.
Noseda, who has been at the helm of the Manchester orchestra since 1992, sculpts all three pieces into the masterworks that they are. He draws an intense and focused performance in the ominous, brooding Michelangelo poetry, which was finished in 1974, just a year before
Shostakovich died. Intended as a tribute to the great Florentine artist, it utilizes 11 of his texts, all of which bear significance to the composer. They are all sung with
Abdrazakov's mopey, Russian drawl, especially appropriate for the sullen atmosphere.
Abdrazakov is flexible, though; he has a command when necessary that transcends the music to draw you in, as if with
Shostakovich's own cold, sullen, tragic hand. Together, he and
Noseda work successfully to capture the spirit of the text and some of the great ironies of the piece. For instance, the poem titled "Love" speaks of fires, radiance, and enchantment, but the music
Shostakovich provides to accompany these words contains desolately white clarinet lines superimposed over icy string harmonics.
Noseda and
Abdrazakov help keep this feeling of binary opposition, so crucial to
Shostakovich's personality, alive throughout. The final song, "Immortality," is also skillfully animated and shaped. In the liner notes, author Philip Taylor describes this movement as "carefree," although it seems that it would be better described in terms of
Shostakovich's legendary sarcastic and somewhat capricious wit; clearly he seems to be enjoying the last laugh here.
The other two features are perhaps of more interest to
Shostakovich aficionados than anyone else, but worthwhile listening nonetheless. The Six Romances were composed in 1942 and orchestrated by
Shostakovich later, around 1971. Seemingly less weighty than the Michelangelo poetry, the texts are all curiously drawn from English poets in their Russian translations.
Noseda also gives a taut performance of the symphonic poem October, adding a tasteful amount of coloration to the bleakness that pervades the work. The sound brings no surprises from Chandos; this disc is highly recommended as an introduction to two neglected emeralds and one shimmering diamond.