Customer Reviews

Shostakovich: Symphony No. 8

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I am a fanatical admirer of Shostakovich's, whom I consider the greatest composer of the 20th century, and amidst the Great Master's large production the 8th symphony towers as the supreme manifestation of his stunning genius.

It is a work of incredible depth, intensity and emotional charge, a miracle of structural and developmental virtuosism and, most remarkably, a piece in which the composer's unique inspiration and musical personality are in unrestrained display, in defiance of critics and censors. This music connects emotionally in ways which transcend academic analysis; it goes straight to the listener's heart and holds it in a tight grip for the duration of the voyage.

Listening to this piece is like opening a window into a world of horror and tragedy. If it were possible to compile a "music-to-English" dictionary then the 8th symphony's translation would be just one word: pain. Pain of the human race as well as the deep pain which only great artists dare to contemplate.

I must admit I have become a little obsessed with Shostakovich's music, and the 8th symphony in particular. I have spent many, many hours studying its score, and I own nearly every recording of it ever made, from the great (Mravinsky/Leningrad, Litton/Dallas) to the adequate (Previn/London, Rostropovich/NSO, etc.) to the abysmal (Inbal/Wiener).

I purchased this recording because, as stated, I simply had to have it, but I didn't hold much expectation given that I knew very little of the orchestra or the conductor, Mariss Jansons. From the first listening session I was stunned. This is, in my opinion, the single greatest rendition of this masterpiece EVER put on a recording medium.

The playing of the orchestra is superb, the recording is exceptionally vivid and clear, but the real standout is the conducting. Jansons understands the material like no other performer ever has. (...) in my mind this performance far surpasses even Mravinsky's, if not for anything else simply because of the sheer energy that Jansons draws from the orchestra.

This is a work which requires passion, strength and the ability to push the players to their absolute maximum without losing control or relaxing the emotional fabric of the music. There are moments in the symphony where it seems incredibly difficult NOT to give in to the temptation of accelerating the tempo, thereby thinning the texture and the sense of anticipation inherent in the writing. Jansons never relents, and as a result every arch in the languid string lines carries tremendous emotional energy. Take the 4th movement (Largo), with its tragic, passionate "lamentoso," where Jansons has the wonderful PSO strings shimmering above the dark, repetitive motion of the cellos and basses. It just does not get much better than this.

There is a moment (rehearsal mark 86) in the third movement when the deep brass and low winds pick up the ostinato figure previously introduced by the violas which, in my opinion, is a perfect example of what makes this performance so outstanding. Jansons opens the movement with awesome power and relentless determination, and he dares the orchestra to sustain it all the way to its apocalyptic climax. At mark 86 the deep brass have to play fast, "marcatissimo" in their low register, a tremendously difficult task to accomplish with some clarity. In most performances conductors either slow down a bit, or they allow the brass to "lose it" to some extent, resulting in a muddy, unfocused sound and a definite loss of momentum. Jansons does not slow down, and the brass players demonstrate their virtuosism by delivering a precise and energetic performance. If their entrance does not get your blood rushing, you are probably dead.

If the performance itself weren't enough the CD comes with an unexpected bonus: a selection of moments from Jansons' rehearsals with the orchestra. The CD is worth owning for this alone. Listening to the Maestro talk to the players is easy to understand how his enthusiasm and musicality can be contagious. Listening to this track will make you appreciate the music even more, and possibly it will encourage you to learn about its great composer.

Overall, this Jansons/PSO performance of Shostakovich's 8th is nothing short of extraordinary. It is easily my pick for Recording of the Year for 2001. Do yourself a favor and purchase a copy for yourself. You will not be sorry.

A big "Thank you!" to Maestro Jansons and the Pittsburgh Symphony Orchestra for delivering such a stunning rendition of Shostakovich's beloved masterpiece; your artistry and talent did not go unnoticed here!

The Shostakovich camp is deeply divided. There are those who view the composer as an artist deeply at odds with his government; whose public statements about his own works were merely the necessary evil which allowed him to continue to compose, but whose musical statements reveal the true horror of the Stalin regime. This viewpoint is supported by the book Testimony, the supposed "Memoir" of the composer, in which, for example, the ending of the fifth symphony is revealed not as triumphant, but as tragic. The opposing camp sees Shostakovich as a true Soviet artist, one who occasionally ran afoul of the censors, but who readily understood their views and accommodated himself willingly to them. They point to Testimony and claim it is the fraudulent work of its "editor" Solomon Volkov. The differences between these two viewpoints is not only political, but musical. The political debate, in fact, is in a sense moot, since Shostakovich and Stalin are no longer with us, and nor, for that matter, is the Soviet Union. What remains is the question of musical interpretation. Most problematic of his pieces are the Fifth and Eighth Symphonies, in which Shostakovich's public statements at the time are so at odds with what the music seems to express. These are tremendously important pieces that cannot be ignored by symphonic musicians today--the problem of interpretation must be addressed.

Of his eighth symphony, Shostakovich said publicly that " It reflects my thoughts , feelings and elevated creative mood, which could not help being influenced by the joyful news of the Red Army's victories. My new work is an attempt to look into the future, to the post-war era...on the whole it is an optimistic, life-asserting work..." That passage from the first movement of his Eighth symphony surely does not seem life-asserting at all, and even though there are occasional moments of light in the piece, the whole seems to most listeners quite a dark and despairing piece. Certainly, in this performance of the Pittsburgh Symphony Orchestra conducted by Mariss Jansons, the interpretation is convincingly based in this dark world, in which public words are spectres irrelevant to life. Jansons is himself intimately connected to the piece--he is from the Soviet Union, and was mentored by Yevgeny Mravinky, the conductor to whom Shostakovich's Eighth Symphony is dedicated. His interpretation, then, speaks with the force of moral authority and historic authenticity. Even the scherzo of this symphony is no joke, but begins and ends with a vision of relentless pursiut, punctuated by screams and violent blows.

Jansons brings out the best of the Pittsburgh Symphony Orchestra. This is a live performance, and with a work this difficult and lengthy there are the rare but forgivable imperfections--the beginning of a trumpet note is not as stable as it should be, or a crescendo doesn't quite come to full fruition. But the tempos seem just right, intonation is admirable and the orchestra plays with full tone and precision. There are those who say that only a Russian orchestra can do justice to Shostakovich's music, but Pittsburgh proves them wrong.

The CD has an interesting extra--extracts from a rehearsal, with commentary by the conductor. His remarks are primarily programmatic--he relates the music to statements against the dictatorship not only of Hitler, but also of Stalin, for example. Those who have never played in an orchestra may find this one of the highlights of the disc. Certainly Jansons' grotesque singing, as he guides the orchestra in understanding his interpretation, is astonishing.

The merits of this work and its readings have been lauded for decades and although the recording industry has produced some stunning colaborations on disc of this symphony, orchestras we don't hear from that much can make other ensembles' work take a back seat.

I watched Jansons conduct the Oslo Philharmonic at Westminster College in Pennsylvania and quickly discovered a well known conducting but unknown orchestral tour de force. The Oslo Philharmonic?? Who are they?

As with the Pittsburgh Symphony, an ensemble without the fame and glamour of it's rival in Philadelphia, but definitely in the same class as the Oslo, Pittsburgh's Shostakovich 8th far surpasses Philly's Shosty 10th with the same conductor.

For some reason, Jansons is different here and better here than he was with the 10th. This 8th Symphony is gutsy, fearful and chock full of interpretive surprises. Additionally, the recorded sound, thanks to John Fraser and Arne Akselberg, is first class.

Pittsburgh could have done away with half of Maazel's overblown discs of the 90's if it meant a recording like this could be made and Jansons has masterfully created a recording the Pittsburgh audience and Shostakovich fans can readily appreciate. One can only wonder how this orchestra sustained such musical prowess after making its first CD in four years. An extraordinary achievement!
Applause!! Applause!!!

This is a very sensitive, intense and expressive performance graced by a very clear and detailed sounding recording. Furthermore, even though this is a live performance, the audience noise is minimal, in contrast to the assorted coughs and sneezes which occur throughout the Mravinsky 1960 stereo broadcast from England, available in very good sound from the BBC Legends label.
However, I must say that in spite of the considerable virtues of this release, I still find the BBC Mravinsky, which I have reviewed on this site, to be the reference recording for this work because it captures both Mravinsky and the Leningrad Philharmonic at the height of their considerable powers. More specifically, I hear more tonal richness, power and dynamic range from the Leningrad strings compared to this release, qualities that they were widely recognized as possessing in great measure under Mravinsky. Furthermore, Mravinsky imparts more of a feeling of brutal drive and power to the second and third movements. All and all, Mravinsky provides the more shattering experience, even though there are some details that come across more clearly on the Jansons recording, due to its drier and more close up perspective.

The five previous customer reviewers offered lengthy discussions of Mariss Jansons and the PSO's latest CD of Shostakovich's Symphony No. 8. Their reviews provide tons of information, critiques, and honest opinions for anyone trying to make up their minds regarding this CD. For the less expert classical music listeners and/or non-diehard Shostakovich listeners, I can admit to being a classical music fan who knows what I do or don't like to hear. Therefore, I will simply say this CD is STUNNING and I love listening to it.
Mr. Jansons and the PSO are marvelous together. Their work reveals the powerful emotions involved in this symphony and their CD leaves me wanting to learn more about Shostakovich's music and his world.
Congratulations to Mr. Jansons and the musicians of the Pittsburgh Symphony Orchestra for making this momentous piece a joy for the novice as well as the expert listener.

The Pittsburgh/Jansons performance recorded here sets a new standard for this very difficult work - simply superb! This CD will erase any doubts anyone might have regarding the ranking of the PSO/Jansons among the very top orchestras in the world and , perhaps, the finest orchestra of which the United States may be proud.

I have this, and 40 or so other Shotakovich 8ths. Am keeping this one, acknowledging the apparent touch or not blandness but lack of sharp...perhaps biting sound that effects the exterior of this performance. It is excellent. Am not sure how good, but will go back to it. Jansons can be great.

The deciding factor though for a hint to it's quality comes from the reviewer Andrea G. Pessin. In it she? hails it as extraordinary. And anyone whom knows about Litton and especially his 8th, is truely a great ear. Herasay here - I may prefer Litton even to the lendary Mravinky's ( there are actually many done by him )! Nobody knows about Litton! Anyone whom knows about Litton knows what they are talking about.

Will revisit tonight.

Any more reviews Pessin?

This CD is absolutely great. My only gripe is the levels were set low so the orchestra sounds quiet. But I remember when they played it (it's a live recording), and it was definiteley balls to the wall. Even if the levels are set low, it can't bring down the rating. Bravo !!!

When the floodgates opened in 1989 and Russian musicians flocked West after th fall of communism, several rose to elite status. Most people would rank Jansons in the first tier, alaong with gergiev. As conductor of the Royla Concertgebouw he certainly seized the best podium. but this Shostakovich 8th is cautious and conventional, which has become typical of Jansons. His tenure at Pittsburgh was marred by a major heart attack, so one sympathizes. However, this sounds like a second-rate orchestra dutifully going through a second-rate score. There are undeniably moments of gripping tension, especially in the first movement, to remind us that Jansons comes from a prime musical lineage when it comes to Shostakovich. But overall Janson makes the music sound like less than a matter of lfie and death, which it needs to be.

All of Shostakovich's darkest music is difficult to bring off without lapsing into lugubriousness and strident rhetoric. Like the Tenth, which it closely resembles, the Eighth is dominated by a monumental tragic first movement and a biting Scherzo, after which the composer struggles to find an emotional climax but settles for fairly unconvincing, if not vapid, positivity. Even at his grandest, however, Shostakovich's themes skirt banality, so it takes inspired conducting and total commitment to patch over these weaknesses.

Fortunately, Russia has no shortage of conductors who went through the same harrowing conditions as the composer, and the Shostakovich collector has acccess to great recordings from Mravinsky, Kondrashin, and younger maestros like Bychkov and Temirkanov. None of them are absolutely reliable, with the possible exception of the great Mravinsky. His two readings of the Eighth, a commerical one for Philips and a live concert from London on BBC Legends, tower over the field, as the Amazon reviewer states. The young Byhkov had a successful reading on Philips, despite a few reservations, while Rostropovich, performing live with the LSO on their house label, is too coarse and slapdash. Gergive's version on Philips is oddly unconvincing given how great his other Shostakovich recordings are. Among non-Russians, Previn set the standard with an excellent version on EMI followed by an even better remake for DG.

In any event, Jansons falls short when put up against any of these rivals, so I can't get overly excited by the good recorded sound and the high moments when they occur. The rest of his Shostakovich cycle for EMI has been of a piece, I'm afraid.

I'm not a big Shostakovich fan, but I bought this recording because I love Mariss Jansons and the PSO. I thought I would probably skip the rehersal piece at the end, but I found that I really enjoyed this and would then listen for the different parts Mariss discusses. This section has made this CD much more meaningfull to me.