Shostakovich: Symphonies no 5 and 9 / Haitink
Product Details
Editorial Reviews
Amazon.com
Gorgeously recorded so that all of Shostakovich's eerieness of texture (and harps) can be heard, Haitink's performance of the Fifth symphony is pretty wonderful. The bare landscape of the first movement, with its lonely oboe solos, leads into the very Mahlerian, faux-fun second movement with creepy ease. The Largo is introverted but poignant, with handsome, sustained pianissimo playing, and the finale has great energy, but not quite enough of the grotesque--it's a bit too well-groomed. The Ninth, on the other hand, is ideal, with a finale to rollick over, and a refusal to turn the sometimes sappy second movement into empty emotion. It's one of those moments when Haitink's coolness pays off. A good buy. --Robert Levine
Customer Reviews
Wonderful Ninth, yoked to a drab Fifth
I have always regretted the way London/Decca rearranged the Haitink performances: the original pairing of this performance of the 9th was with an equally fine performance of the 1st (now paired with the intermittently interesting but ultimately unsuccessful 3rd). The performances of both symphonies on the original disc capture the mix of light and dark, playfulness and tragedy, lyricism and satire. It is unfortunate, that the current disc pairs an exemplary recording of the witty 9th with Haitink's beautifully played yet drab and soulless account of the 5th. Try to find the earlier disc.
One of my favourite symphonies
I'm not going to debate who's interpretation of Shostakovich's symphonies is best as some reviewers have. I'll simply say this: the fifth symphony is among my favourite of all symphonies by anyone. I highly reccomend it, whether it is this recording or another one. However, without going into issues of interpretation, I will say that the recording quality on this CD is very good.
Five stars for a sparkling, vivacious Ninth, but set a snooze alarm for the Fifth
Here we have one triumphant Shostakovich performance and one nearly inexcusable one. The praise that Haitink's Shostakovich Fifth has garnered here is inexplicable--this is a plodding reading that barely gets on its legs for the entire first movement. Don't the reviewers below detect the total absence of rhythmic vitality and pace? I guess not. Oh well, one person's nobility is another's long nap.
The Scherzo clumps along well enough, but without bite or satire. The centerpiece of Haitink's interpertation is a hushed, singing slow movement expressed with great refinement, if a bit blandly. The finale, needless to say, is among the slowest, but there's so much impact in the brass playing that excitement is generated without undue speed. It will appeal to the tortoise-wins-the-race crowd. The Concertgebouw plays beautifully throughout, and is strikingly captured by Decca's engineers.
Fortunately, the skies brighten with Haitink's Shostakovich Ninth from the London Phil., his second orchestra. It's so good-humored and light on its feet that you are constantly smiling. Tempos are fast, the mood sprightly--Haitink was wise, I thin, not to take the more serious approach adopted by Bernstein and Gergiev. Good as the sonics are for the Fifth, these are of demonstration quality, with loads of inner detail and perfect clarity. The orchestra seems to relish every bar. They should send condolence notes to their counterparts in Amsterdam.
How odd of Decca to pair the very worst of Haitink's cycle with the very best.
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