Shostakovich The Gadfly, The Counterplan Bachchor Mainz, Deutsche Staatsphilharmonie Rheinland-Pfalz / Mark Fitz-Gerald
The Gadfly, Op.97 (1955) – complete original score (ed. Fitz-Gerald)
The Counterplan, Op. 33 (1932) – excerpts
Bachchor Mainz, Deutsche Staatsphilharmonie Rheinland-Pfalz / Mark Fitz-Gerald
Naxos Film Music Classics 8.573747 [61’46”]
Producer Roland Kistner Engineers Bernd Nothnagel, Karl Haffner
Dates March 21st-24th, 2017 in Philharmonie, Ludwigshafen
Reviewed by Richard Whitehouse
What’s the story?
Mark Fitz-Gerald continues his pioneering series of Shostakovich film scores in their original orchestration with this disc of the composer’s music for The Gadfly, coupled with pieces that never made it to the final cut and excerpts from the most successful of his earlier film-scores.
What’s the music like?
Unlike that on the previous discs in this Naxos series (scores to New Babylon on 8.572824/5, Alone on 8.573747 and Girlfriends on 8.572138), the music for The Gadfly was very much a mainstream project for a composer struggling to find focus in the post-Stalin era. Alexander Faintzimmer’s adaptation of Ethel Voynich’s novel, essentially a romantic politicization of the Risorgimento among the mid-19th century Italian states, was a success with both Soviet officialdom and the public; while the 12-movemnet suite, as adapted by Lev Atovmian, has long been the most widely heard of Shostakovich’s film-derived scores. The present ‘urtext’ version was prepared and edited by Fitz-Gerald in conjunction with DSCH publishing house in Moscow and Paris (and has been published as Volume 138 of the New Complete Edition).
Despite its 29 individual cues averaging under two minutes, this sequence is (surprisingly?) cohesive in formal and expressive follow-through. Framed by the surging ‘Overture’ (track 1) and rhetorical ‘Finale (29), it follows the scenario closely. The famous ‘Romance’ is divided between the tracks ‘Youth’ and its reprise (4/25), with eloquent violin playing from Nikolaus Boewer, and its middle section is located elsewhere. Further highlights include the evocative ‘Dona nobis pacem’ (15) derived from Bach’s Mass in B minor, the infectious ‘Contredanse’ and ‘Galop’ for strings (19/20), and effervescent ‘Bazar’ (22) which became the well-known ‘Public Holiday’. Many of the other tracks are predominantly sombre or introspective, though the understated effectiveness of Shostakovich’s instrumentation offsets any risk of uniformity.
Also included are two organ cues excluded from the final score – including ‘Ave Maria’ (31), an ingenious reworking of a parody mass by Renaissance composer Antoine de Févin as was replaced by the Bach. The disc is completed by three excerpts from The Counterplan – made to commemorate the 15th anniversary of the Bolshevik Revolution, whose intermingling of personal relationships with construction in Leningrad is best remembered for its ‘Song of the Counterplan’. This emerges towards the close (34) to round-off these excerpts in fine style.
Does it all work?
Indeed. Fitz-Gerald secures a lively response from his Deutsche Staatsphilharmonie forces, with the various guitar and mandolin solos idiomatically taken, while Elke Voelker’s organ contributions are recorded with necessary ambient space. Those who know The Gadfly from the suite will find these frequently stripped-down orchestrations of the original film-score an unexpected pleasure. The sound is unexceptionally fine (volume levels in louder items can sound a touch manipulated), while John Riley’s booklet notes are detailed and informative.
Is it recommended?
Yes. This is a welcome act of restoration for film-music almost entirely known in a version approved though not undertaken by the composer. Hopefully this series will be continued – a recording of the complete score for The Counterplan would be a worthwhile next instalment.
You can read more about this release on the Naxos website, while for more on Mark Fitz-Gerald, visit his