Anna Vinnitskaya (piano, above), Jonathan Holland (trumpet), City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla (below)
Symphony Hall, Birmingham
Saturday 16 March 2019
The Limpid Stream: Suite Op.39a (1935)
Piano Concerto no.1 in C minor Op.35 (1933)
Symphony no.5 in D minor Op.47 (1937)
Written by Richard Whitehouse
Photo of Anna Vinnitskaya (c) Gela Megrelidze
With Birmingham Opera Company’s staging of Lady Macbeth of Mtsensk having finished its run, an all-Shostakovich concert by the City of Birmingham Symphony was not just apposite but underlined the rapport between the orchestra and its music director Mirga Gražinytė-Tyla.
The programme centred on Shostakovich’s music before and after an infamous Pravda article irrevocably altered the composer’s evolution. Attacks on The Limpid Stream were admittedly gratuitous; this last of his ballets finds Shostakovich at his most accessible – as witnessed by the suite devised several years later. Starting with a suave Waltz (which found fame as title-music for Stanley Kubrick’s Eyes Wide Shut), this continues with a vigorous Russian Dance then breezy Galop. The highlight is an Adagio whose soulful cello melody was eloquently rendered by Eduardo Vassallo. A deft pizzicato Polka was a rather inconclusive ending: the uproarious final dance (which follows-on almost continuously) would have made for a more decisive conclusion. No matter, this was still an engaging sequence and captivatingly played.
Shostakovich conceived his First Piano Concerto for his own pianism. Influences derive more from stage and screen than any earlier concertos, but its formal ingenuity is undeniable. Anna Vinnitskaya gauged ideally the first movement’s volatile tempo changes, while the Lento had poignancy and no mean vehemence at its climax; the ensuing intermezzo an upbeat to a finale whose high-jinx were teasingly held in check. Jonathan Holland was engaging in the obligato trumpet part, and the CBSO strings retained their articulation even in the hectic closing pages.
Whether or not an explicit response to that condemnatory Pravda article of January 1936, the Fifth Symphony is crucially important for moving the emphasis within Shostakovich’s output away from the theatrical. Nothing reinforces this more than the opening Moderato, with its individual take on sonata design that Gražinytė-Tyla handled with real assurance – keeping the exposition in motion with a fleeter than usual second subject, before eliding seamlessly into a purposeful development then an anguished reprise and desolate coda. The Scherzo had ironic wit without heaviness, whereas the slow movement impressed through its inevitability of progress towards a central episode of rapt inwardness; after which, the searing climax did not pre-empt the coda with its musing interplay of harp and celesta against suspended strings.
The finale offers the greatest challenges but Gražinytė-Tyla had its measure too, her fast yet never inflexible tempo for the surging initial stages segueing into the central episode with its heartfelt recall of earlier ideas then ethereal searching towards a crowning peroration. Neither wantonly triumphal nor turgidly defeatist, this was a thoughtful yet decisive conclusion to the overall emotional trajectory; maybe those searching trumpet dissonances could have sounded even more baleful, though a sense of coming through against the odds was never in doubt.
This was an impressive account of a symphony which has been much harder to interpret once its ultimate ‘message’ became a matter for debate. Gražinytė-Tyla provided no easy answers; instead, her presenting the work as a cohesive and integral whole was its own justification.
For further information on the City of Birmingham Symphony Orchestra’s 2018-19 season click here
Unfortunately the concert was not recorded for broadcast, but you can hear a playlist of the pieces heard on Spotify below, including Anna Vinnitskaya‘s recording of the Shostakovich with Kremerata Baltica: