Many music-lovers like to list Brahms's four symphonies in order of preference, and Shostakovich was no exception.
His favourite was No 4, followed by Nos 2 and 1, with the Third lagging well behind.
So there was a touch of irony in the fact that this was the one chosen as a companion piece to his own Tenth Symphony in last night's concert by the Berlin Philharmonic under Sir Simon Rattle.
Quite what made Brahms's Third only a runner-up in Shostakovich's eyes is not specified, any more than I can articulate with convincing logic why my own ordering would, on most days, be Nos 2, 3, 4 and 1 and, on others, a different sequence altogether, but maybe the nature of the interpretation has much to do with it.
For the most part, Rattle's was strong enough to convert even the most hardened sceptic, but there were also aspects that might have sown doubt in confirmed believers.
Bolstered by the Berliners' superb technique and sonority, the overall impression was of opulence fortified by a resonant bass line, firm sinew in the outer movements and terrific clarity of detail. Lyrical lines were liquidly shaped, and the two central movements, even though they were inadequately differentiated in tempo, were impressive for some exquisite, hushed playing.
the music's emotional thrust was of uncommon power, whether in the ruminative resignation of the first movement or in the scherzo's visceral, menacing energy.
His favourite was No 4, followed by Nos 2 and 1, with the Third lagging well behind.
So there was a touch of irony in the fact that this was the one chosen as a companion piece to his own Tenth Symphony in last night's concert by the Berlin Philharmonic under Sir Simon Rattle.
Quite what made Brahms's Third only a runner-up in Shostakovich's eyes is not specified, any more than I can articulate with convincing logic why my own ordering would, on most days, be Nos 2, 3, 4 and 1 and, on others, a different sequence altogether, but maybe the nature of the interpretation has much to do with it.
For the most part, Rattle's was strong enough to convert even the most hardened sceptic, but there were also aspects that might have sown doubt in confirmed believers.
Bolstered by the Berliners' superb technique and sonority, the overall impression was of opulence fortified by a resonant bass line, firm sinew in the outer movements and terrific clarity of detail. Lyrical lines were liquidly shaped, and the two central movements, even though they were inadequately differentiated in tempo, were impressive for some exquisite, hushed playing.
the music's emotional thrust was of uncommon power, whether in the ruminative resignation of the first movement or in the scherzo's visceral, menacing energy.
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