
It’s a programme that effectively bookends Shostakovich’s relationship
with Stalin: at the dictator’s behest, Lady Macbeth of the Mtsensk
District was denounced in 1936 as a “deliberately dissonant, confused
stream of sound” – yet there’s no confusion discernible here, as
lowering horns, brooding strings and dramatic percussion combine to
drive home the air of looming menace.
But Shostakovich struggled to rehabilitate his reputation through his
wartime symphonies, culminating in 1953 with Symphony No 10, which
shares the mood of menace in “Passacaglia”. (Andy Gill)
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