Attempting a rare Shostakovich
In Camden, Symphony in C performed his bold but difficult "Symphony No. 8."
Shostakovich's 1943 Symphony No. 8 is one in a handful of works that fathom the trauma of the 20th century with a boldness and originality so fearless that it's not often performed around here. However compelling Symphony in C's performance was on Saturday in Rutgers University-Camden's Gordon Theater, it went far to explain why: Once the steep musical challenges are met, you're entering a World War II-era abyss that not everyone (players or audience) can or will inhabit.
Contact music critic David Patrick Stearns at dstearns@phillynews.com.
Full of gargantuan war-inspired orchestral effects that prompt a visceral response from any alert musician, the symphony also requires a kind of life experience that the conservatory-age Symphony in C musicians can't be expected to have. Luckily, music director Rossen Milanov elicited a more-than-solid performance with a broadly outlined interpretation that was graphically visual, deeply felt, and intelligently paced, as the piece jumps from idea to idea or pursues a single thought to the bitterest end. Yet in the details, limitations were apparent.
The symphony's greatness lies in its strange, ambiguous final movement, a series of spare, introspective solos, probably depicting life on scorched earth with outbursts of raving-mad comedy. The emotional burden for this music falls on individual performers; however well they played, most failed to project much meaning.
This is not an uncommon problem as performers are removed from the symphony's historic impetus. Should pieces like this be avoided? Not where there are earnest conductors like Milanov. Scratching the surface is a big victory here.
Rachmaninoff's popular Rhapsody on a Theme of Paganini shared the program. Though the piece was written as a pianistic star vehicle, the intricate musical volleying between Milanov and young Russian soloist Alexandre Moutouzkine showed what's missing in quickly assembled performances that are often heard elsewhere. Here, the Rhapsody was as tight as chamber music. With his brawny but delicate sonority, Moutouzkine delivered everything the piece demands.
His presence on Astral Artists' roster promises more Philadelphia-area appearances. Lucky us: Good as the Rachmaninoff was, Moutouzkine's live recordings of solo repertoire from the 2001 and 2005 Van Cliburn Competitions suggest he has much more to reveal.
Contact music critic David Patrick Stearns at dstearns@phillynews.com.
