ショスタコーヴィチ: 交響曲第11番

ユロフスキの統率力とエネルギーが炸裂!

ロンドン・フィルハーモニー管弦楽団の2019年12月に行われたライブ演奏。"激しく破壊的"にして"並はずれて理論的で、時に優しく、時に非常に献身的"といった評が見られることから、いかにこの演奏のインパクトが大きかったか、ということが想像されます。ユロフスキはショスタコーヴィチの音楽に深く傾倒しておりますが、LPOレーベルからは2014年にリリースされた交響曲第6番と14番(LPO 0080)以来のショスタコーヴィチの登場となります。この交響曲はロシア革命前夜を描いた映画的音楽で、ショスタコーヴィチの驚くべき描写力が発揮されています。「血の日曜日」の民衆虐殺の場面をはじめ、全体に指揮者の能力が試される難曲。ユロフスキは持ち前のエネルギーと推進力、そして統率力で見事にこの作品を描き切っています。
キングインターナショナル

From the start, critical opinion has been split on Shostakovichs Symphony No. 11 in G minor, Op. 103 (The Year 1905). Is it of a piece with the cinematic potboilers Shostakovich wrote to get himself back into the good graces of the Soviet government after his denunciation by Stalins cultural henchmen? Or was it, following the thinking of the composers revisionist biographer Solomon Volkov, a subtle expression of support for the Hungarian uprising against Soviet domination in 1956, just as Shostakovichs symphony was being composed? The genius of this reading by Vladimir Jurowski and the London Philharmonic, recorded live, is that it doesnt really matter. The work is strongly programmatic, really to a greater degree than any other Shostakovich symphony, and lacks the venomous scherzo generally characteristic of the composer. Jurowski takes the listener through it with inexorable forward motion, clocking in at 13:33 in the first movement as compared with a good deal longer in many interpretations and more than 20 minutes in one of the symphonys most famous recordings, that of Mstislav Rostropovich with the London Symphony in 2004. For Jurowski, the mood of the work is less memorial than inexorable, and while listeners are free to accept or reject this, it is hard to argue that the conductor succeeds anything less than brilliantly in realizing his aims. The highlight is the truly shattering finale, where the Southbank Centre audience explodes at the end; so will listeners even in their own homes, and Jurowski gets extraordinary support from the LPOs engineering staff: the layers of sound shimmer uncannily. For Jurowski, the score is indeed cinematic, but, he asks, so what?