The Southwest German Radio Symphony Orchestra under its new music director Teodor Currentzis gave a monumental but never bombastic interpretation of Schostakowitsch‘s Symphony #7 at the Festival this evening in Salzburg’s Great Festival House.
I have admired Currentzis before, lamenting that he often lets performance theater get the better of him to get in the way of actual musical quality (image over substance). But when he is on, the music clicks, as it did this evening. He captured nuance and drama in a work, and even a quirky black humor, that itself sometimes overwhelms less-thoughtful conductors. Although this symphony was used from its first performance for Russian propaganda purposes, the thoughts going through the composer’s mind when he wrote it were far more complex. It is worth remembering that Schostakowitsch originally sketched the “invasion” theme in the first movement – which Russian propaganda ascribed to Nazi Germany invasion of the Soviet Union – not in 1941 but already in September 1939 in response to the invasion of Poland by Nazi Germany and Soviet Russia, which were then still allies. Dark forces engulfed the world.
Currentzis did revert to some performance theater, of course. Different sections of the orchestra stood up periodically and played on their feet – not just brass (which would allow more air in the lungs and a fuller tone) but pretty much everyone who played an instrument that did not absolutely need to be played sitting down. Indeed, when the orchestra first took the stage, the percussion and woodwinds came out and sat down alone – before a long pause when the rest of the orchestra finally joined them (knowing Currentzis, I feared the worst: was he going to have the rest of the orchestra march on stage to the “invasion” theme – thankfully not).
The orchestra, formed from the merger of two previous orchestras, sounded terrific (actually, given the size of the orchestra in this symphony, they might have almost used two full orchestras-worth of musicians).