Dima Slobodeniouk (hereafter referred to, simply, as “Dima”) has recorded several albums for BIS (most often with his other orchestra, the Lahti Symphony), but I was excited to see this Stravinsky release is with the Galicia. And they acquit themselves brilliantly. They can stand proudly alongside any major-league orchestra which has recorded this music.
In fact, I had just recently listened to the new Chandos recording of these two (orchestral) Symphonies from Andrew Davis and the BBC Philharmonic. I thought Davis’ way with Stravinsky is typical of him – warm, refined and musical – enhanced by plush recorded sound from Chandos. But he’s not the most exciting conductor. Whereas I thought Dima to be more faithful to the composer – incisive, dynamic, energetic and more identifiably Russian.
Listening to the 2 recordings back-to-back over several days, this impression persisted in Symphony In Three Movements, but not necessarily for Symphony in C, where I thought the tables were turned. Intrigued by the two approaches and how they succeeded differently in the two works, what started as a review of the BIS has evolved into a closer look at both discs. Moreover, comparing the two is logical, as they have much in common. Both are recent releases from two of the most esteemed Classical labels, and both are offered on SACD. And that last bit is important; for in the end, I found the recorded sound to be as much a factor as the conductors themselves.
Right from the beginning of the opening movement of Symphony in Three Movements, I was taken aback by the incisive articulation from the Galicia strings – aided by the extraordinarily transparent BIS recording. Rarely have I heard such precision of execution and observance of the many accents and downbow markings – and especially the crisp marcato indications. The resultant bite and spikiness are most appropriate and wholly characteristic of Stravinsky. Textures are airy and transparent, revealing intriguing inner details which often go by unnoticed. All combined, this reading exhibits the spirit and very essence of the piece.
Comparing this to Andrew Davis in the same (1st) movement, yes Davis is a bit warmer and seemingly less incisive. But is he really? Actually I think it’s the Chandos recorded sound which makes it seem that way. I cannot fault the articulation of the strings and there is plenty of bite to brass. But Chandos softens it just slightly, capturing more of the plush, reverberant acoustic. And the overall effect sounds a bit more “symphonic”. I was much more energized by Dima’s Galicia orchestra, which is more sparkling, detailed and expressive.
Dima pulls ahead interpretively, too, in the remaining movements. The 2nd movement is positively delightful and full of charm; whereas Davis is rather more earthbound and matter-of-fact. In addition, the transparent textures on BIS reveal more inner detail to emerge as important contributions, allowing the music to positively dance. The atmospheric acoustic, too, is most alluring – shimmering with orchestral color.
The differences are even more pronounced in the finale, where Davis is slower and more ponderous. Dima more closely follows Stravinsky’s con moto indication and propels the music with energy and charisma, bringing the piece to a thrilling conclusion.
Symphony in C is similarly played by both orchestras, however the extra richness of the BBC Philharmonic pays dividends. And Chandos provides better recorded sound than heard in the other symphony on this disc. The booklet reveals it was recorded 3 years earlier (in 2019) and we can hear more scope and spaciousness to the acoustic. And Davis has real vision in this work, especially in the first movement, where in the climactic section (about 5 minutes in) he generates majesty and sweep as the violins soar in their upper registers with ardor and a glorious body of tone, surrounded by air. This was most impressive.
Meanwhile, Dima’s crisp, precise approach emphasizes expressiveness and characterization. Both readings are most enjoyable, but Davis brings that extra bit of grandeur which is wholly appropriate.
In the 3rd movement, Davis is more characterful and dynamic – helped by the superb Chandos recording. However, he is unusually slow and plodding in the opening of the finale, before lightening the mood delightfully in the tempo giusto which follows. Dima is less grandiose at the beginning, and then takes off at a very fast clip, leaving his strings scrambling to keep up with him as the movement takes flight. But there’s no denying his enthusiasm.
The improved sound Chandos provides for Davis in Symphony in C elevates it to a higher level of musical involvement. Similarly, it must be emphasized how important the superb BIS sound is to the success of the recordings in Galicia. The orchestra is presented with superb immediacy and clarity in a well-defined, spacious acoustic, yet with more warmth, color and richness than is often heard from this label. This is simply wonderful recorded sound – one of the very best I’ve yet heard from BIS.
Choosing between these two releases is difficult and I wouldn’t want to be without either. Both are excellent, but in slightly different ways, as expected. Dima is fleet, incisive and expressive, while Davis is warmer and more symphonic. That’s the quick and easy summary. However, couplings may be a deciding factor for some. Davis plays a somewhat tepid and under-characterized Divertimento from The Fairy’s Kiss. Dima plays a splendid Symphonies of Wind Instruments (in the original 1920 version), bringing similar incisiveness and expressiveness as heard in the rest of the program. And his winds exhibit a beautifully blended sound which is most appealing. I strongly prefer this over the Chandos coupling.
Dima Slobodeniouk has a real feel for Stravinsky. And with such an intimate, deeply developed relationship with the Galicia orchestra, they respond with involvement, vigor and commitment. It was a real pleasure hearing them play this music so expertly. This BIS release is quite simply outstanding.
Oh…there’s one more interesting aspect which these two releases have in common. Both are comprised of recordings separated by several years – 2019-2023 (BIS) and 2019-2022 (Chandos) – presumably necessitated by the Covid-19 pandemic. We should be ever grateful these dedicated, committed record labels did not abandon these projects. Both were well worth the wait.
.png?w=160&resize=160,160&ssl=1 "Letting in the Light: from Rameau's Pygmalion & Wagner's Parsifal to Christian Forshaw, Anna Semple and Schumann's Kerner Lieder at Temple Music")
