Symphony No. 13 In B Flat Minor Op.

Shostakovich, so often cryptic in his larger works was more explicit here in setting Yevtushenko's poems. The poems attack much of what was bad from the Stalinist era whilst warning against also anti-semitism and the hardship of women in contemporary Soviet society. Perhaps the seemingly ultra-patriotic Twelfth Symphony, which immediately preceded the Thirteenth, was a calculated down payment insurance to soften any criticism. It didn't work.The authorities demanded changes in the text and there was still a strong anti-semitic attitude, predominant in Soviet society. The composer wasn't quite as free as he'd hoped.The choice of a bass baritone soloist and deep male voice only choir accompaniment might suggest another patriotic, macho piece so the humanistic and sensitive settings defy expectation and might represent another subtle raspberry to the patriotic symphony genre, once popular in Soviet Russia.Like a number of Shostakovich's later works there is more overt anger in the piece with the sense of outrage, solemnity and satire all in the mix of the magnificent Babi Yar setting. The following "Humour" scherzo is backed by a strong sense of defiance mixed with the humour.Three connected movements follow: "In the Store" looks at the hardships of Soviet women but it seems ironic then that the setting is for a deep voiced male only choir. The next movement, "Fears", like the scherzo is keenly felt and personal. Its opening is claustrophobic with the fear of the late night knock on the door. Indeed after the Lady Macbeth condemnation, Shostakovich slept on the landing so that his family wouldn't be disturbed if he was to be taken away. The opening passage with quite tam-tam and tuba are terrifyingly evocative.The lighter, almost pastoral feel of the finale, "Career" comes as a relief but again carries the defiant message that staying true to your conscience and working for the greater good is better than actively pursuing a career. The music drifts away lightly and magically with the sound of the celesta and strings. In this recording this gentle and accepting departure is a revelation.The twin influences of Mussorgsky and Mahler are very strong. It seemingly cries out for a particularly "Russian" sound which, perhaps surprisingly, Wigglesworth and Co provide.The soloist, Jan-Hendrik Rooterling, has a depth and consistency of tone throughout: not Russian perhaps but certainly sounding the part. His steadiness and richness is countered by the Chorus, which has plenty of depth in their tone, but they also add a flexibility and elasticity of expression that I've not heard so effectively portrayed elsewhere: If anything, the chorus out-sing the soloist who sounds much gentler in tone. Their anger and outrage is palpable in "Babi Yar" particularly.By any standards this is a remarkable rendition by the choir. Mark Wigglesworth, similarly gives the same bite and elasticity of expression throughout. The Third movement, "In the Store" provides insights I've not come across elsewhere with a genuine tenderness, empathy and yearning rising above the pained drudgery that Soviet women suffered. A movement about women's suffering sung by an all-male, deep voiced choir shouldn't sound so good but here it is very moving.As the other reviewer suggested, the sound engineering is as it nearly always is with BIS, pretty well demonstration class providing this wonderful performance the perfect platform with so much space and depth. there are plenty of excellent recordings of this symphony but you wouldn't want to miss this exceptional performance.