This is more evidence that our supposedly new-found ability to ‘decode’ the Eleventh’s musical substance does not lead inexorably to readings of superior insight. Mariss Jansons has been putting together his Shostakovich cycle with some of the world’s greatest orchestras, a rarity in this repertoire on disc, and he has already given us a notable Tenth with the Philadelphia Orchestra (EMI, 6/95). The forthright quality of that performance was reinforced by EMI’s forward, ‘high impact’ sound, whereas orchestral sonority is not well served by the cavernous studio location used here. The Philadelphia Orchestra has been going through a troubled period of late and, for whatever reason, its musicians do not always give of their best. In the main Jansons opts for sensible tempos, an exception being the abrupt, hell-for-leather dash he makes of the terrifying massacre of “9th January” (he is not alone in this, but I much prefer Rostropovich’s stoicism).
Throughout, the playing is dutiful rather than inspired. As so often, the timpani lack presence and definition at the start and their contribution to the third movement is rhythmically flabby. I would argue that much of this music is not Shostakovich at his greatest but it is surprising to find Jansons intent on proving the point. This cannot stand comparison with Leopold Stokowski in Houston, let alone the more modern rivals listed above. The makeweights, which follow after insufficient pause, are generous – and, no doubt, welcome to those able to overlook such insensitive programme-planning. Anyone interested in the lighter Shostakovich should consider Riccardo Chailly’s selection; you get the whole of the Second Jazz Suite in better focused sound. The Jansons disc is disappointingly routine.'