There was no twinkle in the eye, no incisive pointing or metaphorical baring of teeth (memories of Rattle and Rozhdestvensky helped focus critical perspectives). Furthermore, although the furious contrapuntal tidal-wave that sweeps towards the first movement's home straight was viscerally exciting, excessive speeding made for some vague articulation and a corresponding loss of impact.
The Scherzo was better, especially the closing page or so, with its eerily shuffling percussion - and when the funeral-march-cum-finale set out towards its deafening peroration you began to realise why Shostakovich was probably wise to keep his wildest child "off the streets". Granted, there are some keen premonitions of the Fifth Symphony, but in most respects the Fourth represents a lonely blind alley that could only lead to chaos and violence. Or at least that's how Gergiev's bullish performance made it sound. Still, there was fine orchestral playing on show, not least from guest leader Stephanie Gonley, whose solo work near the close of the first movement was especially rich in feeling.
The Serenade for Strings grew fat on a big-toned, unashamedly romantic performance. Gergiev gestured wildly over the opening Andante non troppo, his arms widely outstretched, his quivering fingers splayed like talons. Following his beat must have been fairly difficult, but once into its stride, the first movement weighed in with great gusto and some warming string sonorities.
The waltz edged in on a hint of rubato, the "Elegia" had plenty of feeling but lacked phrasal flexibility, and the very Russian finale even managed to upstage those pile-driving contractors from across the river. Robert CowanReuse content