Shostakovich's Symphony No 5, written under pressure from Soviet authorities, conveyed anguish without words. The acid, curdled mood was unmistakable under conductor Jaap van Zweden's precise direction. In musical language - minor keys; altered intervals; brittle brass and xylophone; and heavy unison declamations - Shostakovich represented the Stalinist Russia of the 1930s. Triumphant moments were ironic in this dark context. The only mystery is how the composer convinced officials this was optimistic music.
The orchestra played with thrilling intensity. After a nod to the audience, Van Zweden (left) whirled on his heel to begin the angular first theme in the strings. These fragments settled into a floating tune over harp chords then built to a ferocious climax. In a peaceful summation of ideas, duets with flute and horn, clarinet and flute then bassoon and oboe were superb.
The second movement is a scherzo with twisted cadences and off-centre waltz time. The pizzicato section was fun. The tragic largo began with strings in motet-like counterpoint. A passage for two flutes and harp was gorgeous. The final chord was as transparent as a dream. That dream was shattered in the allegro non troppo.