Shostakovich: Symphonies 5 & 9

On this CD:

1. Symphony No. 5 in D Minor, Op. 47
Composed by Dmitry Shostakovich
Performed by Russian National Orchestra
Conducted by Vladimir Spivakov

2. Symphony No. 9 in E flat major, Op. 70
Composed by Dmitry Shostakovich
Performed by Russian National Orchestra
Conducted by Vladimir Spivakov

Editorial Reviews
Amazon.com
These two symphonies are a study in contrasts: one long, tragic, weighty, reaching for the depths and heights of emotion; the other short, sarcastic, insouciant, almost frivolous, shot through with desperate, black humor. Together, they give a multidimensional picture of Shostakovich's multifaceted genius and his way of overcoming and sublimating his physical, psychological, and political afflictions. It has been asserted that nobody can play a Shostakovich symphony the way a Russian orchestra can. That bold statement can be tested by comparing this recording with another of the same two symphonies by the New York Philharmonic under Leonard Bernstein.

The Russian National Orchestra, now celebrating its 10th anniversary, was founded by Mikhail Pletnev. Vladimir Spivakov, who is also the founder and director of the Moscow Virtuosi, became its music director in 1999. This is their first recording together. A renowned violinist famous for his virtuosity and his gorgeously rich, pure, silken tone, Spivakov fosters and cultivates these qualities in his orchestras. The performances here, captured live, are excellent, but the recorded sound is a bit shrill and the dynamic contrasts are excessive. The style is dignified, elegant, emotionally restrained; only in the Finale of the Ninth do the musicians let themselves go.

Bernstein's approach is exactly the opposite. The slow movements are slower, the fast ones faster; the sound is darker, warmer, more transparent; the Russians hold back, the New Yorkers go to the emotional edge, from dagger-sharp irony to heart-rending lamentations; the Russians sound smooth and refined, the New Yorkers earthy, shrill, passionate, wild. Of course, Shostakovich's No. 5 is one of his most Mahler-influenced symphonies, and Bernstein, a great Mahler conductor, points up their kinship. Clearly, Shostakovich's symphonies are open to many valid interpretations. Like all great music, they transcend national boundaries. --Edith Eisler

Tracks:

Symphony No.5 In D Minor, Op.47: I. Moderato
Symphony No.5 In D Minor, Op.47: II. Allegretto
Symphony No.5 In D Minor, Op.47: III. Largo
Symphony No. 5 In D MInor, Op.47: IV. Allegro non troppo
Symphony No.9 In E-Flat Major, Op.70: Allegro
Symphony No.9 In E-Flat Major, Op.70: Moderato
Symphony No.9 In E-Flat Major, Op.70: Presto
Symphony No.9 In E-Flat Major, Op.70: Largo
Symphony No.9 In E-Flat Major, Op.70: Allegretto - Allegro

Amazon.com

Gorgeously recorded so that all of Shostakovich's eerieness of texture (and harps) can be heard, Haitink's performance of the Fifth symphony is pretty wonderful. The bare landscape of the first movement, with its lonely oboe solos, leads into the very Mahlerian, faux-fun second movement with creepy ease. The Largo is introverted but poignant, with handsome, sustained pianissimo playing, and the finale has great energy, but not quite enough of the grotesque--it's a bit too well-groomed. The Ninth, on the other hand, is ideal, with a finale to rollick over, and a refusal to turn the sometimes sappy second movement into empty emotion. It's one of those moments when Haitink's coolness pays off. A good buy. --Robert Levine

Customer Reviews:

One of my favourite symphonies.......2007-01-24

I'm not going to debate who's interpretation of Shostakovich's symphonies is best as some reviewers have. I'll simply say this: the fifth symphony is among my favourite of all symphonies by anyone. I highly reccomend it, whether it is this recording or another one. However, without going into issues of interpretation, I will say that the recording quality on this CD is very good.

Five stars for a sparkling, vivacious Ninth, but set a snooze alarm for the Fifth.......2006-07-20

Here we have one triumphant Shostakovich performance and one nearly inexcusable one. The praise that Haitink's Shostakovich Fifth has garnered here is inexplicable--this is a plodding reading that barely gets on its legs for the entire first movement. Don't the reviewers below detect the total absence of rhythmic vitality and pace? I guess not. Oh well, one person's nobility is another's long nap.

The Scherzo clumps along well enough, but without bite or satire. The centerpiece of Haitink's interpertation is a hushed, singing slow movement expressed with great refinement, if a bit blandly. The finale, needless to say, is among the slowest, but there's so much impact in the brass playing that excitement is generated without undue speed. It will appeal to the tortoise-wins-the-race crowd. The Concertgebouw plays beautifully throughout, and is strikingly captured by Decca's engineers.

Fortunately, the skies brighten with Haitink's Shostakovich Ninth from the London Phil., his second orchestra. It's so good-humored and light on its feet that you are constantly smiling. Tempos are fast, the mood sprightly--Haitink was wise, I thin, not to take the more serious approach adopted by Bernstein and Gergiev. Good as the sonics are for the Fifth, these are of demonstration quality, with loads of inner detail and perfect clarity. The orchestra seems to relish every bar. They should send condolence notes to their counterparts in Amsterdam.

How odd of Decca to pair the very worst of Haitink's cycle with the very best.

A Soviet Artist's Response to Just Criticism?!.......2006-02-25

The Symphony No. 5 is one of Shostakovich's greatest masterpieces, which can hardly be ascertained from its origins as a piece to satisfy the Soviet state's artistically stifling demands in music (for example, all other aspects of music had to be subordinate to melody). The previous year Shostakovich was savagely attacked in the Pravda for his opera `Lady Macbeth of Mtsensk District', primarily because Stalin was shocked by its graphic sex and violence, and the fifth symphony was Shostakovich's reaction to this scathing criticism. (He was undoubtedly aware that the article extended further than trying to damage his confidence, if he didn't produce music along the lines of the states prerequisites he would be imprisoned or killed.)

It received the expected reaction: Rostropovich claimed that the ovation lasted for an hour. Whatever optimism and buoyancy the Soviet authorities may have seen in it; to me it seems more like a comic satire. The opening of the quasi-triumphant finale seems like a bitter, lacerating march fit to represent snide ridicule at its own hollow pomposity. This soon gives way to angry explosions in the brass which speak more of fury and violence than joyous optimism. Shostakovich himself said, `There is a feeling of rejoicing, but it is one of forced rejoicing. It is as if someone is hitting you over the head with an iron bar telling you "Your business is rejoicing" over and over again. Eventually, you walk away muttering "My business is rejoicing".'

The first movement is sombre and claustrophobic with its incessantly repeated, probing string melodies which for me speak of desolation and broken, empty landscapes, dead trees etc. etc. ... There are searching, melancholy oboe solos, warm horn chords, urgent string crescendos, pizzicato strings, pseudo-miliatary trumpet and snare drum jollity, and massive anger expressed through explosive brass. But it is also undoubtedly beautifully melodic, as is the entire symphony, and the symphony features enough material in major keys to bespeak at least forced hopefullness.

The second movement is brisk, occasionally pungently Russian, and bursting with Shostakovich's `forced' joy: an effect which is achieved through near superimposition of the melancholy and the mirthful; the minor and the major etc. The third movement can be summarised as one of subdued melancholy.

Haitink's performance is excellent, crystal clear, never over dramatic, and expressing the music with perfect musicianship and feeling. In comparison with this performance Bernstein's is demure, seeming like a piece designed more at ostentatious display than power and dignity. All I can say is buy this disk!!! You won't regret it.

Superb interpretation and ultra superb recording.......2006-01-09

I wish that Haitink made more amazing recordings like this one of the 5th and 9th symphonies by Shostakovich. He is usually thought of as being in the top rank of conductors, but by hearing this disc, you might think that he's just about the best. Maybe the amazing sound quality kind of makes him look good, but not really, this is just a greatly played superb interpretation. The Concertgebouw (which by the way is my favorite Orchestra at the present time) are on their toes throughout this version of the 5th. They are just truly amazing here, just as they are on most occasions. Did you know that this recording won the Gramaphone top prize for it's sound engineering? That was no surprise to me! Haitink alternated between the Concertgebouw and London Philharmonic for this symphony cycle, and of course the Londoners are in really fine form also, but still not the equal (in my opinion) of this fine dutch orchestra. I've never been quite so impressed with a classical cd's sound quality, except for a few cds of the conductors Christopher Hogwood and Trevor Pinnock. I haven't heard more than 8 or 9 different versions of the 5th, but this and Semyon Bychkov's version with the BPO in 1986 are my favorites at the present time. I think the Bychkov version has almost as good sound quality, and it's severely underrated, because I've never heard the Penguin Guide or any other classical magazine rate it, which is quite crazy, because it's a bold blistering performance that does deserve very high praise. This is also one of the best 9th's out there, but that is a symphony that I have not listened to very much to this point in my life, though I plan to listen to it more very soon. Haitink pretty much can't do wrong when he's conducting Bruckner or Shostakovich, but it you haven't listened to his Bruckner or Shostakovich, do yourself a favor and buy some, because he's definitely one of the top interpreters there are. If nothing else buy this for the demonstration sound quality, and I'm sure you'll fall in love with this incredible disc. ENJOY!!!

Incredible!!!.......2004-09-16

Few superlatives can match the incredible performances which Haitink achieves in Number 5...this has long been one of my favorite recordings for various reasons. Simply put the winds and brass and strings are all on the same waveleagnth...there is not a single phrase in this performance that isn't perfect. On top of this are the incredible heights of the DECCA recording which matches perfectly the great scores.

As to Nine I also love Bernstein in NY...here it also well recorded too. The London Phil plays brilliantly here as well!!

Average customer rating:

Good in quality, typically unusual Bernstein style.
Concerning tempos
an incorrect interpretation
New York saves Bernstein
A moment in history, but not as riveting as before

Shostakovich: Symphonies Nos. 5 & 9

Manufacturer: Sony
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Binding: Audio CD

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ASIN: B00000K4J7
Release Date: 1999-09-14

Amazon.com essential recording

Leonard Bernstein's performances of Shostakovich were almost as highly regarded as his Mahler. This performance of the Fifth Symphony was the highlight of his celebrated tour of the Soviet Union with the New York Philharmonic in 1959. The composer himself attended the performances and approved of Bernstein's interpretation, which is the exact opposite of the traditional Russian one. Rather than take the finale ponderously, Bernstein flies through the music at a frantic pace, carrying it forward with irresistible momentum. The Ninth Symphony is the composer's lightest and most carefree. Bernstein walks the fine line between humor and seriousness with acrobatic skill. --David Hurwitz

Customer Reviews:

Good in quality, typically unusual Bernstein style........2006-11-12

Shostakovich's music (especially the symhonies) is filled with wit and sarchasm, but this recording does not express these aspects. It takes just about all of the music at the kind of brisk pace more appropriate for period performances of pieces like Beethoven's earlier symphonies. One of the things strongly emphasized in this piece is the competition between the lower and higher pitches, and the dynamics of this performance are relatively flat and don't emphasize this. Also, I MUCH prefer the more modern ironic interpretation of the finale, wich is featured in Rostrapovich's recording, among others. Here, Bernstein seems to raise the tempo MUCH faster in the finale in order to force it to be a triumph that it simply is not. I highly recommend Rostropovich's recent recording of this work with the LSO.

Concerning tempos.......2006-04-18

Regarding tempos: yes, this Bernstein recording is famous for being rather quick. Though these ARE the tempos Shostakovitch has down in the score. Most people now take it much slower, and that way is considered 'correct.' FWIW.

an incorrect interpretation.......2006-01-19

The Shostakovich 5th is interpreted incorrectly. The tempos are always way too fast. Bernstein perhaps should have done more research before he conducted this Shostakovich. The ending is misleading. Because of the fast tempo, there lacks sorrow and pain. Buy the Rostropovich recording instead.

New York saves Bernstein .......2006-01-15

I am not here to dispute the great talent of the all-American musical hero Leonard Bernstein. A man far above the rest as far as skill and attention to detail is concerned but as for this recording there are many dissapointing aspects of the interpretation. The Ninth is done quite well. Although it does feel slightly bland and downright boring at times, I attribute this to my own personal preference. The orchestra performs superbly and Bernstein is in his element amongst this famed group of musicians. All in all, this is a solid recording of the Ninth.
It is the Fifth that completely turned me off to this recording. The interpretation was completely headstrong (a Bernstein-ian trait that is very well done in some works but goes way overboard in this Symphony) and at times careless. The tempos that Bernstein employs are much too fast and tend to waver slightly. For instance, the second movt. of the Fifth is a driving introduction introduced by low strings. At the outset, it is much too fast. As the theme is introduced a little later on, the speed is such that the orchestra cannot execute the passages cleanly and this creates a jumble of muddy orchestral sound not up to N.Y. Phil. standards. At the end of this passage, just before the entrance of the horns, there is an anticlimatic fall in the sound. As the bones and tuba have the descending line there is almost a decresendo in the sound rather than a building. This makes the entrance for horns sound quite out of place and overblown. The other movts. tend to fare slightly better, all except the last. While I do like the driving, intimidating tempo of the opening very much, there isn't much else musically that is appealing. The orchestra continues to play beautifully under the somewhat healed interpretation that Bernstein has gained since previous movts. But just when the music becomes its most enthralling, it seems that Lenny gets bored. The final chords of dissonance (the ones thought to represent the screams of Stalin's victims underneath a false hope and happiness) are bowled over. There is no feeling or passion invoked, just the notes on the page. Over all, I was quite dissapointed in the interpretation. The playing was good, if not up to the standards that are the Phil. For me, the orchestra was what shined in this recording, not Bernstein.
I'm not knocking Lenny. I have many amazing recordings of his other works that are beautiful and full of soul and passion. This one lacks in that respect. If you are looking for a wonderful interpretation of the Fifth, pick up LSO's live recording with Rostropovich. Amazing and right on the money, in my opinion.

A moment in history, but not as riveting as before.......2005-11-12

From the mid-Fifties to the mid-Sixties Leonard Bernstein had a complete grip on any "young people"--he didn't call us kids--who wanted to fall in love with classical music. It's hard to turn your back on the influence that shaped your taste, and this Shostakovich 5th was for an entire geneeration the very first time they had heard the work, or any Shostakovich symphony.

The detractors here are right in some respects. The sound, though detailed, is thin and noticeably shrill in the upper strings at forte or louder (they should have heard it before Sony's remastering). There is no muddiness in the bass, however. Bernstein doesn't see this as a savagely ironic or menacing work. But he still conceives a full specturm of emotions: The first movement is lyrical and reflective before the sudden intrusion of a powerful but not threatening march. The Scherzo is paced at medium speed and crisply played but again without satire or menace--LB was almost always positive in this phase of his career, the "Joy of Music" phase.

The Largo is tender, almost dreamy, taken broadly but without a hint of inward grief or respite from the preceding eruptions as some conductors play it. The finale, the touchstone of this performance, is exuberantly fast and triumphant. It comes off as a fitting conclusion--the only possible conclusion--to Bernstein's whole approach. He had no intention of using the Shostakovich 5th as a jab against the Soviet regime, and there's a good chance that the composer didn't, either. This was the work, after all, that he presented to regain favor with Stalin and his apparatchiks.

I must admit that I've gorwn to admire more intensely expressed performances that cover the political ground with a range of bitter, sorrowing, and satiric emotions. Bernstein's vision seems more limited, the piece less significant in his hands. But this was a moment that I can't quite shake.

Average customer rating:

It was faulty on the last title to be played The Carnival of Venice
Awesome Collection!
A Wonderful Collection
Wonderful edition to your trumpet collection.
Quite the CD

Greatest Hits: Trumpet

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Release Date: 1994-12-06

Tracks:

Brandenburg Concerto No.2, BWV 1047: III. Allegro assai
Birthday Ode For Queen Anne: Eternal Source Of Light Divine
Concerto For 2 Trumpets In C Major, RV 537: 1. Allegro
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Voluntary In C Major
Trumpet Concerto In E-Flat Major: II. Andante
Trumpet Concerto In E-Flat Major: III. Rondo
Pictures At An Exhibition: Promenade
Petrushka: Dance Of The Ballerina & Waltz
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Tsar Saltan: Flight Of The Bumblebee
The Three Aces - Clarke
A Bugler's Holiday
Variations On The Carnival Of Venice

Customer Reviews:

It was faulty on the last title to be played The Carnival of Venice.......2007-06-01

I returned this to New Castle. Box 15550. I have heard nothing. The date of the return was 15/05/07 from my Throop postoffice in Dorset. I sent it recorded delivery. Over to you. There was nothing on the return screen to explain the fault. ie faulty track. So after many attempts to get intouch I sent it to the address on the paper inside the parcel. Please help.
I am a Grandmother so I am over 13 ???

Awesome Collection!.......2006-07-04

As a young boy I would play my trumpet from my father's old Arban's method book. My private trumpet teacher (Mr. Bonfield) would love to play duets with me from the Merchant of Venice. One day I heard Wynoton Marsailas play a a flawless rendition of The Merchant of Venice on my local clasical radio station. It was flawless and brought back many fond memories of studiying the trumpet as a youngster with my beloved teacher. This collection contains that rendition and a wide selecton of clasical trumpet pieces. You may not recognize every song, but you will enjoy the high quality of the music and artists on this CD. Anyone looking for an introduction to quality, classical, trumpet music should buy this CD. The price also makes this an affordable must for any true trumpet fan.

A Wonderful Collection.......2004-01-26

This is a splendid anthology of music. Traditional Baroque and orchestral pieces up front, and a few surprises nearer the end. A splendid work. The price makes it a steal. Add it to your cart. You will not be sorry. There is technical excellence - peace in some of the songs and real energy in others.

Wonderful edition to your trumpet collection........2003-10-21

Trumpet fans should all own this album, that is if they don't already own all of the pieces on here on separate recordings (it would take a while to obtain them all). This recording features a bunch of great classical trumpeters and innovators such as Armando Ghitalla, Phil Smith, Wynton Marsalis, Mark Gould, H.L. Clarke, Ron Romm, Charles Schleuter, William Vacchiano, and more. Great performances of Bach's "Brandenburg Concerto No. 2", the Haydn and Hummel Concertos, Wynton's excellent performance of J.B. Arban's "The Carnival Of Venice", the New England Brass Ensemble performing "Trumpet Voluntary", a very good job done by a Baroque Orchestra of the Vivaldi Concerto for Two Trumpets, "The Three Aces" played by H.L. Clarke, and Leroy Anderson's classic "A Bugler's Holiday".

Overall this is a great listen to some of the best trumpet players of all-time in this idiom. All of the pieces are impeccably played by some of the best. I didn't discover this tape in my collection until recently, and boy I'm glad I did.

Quite the CD.......2001-04-17

If I were you, I would buy this CD. It is a diverse collection of amazing performances of quintessential pieces - an important addition to any classical music fan's collection. Heck, even if you're not big on classical music (or trumpet music or brass music or music at all) you should purchase this compact disc.

Tracks:

Symphony No. 1 In F Minor, Op. 10: Allegretto
Symphony No. 1 In F Minor, Op. 10: Allegro
Symphony No. 1 In F Minor, Op. 10: Lento
Symphony No. 9 In E Flat Major, Op. 70: Allegro molto
Symphony No. 9 In E Flat Major, Op. 70: Allegro
Symphony No. 9 In E Flat Major, Op. 70: Moderato
Symphony No. 9 In E Flat Major, Op. 70: Presto
Symphony No. 9 In E Flat Major, Op. 70: Largo
Symphony No. 9 In E Flat Major, Op. 70: Allegretto

Tracks:

Symphony No. 2 In B Major, Op. 14: Largo
Symphony No. 2 In B Major, Op. 14: Quarter Note = 152
Symphony No. 2 In B Major, Op. 14: Poco meno mosso - Allegro molto
Symphony No. 2 In B Major, Op. 14: Chorus: 'To October'
Symphony No. 3 In E Flat Major, Op. 20: Allegretto
Symphony No. 3 In E Flat Major, Op. 20: Piu mosso - Allegro
Symphony No. 3 In E Flat Major, Op. 20: Andante
Symphony No. 3 In E Flat Major, Op. 20: Allegro - Allegro molto
Symphony No. 3 In E Flat Major, Op. 20: Andante - Largo
Symphony No. 3 In E Flat Major, Op. 20: Chorus: 'The First of May'

Tracks:

Symphony No. 4 In C Minor, Op. 43: Allegretto poco moderato - Presto
Symphony No. 4 In C Minor, Op. 43: Moderato con moto
Symphony No. 4 In C Minor, Op. 43: Largo - Allegro

Tracks:

Symphony No. 5 In D Minor, Op. 47: Moderato - Allegro non troppo - Largamente - Moderato
Symphony No. 5 In D Minor, Op. 47: Allegretto
Symphony No. 5 In D Minor, Op. 47: Largo
Symphony No. 5 In D Minor, Op. 47: Allegro non troppo

Tracks:

Symphony No. 6 In B Minor, Op. 54: Largo
Symphony No. 6 In B Minor, Op. 54: Allegro
Symphony No. 6 In B Minor, Op. 54: Presto
Symphony No. 12 In D Minor, Op. 112: Revolutionary Petrograd
Symphony No. 12 In D Minor, Op. 112: Razliv
Symphony No. 12 In D Minor, Op. 112: Aurora
Symphony No. 12 In D Minor, Op. 112: The Dawn Of Humanity

Tracks:

Symphony No. 7 In C Major, Op. 60 'Leningrad': Allegretto
Symphony No. 7 In C Major, Op. 60 'Leningrad': Moderato (poco allegretto)
Symphony No. 7 In C Major, Op. 60 'Leningrad': Adagio
Symphony No. 7 In C Major, Op. 60 'Leningrad': Allegro non troppo

Tracks:

Symphony No. 8 In C Minor, Op. 65: Adagio - Allegro non troppo
Symphony No. 8 In C Minor, Op. 65: Allegretto
Symphony No. 8 In C Minor, Op. 65: Allegro non troppo
Symphony No. 8 In C Minor, Op. 65: Largo
Symphony No. 8 In C Minor, Op. 65: Allegretto

Tracks:

Symphony No. 10 In E Minor, Op. 93: Moderato
Symphony No. 10 In E Minor, Op. 93: Allegro
Symphony No. 10 In E Minor, Op. 93: Allegretto
Symphony No. 10 In E Minor, Op. 93: Andante - Allegro

Tracks:

Symphony No. 11 In G Minor, Op. 103: The Palace Square
Symphony No. 11 In G Minor, Op. 103: The Ninth Of January
Symphony No. 11 In G Minor, Op. 103: In Memoriam
Symphony No. 11 In G Minor, Op. 103: The Tocsin

Tracks:

Symphony No. 13 In B Flat Minor, Op. 113 'Babi Yar': Babi Yar: Adagio
Symphony No. 13 In B Flat Minor, Op. 113 'Babi Yar': Humour: Allegretto
Symphony No. 13 In B Flat Minor, Op. 113 'Babi Yar': In The Store: Adagio
Symphony No. 13 In B Flat Minor, Op. 113 'Babi Yar': Fears: Largo
Symphony No. 13 In B Flat Minor, Op. 113 'Babi Yar': Career: Allegretto

Tracks:

Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: De profundis: Adagio
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: Malaguena: Allegretto
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: Lorelei: Allegro molto
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: The Suicide: Adagio
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: On Watch: Allegretto
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: Madam, Look!: Adagio
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: At The Sante Jail: Adagio
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: The Zaporozhian Cossack's Answer To The Sultan Of Constantinople: Allegro
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: O Delvig! O Delvig!: Andante
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: The Poet's Death: Largo
Symphony No. 14, Op. 135 For Soprano, Bass And Chamber Orchestra: Conclusion: Moderato

Tracks:

Symphony No. 15 In A Major, Op. 141: Allegretto
Symphony No. 15 In A Major, Op. 141: Adagio - Largo - Adagio - Largo
Symphony No. 15 In A Major, Op. 141: Allegretto
Symphony No. 15 In A Major, Op. 141: Adagio - Allegretto - Adagio - Allegretto

Amazon.com essential recording

Mstislav Rostropovich was a friend of the composer, and his performances of the 15 Shostakovich symphonies are uniquely authoritative. It's true that as a conductor the great cellist has had his ups and downs, but unlike so many far less musical personalities, he has only recorded the music that he feels most passionately about, and the results have been generally impressive. His performances of Symphonies Nos. 1, 4, 5, 6, 8, 9, 11, 12, 13, and 14 are really among the best ever, and there isn't as single performance among the rest that isn't at least very good. The National Symphony Orchestra of Washington in particular plays with real guts and conviction. An essential set for fans of the composer. --David Hurwitz

Customer Reviews:

A Historically Significant Box Set with Lasting Significance.......2004-10-03

This set of 12 CDs is a recording of all fifteen symphonies of Dmitri Shostakovich by the cellist/conductor Mstislav Rostropovich. Not only is this survey of Shostokovich's very important symphonic output one of the few times we are able to listen to all the symphonies with as few variables as possible, allowing us to truly hear the course of thought and creativity and turmoil of Shostokovich, but it also fulfills a promise between the composer and his pupil (Rostropovich) to create this project. Rostropovich premiered some of these symphonies and had direct instruction from the composer as to the interpretation of them all. All of these facts make this a compendium of recordings that belong in the libraries of music lovers devoted to the genius of Shostakovich.

Now if only the individual performances were as solid as the project itself! While we may be hearing these works with the knowledge that the composer sanctioned them, they are variable in success. Part of this is due to the variable quality of sound the conductor elicits from the three orchestras involved (the National Symphony Orchestra, the London Symphony Orchestra, and the Members of the Academic Symphony Orchestra Moscow). The tempi are less successful than those chosen by better conductors performing these works today, and the usual degree of excitement obtained by other batons is missing. But the performances of all 15 symphonies are never less than interesting and are indeed at times illuminating. In all, this is an important body of recordings and belongs in collections of all those who appreciate the significance of Dmitri Shostakovich.

Amazing performance of the 14th.......2001-08-10

I currently own 5 versions of the 14th symphony (Kondrashin, Bernstein, Barshai (a relay of the preimiere in Moscow), Haitink, and another Rostropovich version on the Russian Revelation label. The Bernstein is saggy and contrived, the Haitink fails to excite, the earlier Rostropovich is in terrible audio, The Kondrashin is excellent and full of white heat, and the Barshai is even more hair raising.

And where does this version of the 14th belong? Among the very best. This perfomance's soloists were the original soloists Shostakovich intended (Vishnevskaya and Rhestin). The orchestra though different from the primiere is still excellent. When listening to the Haitink, the orchestra plays with emotional reservation. Not the case here

Great set, but Symphony 14 sounds a little off.......2001-07-26

Rostropovich's performance is very good, but I haven't particularly liked the 14th (my favourite!). Comparing this recording to the other two I own (Bernstein with the NY Philarmonic and Haitink with the Concertgebouw -- this last has lyrics in each poem's original language, which I like better), I found the performance sub-par. It seems the orchestra is not performing cohesively during some piano passages.

Also, it is a shame (or should I say a sham) that not all the CDs are sold individually. I tried to buy the series one-by-one across 3 countries (US, Brazil and Chile), and haven't found Symphony No. 7 so far...

Great Recordings of Great Music at a Great Price........2000-03-31

I feel bad for those of you who have passed by this title and have not ordered it. Buy it now or else buy a gun and shoot yourself because you don't know what you're missing! Great recordings of great music at a great price. Buy it now!

fine.......2000-03-17

Sorry,I cannot write or speak English well.

Shostakovich: Symphonies Nos. 5 & 9 [Hybrid SACD]

Average customer rating:

Even better on Hybrid SACD
Excellent recording. Brisk, refreshing interpretation.

Shostakovich: Symphonies Nos. 5 & 9 [Hybrid SACD]

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Shostakovich: Symphony No. 4 [Hybrid SACD]
Shostakovich - Symphony 7 "Leningrad" / Gergiev (Multichannel Hybrid SACD)
Shostakovich: Symphony No. 8
Mahler: Symphony No. 6 [Hybrid SACD]
Brahms, Tchaikovsky: Violin Concertos [Hybrid SACD]

ASIN: B00020WZGA
Release Date: 2004-06-15

Customer Reviews:

Even better on Hybrid SACD.......2006-05-26

The symphonies of Dmitri Shostakovich are in the body and heart of conductor Valery Gergiev. Put him on the podium before his Kirov Orchestra and the results are richly textured, tense, exciting, and satisfying performances. This album, which aptly pairs the Fifth and the Ninth Symphonies, is all the more vital in that it is recorded during live performances. The acoustics are grand and spacious and the arching lines and quirky diversions inherent in Shostakovich's work are refined and at the same time 'raw', in the best sense of the word. In the Fifth, Gergiev surprises with a few personal inflections in his timings and phrasings and makes the first movement especially fresh. Few conductors can serve these quintessential Russian symphonies better than Gergiev. And the Hybrid SACD version provides even more depth, richer sound. Keep the whole cycle coming! Grady Harp, May 06

Excellent recording. Brisk, refreshing interpretation........2004-06-27

I have greatly enjoyed this SACD. Both symphonies are well-recorded. Gergiev extracts strong performances from the brass, strings, and woodwinds . . . Quite a musical hat trick. In particuarly, I am fond of the performance of the 5th very compelling. The conductor takes a brisk tempo that lifts the movement up from the maudlin, plodding pace that many conductors including Benrstein take. Overall, there's a refreshing crispness to this interpretation.

The sound is full and gives decent perspective of the orchestra without being over-miked. Dynamic contrasts are very large. Soundstaging is expansive. I really think that performing these symphonies live has really focussed the conductor and the orchestra. Basically, this recording is a good orchestral presentation on hybrid SACD.

Tracks:

I. Moderato
II. Allegretto
III. Largo
IV. Allegro Non Troppo
I. Largo
II. Allegro
III. Presto

Shostakovich & Britten Previn / Symphonies 4 & 5 / Four Sea Interludes

Average customer rating:

Re-Released!
Outstanding!
Shostakovich and Britten were friends, and Previn understands both
Amazing Britten and outstanding Fourth but the Fifth!
amazing, terrific, excellent

Shostakovich & Britten Previn / Symphonies 4 & 5 / Four Sea Interludes

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000009OQT
Release Date: 1998-08-11

Tracks:

Dmitri Shostakovich: Symphony No. 4 In C Minor, Op. 43, I - Allegretto Poco Moderato - Presto - (Tempo I)
Dmitri Shostakovich: Symphony No. 4 In C Minor, Op. 43, II - Moderato con moto
Dmitri Shostakovich: Symphony No. 4 In C Minor, Op. 43, III Largo - Allegro
Benjamin Britten: Four Sea Interludes From, aus, de 'Peter Grimes', Op. 33a, I - Dawn (Lento e Tranquillo)
Benjamin Britten: Four Sea Interludes From, aus, de 'Peter Grimes', Op. 33a, II - Sunday Morning (Allegro spiritoso)
Benjamin Britten: Four Sea Interludes From, aus, de 'Peter Grimes', Op. 33a, III - Moonlight (Andate comodo e rubato)
Benjamin Britten: Four Sea Interludes From, aus, de 'Peter Grimes', Op. 33a, IV - Storm (Presto con fuoco)

Tracks:

Dmitri Shostakovich: Passacaglia from, aus, de
Dmitri Shostakovich: Sifonia da Requiem, Op.20 I - Lachrymosa (Andante ben misurato)
Dmitri Shostakovich: Sifonia da Requiem, Op.20 II - Dies Irae (allegro con moto)
Benjamin Britten: Sifonia da Requiem, Op.20 III - Requiem aeternam (Andante molto tranquillo)
Benjamin Britten: Symphony No.5 in D mino, Op. 47 I - Moderato - Allegro non troppo
Benjamin Britten: Symphony No.5 in D mino, Op. 47 II Allegretto
Benjamin Britten: Symphony No.5 in D mino, Op. 47 III Largo
Benjamin Britten: Symphony No.5 in D mino, Op. 47 IV - Allegro non troppo

Customer Reviews:

Re-Released!.......2007-04-12

If you are primarily interested in this Shostakovich 4th, it is about to be re-released on the budget Encore series in England. When I saw the prices for "new" copies here, I thought some might be interested in getting it NEW for $10 including shipping.

Outstanding!.......2007-03-28

This CD is a must have on one's shelf. The clarity and precision of the performers is formidable. Both the CSO and LSO deliver and make this CD duo a terrific buy. I highly recommend it. Totally worth it.
Shostakovich 4 & 5 are simply and utterly outstanding! The CSO is superb in their playing and truly convey the ironic sarcasm that both the 4th and 5th need. The CSO brass, simply amazing; the 1st movement of the Fourth, carries on with great power and vigor just as it should be.
Britten, performed by the LSO, is also incredible, though I am not a great fan of Britten, I still listen to Britten simply for the sake that the LSO gives it all.
There is power, precision, utter clarity, outstanding balance, and dynamics from both orchestras. Yet for my taste, and I know SOME will agree, is that Previn's tempi are a bit on the conservative side, which in my opinion does not allow for much excitement to happen. That would be my only "but." Yet, I totally, 100% recommend this recording to anyone and ENJOY!

Shostakovich and Britten were friends, and Previn understands both.......2006-07-17

The underlying reason for pairing Shostakovich and Britten on a bargain two-fer isn't the similarity in their music but the fact that they made friends over the Cold War divide. Britten visited the Soviet Union several times to see his great contemporary. Here Previn does a commendable job with each work except one.

The Britten fares best, I think. There are a number of excellent versions of the dark, melancholy Sinfonia da Requiem, not the easiest work for audiences to get into but a favorite among conductors for its dramatic contrasts. Previn's version ranks with Rattle's and Barbirolli's and has the advantage of clear, vivid sonics. There's even more competition in the Four Sea Interludes from Peter Grimes, and Previn's account, again with excellent sonics and impressive playing by the LSO, is very good, if a bit cautious and literal-minded at times.

The Shostakovich Fourth is a mammoth, problematic work that conductors like to take on as a challenge--heaven knows it's not an audience favorite. Previn gives a middle-of-the-road account that puts everything nicely in place, no mean achievement in a welter of themes, moods, and tempos--but without reaching for machine-age propulsiveness as Myung-Whun Chung does on his riveting recording from Philadelphia (DG) or the masterful epic sweep of Gergiev on Philips. Less good is his Fifth Sym. from Chicago. Dedicated as Previn was to Shostakovich, he often sounds foursquare and uninspired. Everything is played quite well, but interest flags. Perhpas part of the reason is that in three of the four movements Previn's timing is a minute slower than the classic Bernstein with the NY Phil. on Sony.

In all, this isn't the coleciton to buy if you want cream-of-the-crop interpretations, but it's a fine bargain on the whole.

Amazing Britten and outstanding Fourth but the Fifth!.......2005-09-16

The Fourth symphony of Dimitri Shostakovich is a true allegory about the oppression, the anguish and struggle feelings lived by the composer. Shostakovich completed this work in 1936 but withdrew the work after a great number of rehearsals under Fritz Stiedry an it was not until 1961 that the piece was finally premiered in Moscow.

The approach of Previn is excellent, the abrasive and mercurial performance is quit different from Ormandy. If you imagine a giant U each one of both are in every corner.
Ormandy is more sinister and dark; while Previn is more sarcastic and cynical. It' s emotively closer to Mahler.

It is impressive the echoes of the Fifth present throughout the development of the Fourth.

Previn shines with radiant splendor in Britten. His Sinfonia da Requiem with London Symphony is bitter and soberly expressive. The long sonorities and chromatic texture are exuberant. The rhythmic expansiveness and rich shades accent the pain caused by his father' s death.

Four Interludes from Peter Grimes are eloquent. The drama and the sense of horror produce in the listener a similar effect than the horrid injustice committed against the Doctor in Henryk Ibsen 's An Enemy of the people.

In what the Fifth final balance, I have my reserves. There is a sensible lack of rage and grief in the First Movement. This First Movement must by itself be able to arouse the hellish Stalin 's fist struggling and menacing us. Pitifully he does not get it.

That' s the reason why I can not give the five stars. The rest of the double album is A-1.

amazing, terrific, excellent.......2004-08-16

This is very good collection of two giant composers of 20th century. Already, Shostakovich and Britten were both very close friends. I think, sometimes in Britten's music, there are influences from Shostakovich. The performances of all works are very good. Shostakovich symphonies played with Chicago Symphony, Brittens played with London Symphony Orchestra.

Shostakovich's 4th is a lesser-known work. Because, in the years of 4th Symphony, still there is arguements of Lady Macbeth disaster premiere. But later, he answered to these with his ever-famous "The answer of a Russian artist to critics" 5th Symphony, and the premiere of it was a great success. He forgived by critics and he became the grandest symphony composer of Russia (U.S.S.R.).

In this set, there is the excerpts from Britten's most famous opera "Peter Grimes". It's 4 Sea Interludes are ever-famous. Especially, the 2nd, 3rd and 4th are very amazing. The 1st Interlude, "Dawn" is the games of wawes. 2nd interlude is "Sunday Morning". There is a brigth sunny sunday morning, and the bells of morning to be hear. Also, the flute solo plays a bird, who chirped sweetly. The 3rd Interlude is "Moonlight". It is a very romantic, touching music, and comparable with Beethoven's and Debussy's (Clair de lune) moonlight musics. The 4th Interlude is a terrible "Storm". It is very fantastic. All the interludes (also, the opera) are impressive, effective, orchestration are excellent.

Highly recommended.