Shostakovich - Symphony 5 [Jansons-Oslo Philharmonic Orchestra]
I only played Shostakovich's Fifth a few days ago with Rostropovich, but it's good to play the thing again quickly, it actually helps me to get some sort of comparison going, and helps me to see the pros and cons of each performance, as well as more importantly, because i deeply analysed the Largo with Rostropovich, i listened more intently to the same sections here which moved me there, it made it a deeper experience, as a general feeling, i like Jansons better, can't quite put my finger on it, maybe it's because i've listened to this disc more, also every time i listen to a work, i realise how much i don't know it also, Jansons and Rostropovich have both been very enlightening, this has been a great experience, see also [19th June 2012].
Mariss Jansons is Latvian, he's now 72, he recorded this disc way back in 1987, from the front booklet cover he looks so young, and it's a great portrait [by Jan Greve], the lettering in blue and white, nicely placed, and the red EMI logo beneath is nice and symmetrical.
Well i envisioned that because of listening to Rostropovich a few days ago, i would examine the Largo even more closely, and report on my feelings of Jansons interpretation of the same, however it was the opening first movement Moderato that impressed me the most, i guess it's my favourite movement of the four, it's a fantastic statement, plus it's in D Minor, my favourite key, the Symphony has a long opening theme [0:00-3:40], at first it sounds like a String Symphony, powered by the violins, woodwind / brass used sparingly, quite a dirge of sourness, it slowly builds up in power, later it quietens down and seems to bumble along in its desperation, until out of nowhere the piano comes in! [6:22-7:00], and produces this march like rhythm, along with the low brass [Tubas?], and then the higher brass, the whole thing is transformed into something beyond its opening Moderato beginnings, it gets more and more agitated, the strings are swirling all over the place, especially the brass i like here [7:28 & 7:47], and i love the way it explodes into a military march [8:20-8:45], all stabbing brass and side drums, it comes to a head, xylophone and drums [9:47+], tam tam [10:39], but then it quietens down to a flute serenade [11:07-11:41], gentle glockenspiel moments with woodwind, it's a phenomenal creation, Shostakovich ends the thing with mystery, those ghostly flutes have a wonderful effect [12:44+], a solo violin, quiet brass, and that glockenspiel has the last says [13:43-13:56], the second half is so much more interesting than the first, what an incredible transforming power music has!.
Here's Jansons conducting the Fifth on YouTube.
Mariss Jansons is Latvian, he's now 72, he recorded this disc way back in 1987, from the front booklet cover he looks so young, and it's a great portrait [by Jan Greve], the lettering in blue and white, nicely placed, and the red EMI logo beneath is nice and symmetrical.
Well i envisioned that because of listening to Rostropovich a few days ago, i would examine the Largo even more closely, and report on my feelings of Jansons interpretation of the same, however it was the opening first movement Moderato that impressed me the most, i guess it's my favourite movement of the four, it's a fantastic statement, plus it's in D Minor, my favourite key, the Symphony has a long opening theme [0:00-3:40], at first it sounds like a String Symphony, powered by the violins, woodwind / brass used sparingly, quite a dirge of sourness, it slowly builds up in power, later it quietens down and seems to bumble along in its desperation, until out of nowhere the piano comes in! [6:22-7:00], and produces this march like rhythm, along with the low brass [Tubas?], and then the higher brass, the whole thing is transformed into something beyond its opening Moderato beginnings, it gets more and more agitated, the strings are swirling all over the place, especially the brass i like here [7:28 & 7:47], and i love the way it explodes into a military march [8:20-8:45], all stabbing brass and side drums, it comes to a head, xylophone and drums [9:47+], tam tam [10:39], but then it quietens down to a flute serenade [11:07-11:41], gentle glockenspiel moments with woodwind, it's a phenomenal creation, Shostakovich ends the thing with mystery, those ghostly flutes have a wonderful effect [12:44+], a solo violin, quiet brass, and that glockenspiel has the last says [13:43-13:56], the second half is so much more interesting than the first, what an incredible transforming power music has!.
Here's Jansons conducting the Fifth on YouTube.
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