Shostakovich - Symphony 10 [Shostakovich-London Symphony Orchestra]

Shostakovich conducted by Shostakovich!, well not quite, this is his son, so i suppose he has some insights from his Father, a front row seat on his life, of course just born into the family doesn't mean that you're any good, my introduction to Shostakovich was his Fifth Symphony [Bychkov / Philips], but the next Symphony i heard was his Tenth [Karajan / DG], and i guess it's creeping in to be my favourite, i actually 'only' have five Shostakovich Tenth's in my collection, Karajan sits head and shoulders above everyone else, and this is actually quite a new-ish recording of mine, featured in my Blog three years ago [21st June 2012], and this is only it's third playing, yes it takes time to really rack up some listens on every disc i own, my 'impression' is a little bit restrained, i like my Shostakovich angry!, brass and percussion in yer face, but i still think this is a lovely reading, and even though i've heard this Symphony roughly sixty times, i'm still surprised how much i don't know it!.

Maxim Shostakovich is Russian, he's now 77, this was recorded back in 1990, i like the front cover, not entirely sure what it's meant to mean, red paint on glass or something, i'm sure it's not meant to be a map, i like the lettering, like embossed in metal, the back inlay portrait is excellent [by Hanla Chlala].

On this listen, the short Scherzo Allegro really caught my ears, after the mammoth first movement [27 minutes], this second movement can seem a little blip compared to its older brother, roughly six times the size, but this scherzo really packs a punch, it's an angry little thing, jagged string rhythms, wheedling woodwinds, military side drumming, i love the way the music explodes into brass stabbings [0:48-1:22], with frantic woodwind whistling all over the place in the background, and percussion galore, there's also the odd xylophone hit here and there, love the way Shostakovich makes these loud brass 'hits' [1:25 / 1:33 / 1:38 / 1:50], high woodwind going berserk, low woodwind muttering away in the background, there's just so much going on!, it's hard to keep up with all of it, it's a real Mussorgsky Goldenberg & Schmuyle moment, one whining away, the other muttering, a real 'argument', between opposite ends of the spectrum, crashes of cymbals [2:32 / 2:35], and terrifying brass [2:38+] punctuation by loud bass drums [3:17 / 3:24 / 3:28], piccolos and military side drum [4:01-4:04], and the brass have the last laugh at the end!, wow it's really quite breathtaking.

Here's Dudamel conducting the Scherzo on YouTube.

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.

Shostakovich - Symphony 5 [Rostropovich-National Symphony Orchestra Of Washington DC]

Shostakovich's Fifth Symphony must be the one i've listened to the most, over all his other Symphonies, it was also the first one i was ever exposed to [Bychkov / Philips], and almost immediately i fell in love with it, however i haven't got a lot of recordings of it, only four, and i guess it's a bit neglected recently, i enjoyed this reading very much, but in retrospect i got so much into the music that i can't exactly put my finger on how this performance is different from the others, i need to listen to this disc more.

Mstislav Rostropovich died in 2007, eight years ago almost to the day, he recorded this disc in 1983 i think, the front cover shows Rostropovich conducting the Symphony [by Christian Steiner], sheet music fanned out in his direction, only about 45 minutes of music on this disc, shame that another Symphony wasn't added, or some Overture or something.

I so much enjoyed the whole of this Symphony, but it's the third movement Largo that really got to me, there's a real spirituality there, deep down it's a sad elegy almost, at first sounds like a study on strings, as Shostakovich uses no brass in this movement, and woodwinds sparingly, but changes to use of a harp and flute duet [2:34-3:12], and slowly it builds up in volume and more anger, but there remains this constant sadness which returns again and again , there's this complex quiet playing on the violas [4:56+], and accompanied by the oboe [5:10-5:46], it's like another elegy duet, with shimmering violins as a backdrop, individual woodwinds come in and out to have their say, and just two quiet twinkles on the glockenspiel [7:07 & 7:11], can change the whole mood of the moment, Shostakovich had that ability, the music swells in agitation, and also includes the piano playing tremolo [8:16-8:48], with the xylophone playing high treble in the background, Shostakovich really knows how to employ strange instruments against each other and for each other, but that sadness sort of intensifies, you expect some sort of glorious resolution at any moment, like in his Tenth Symphony, but at the end it all goes all quiet, and the xylophone plays the simple melody very solemnly like a requiem [12:06-12:27], very poignant, with high violins in tremolo in the background, Rostropovich gets under the skin and to the heart of this movement.

Here's Rostropovich conducting the third movement on YouTube.

Shostakovich - Symphony 10 [Karajan-Berliner Philharmoniker] 

First off, if you're wondering about the booklet cover, and thinking 'where did that come from?', i actually made it myself!, the original cover was awful, so i made a better one myself, more on that below, Karajan's Shostakovich 10 is how i originally got to know this work, it was a wonderful moment when the first movement started to make real sense to me, and playing this today i marvelled at the genius of this work, it's a fantastic experience, the sheer depth of the first movement is incredible, there's a real sense of architecture, where Shostakovich can span vast amounts of time [over 50 minutes here], it's one of his greatest compositions.

Herbert Von Karajan was an Austrian Conductor 1908-1989, he almost 'owned' the Berliner Philharmoniker, recording vast loads of works, including full Symphony cycles, he recorded this work in 1982, the front cover is a card i bought from Oxfam, cut to size, folded over and the original booklet inside [stapled], and then using black and white transfers to create the lettering, it's a great visual product, strangely it shows the Earth in orbit over the Earth!, but those gorgeous blues are fantastic, light sky blue at the bottom, but then almost dark to black at the top, i'm proud of the finished product, the lettering is superb, why can't DG make things like this?.

It was the first two movements which were so fantastic, almost the yin and yan of the Symphony, the one huge and serious, the other so short, almost flippant in its anger, it's this second movement that i just can't resist, Shostakovich is the king of 'anger', where he uses brass / percussion in these great forte passages, it's only 4:16 long, but boy, sometimes the tiniest dogs give the most vicious bites!, no messing about from Shostakovich, no silly intro, straight away we're in forte bowing rhythms from the lower strings [0:00+], and the oboe's going berserk [0:06-0:23], and is joined by the flute / piccolo towards the end, and yes Shosty gets his military drummer in on the act [0:23+] to stir things up, and the brass are marvellous at adding real weight [0:48-1:20], the frantic violins comes in [1:22-1:35], the flutes / piccolos really do go crazy [1:35-1:46], and in the midst of it all you can hear a lazy bassoon chug away [1:41-1:45], the great thing about this movement is it's packed to the rafters with such good things, the timpani really make a noise [2:25-2:29], and the brass and violins almost compete [2:31-2:51], but instead of clashing they actually complement one another, .

Here's Dietrich Paredes conducting the second movement on YouTube.

Shostakovich - Symphony 10 [Shostakovich-London Symphony Orchestra] 

This Tenth is recorded by Dmitri Shostakovich's son Maxim, someone you would feel very credible to know his Father, and possibly interpret his works, i'm not so sure a blood linage qualifies anyone to 'get inside the Composer', and certainly Maxim doesn't seem an all round Conductor, only really performing his Father's works, it's an interesting effort nonetheless, and it's good to hear the Tenth yet again, last month i played Solti's offering [9th May 2012], and it's good to hear this one with that one in mind.

Maxim Shostakovich is Russian, born in 1938, he's now 74, he recorded this disc in 1990, the booklet front cover shows the Soviet red star in the middle, and the letting is boxed in what looks like metal indentations, polished to a high sheen, a strange front cover, but i like it, the back cover of course has a nice portrait of Maxim Shostakovich on it, a nice dark background makes him stand out.

On this listen i was taken aback with the third movement Allegretto, it's solemn, starts of by a dialogue with strings, but turns quickly into a 'string quartet', i like the way Shostakovich introduces the piccolo [1:08-1:44], a great use of orchestral colour, and later he uses dark and slow strings, meandering but welding [4:15-4:48], again the use of piccolo is great [5:38-6:06], horns constantly bookend each section, there's an extended section where pizzicato strings are used, lazy and fractured [6:12-7:40], Shostakovich is a genius with the way he can marry up all the different woodwinds, especially where the music is rather sparse, and then almost out of nowhere he gives us a startling march [8:47-9:25] replete with oompah sounding brass, with a military side drum for a beat, only a few days ago i mentioned that Bruckner did this with the fourth movement of his Eighth Symphony [18th June 2012], the movement ends quietly, horns and low pizzicato strings, but at the very end a solo piccolo gives us four pips twice, and then four last ones at half speed [13:10-13:28], very strange, but very effective, a sparse Symphony, but one that's teeming with action if you listen carefully.

Here's Ulyses Ascanio conducting the third movement Allegretto on YouTube.

Shostakovich - Symphony 5 [Jansons-Oslo Philharmonic Orchestra] 

Shostakovich has not featured in my Blog prominently, and in fact this is the first time that this Symphony appears in this Blog, which is surprising since it's my favourite Shostakovich Symphony, somehow i've neglected this masterpiece over the last 2 years, it starts off fairly brisk in places, and loses some of the mystery because Jansons doesn't dwell on things, but gets better in subsequent movements, i went over the park to listen to this, i could feel the real heat of the sun, nicely warmed me up.

Mariss Jansons is Latvian, he's now 69, he recorded this disc back in 1987, i must admit is fairly short measure at just 41 minutes, most Shostakovich Fifths have another Symphony coupled with it, the front cover portrait [by Jan Greve] is excellent, a nicely composed study, the lettering  / logo is perfectly placed.

It was so good to re-acquaint myself with this Symphony again, and i especially listened to the third movement Largo more closer, and i marvelled at Shostakovich's power of invention, he really does use a very varied load of instruments, and some juxtaposed with strange bedfellows at that, 

Here's Gustavo Dudamel conducting the third movement on YouTube.

Shostakovich - Symphony 10 [Solti-Chicago Symphony Orchestra] 

I believe that Solti came late to the works of Shostakovich, but made up for lost time in getting to know and conduct his works, i got to know Shostakovich's Tenth through listening to Karajan's digital version, the long first movements dissonance came into tuneful focus out of the swirl, that was a great moment when i first learnt to embrace dissonance as my friend, rather than the enemy of sweetness, in comparison i haven't heard Solti's Tenth anywhere near as much, and i guess the jury is still out on his interpretation, this is the fourth time i've listened to this disc, and the second time it's appeared in my Blog [25th April 2010], it's certainly a dour work, and yet... like the Fifth Symphony, there's a triumph there, a blaze of glory over adversity.

Georg Solti [1912-1997] was a Hungarian Conductor, he had a long tenure with the Chicago Symphony Orchestra, and made many great recordings, this one he made in 1990, it's a live recording, and i must admit it's not perfect, there's a shrillness there, not enough warmth, the front cover is artwork of Shostakovich, nicely laid out, the blues and purples nicely juxtaposed with the orange lettering.

I guess i always seem to enjoy the first movement the most, but on this listen i found myself so much enjoying the third movement Allegretto, i found Solti to be a bit quirky at the beginning of the Symphony, but i must admit he's good at the fortes, and when the music gets intense he really gets into it, i enjoyed the ending of the Symphony, really whipped up into a frenzy, and a spontaneous roar of well deserved applause at the end,

Here's Georg Solti conducting the third movement on YouTube.

Shostakovich - Piano Trio 2 [Leonskaja/ Borodin Quartet] 

And another Piano Trio!, and another strange sounding Trio in the minor key, i've heard this quite a lot, but as a lot of music goes, i have a tendency to let the music wash over me, and not really listen, today i tried to listen, and i certainly got something more out of it, it's also good to have an excellent interpretation by these Russians, 

Elisabeth Leonskaja is Russian, now 65 years old, this disc was recorded in 1995, the booklet photo is very much a studio posed shot, and yet very well done, very monotone in black and white, with dark brown [photo by Thomas Muller].

It was the faster, more lithe movements that really work here, Shostakovich can really build up some sort of vehemence, and it's the last movement that i especially liked, it's a very jumpy staccato movement, with excellent use of pizzicato strings, the violin has dull non singing strings, but at the end of each phrase the treble string rings out twice [0:06-0:44], a very special effect, and then we're off on one of Shostakovich's angry outbursts [0:45-1:32], the piano singing out, and the strings plucking as if their life depended on it, the whole thing is couched in this desolate minor key, Shostakovich likes to use extremes, and the piano uses the growling bass in the main melody [3:27-4:00], low and fairly quiet, an ominous rumbling, the anger is incessant, the piano sings out in strong forte [5:31-5:54], and the strings follow suit, yes it can get very bleak and wretched, but there's a tune in there, and even a whiff of sweet melody trying to break out, about two thirds of the way through, the piano has these lovely rolls that Debussy would have been proud of [7:11+], which turn into harp-like strumming, the opening idea returns [8:35-9:12], strings chanting, piano having a bass grumble, the violin has a pizzicato so high in the treble [9:59-10:12], sounding so dead, right at the end the piano lazily hammers out some chords [10:16+], growing softer and softer to a pianissimo ending, Shostakovich can certainly eke out all sorts of sonorities with his instruments, and Leonskaja / Kopelman / Berlinsky are up to the task, creating all sorts of weird and wonderful sounds.

Here's the Chung Trio playing the fourth movement on YouTube.

Shostakovich - 24 Preludes & Fugues [Ashkenazy]

This 2 disc set of Shostakovich's 24 Preludes & Fugues has been in and out of my disc player for the last two years [mainly out of course!], i'm warming to these pieces, and it's taken a long time, the first say seven i quickly warmed to, but the rest have taken more time, it seems a lot more time, i also have the set by Tatiana Nikolayeva [Hyperion], i've listened to this Ashkenazy set more though, supposedly each of the Preludes & Fugues were composed in order as they appear, so i get the strong feeling that Shostakovich was hot and creative with ideas when he started this project, but maybe started to run out of inspiration after a while, the whole 24 took four months to complete, certainly i feel some of the later pieces are more of a challenge to listen to [say 20 & 24 for instance], but there's a wealth of creation here, and something new to discover on every listen.

Vladimir Ashkenazy is now 73, he was born in Russia, these discs were recorded between 1996 and 1998, the 2 disc box front cover is nice, showing Ashkenazy leaning on the piano, with his reflection on the right, a nice black & white shot, which makes the colours [logo and composer] stand out all the more.

I listened to this disc over a few days, i think the whole 24 are too many to take in in one go, i really enjoyed 1, 4-5, 7, 13, 16 & 22 on this listen, disc 2 was a nice revelation, getting to know the less known pieces was very satisfying, but again i fall back on my two favourite Preludes & Fugues of this set, 5 & 7, both are fairly short, lasting less than 4 minutes each, the Fifth Prelude mimics a Glockenspiel in the right hand to some degree, sounding like a piano version of a telephone ringing at times [0:00-0:36], the telephone changes over to the other ear, now in the left hand bass [0:36-1:10], and the counter melody is now in the treble, and you can hear the beauty of it better, then it changes back in the reprise, and it's gorgeous [1:10-2:02], and it ends in a hesitating softness, the Fifth Fugue is a staccato study, nice and complex, all over the keyboard, notes spring to life and germinate all over the place, the Seventh Prelude is a sort of duet, left and right hand take it in turns to play, however the treble / right hand eventually 'speaks' all over the bass / left hand's turn, it's a very clever Prelude, the Seventh Fugue is probably the best thing Shostakovich did out of the whole set, starts off with such lovely chiming in the treble [0:00+], so when the left hand bass comes in [0:13+], playing the echo of the treble, it's just perfect, wave on wave of beautiful repetitions start and end up and down the keyboard, i must mention two turns of phrases that are just simply gorgeous [0:31 & 0:36], Shostakovich knows the perfect note to use to make your heart skip a beat, i can't stop playing this Fugue, and there's still other delights to be discovered in this huge work of 24 pieces.

Here's Fernando playing the Seventh Fugue on Youtube.